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"title": "SFMOMA Senior Curator Gary Garrels Resigns After ‘Reverse Discrimination’ Comments",
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"content": "\u003cp>\u003ci>Updated July 15, 11am\u003c/i>\u003c/p>\n\u003cp>Gary Garrels, the San Francisco Museum of Modern Art’s senior curator of painting and sculpture, announced his resignation on Saturday following an uproar over comments made at an all-staff Zoom meeting last week. His final day at the museum will be July 31.\u003c/p>\n\u003cp>[aside tag='sfmoma' label='More from SFMOMA']\u003c/p>\n\u003cp>Garrels was confronted in the July 7 staff meeting, Artnet \u003ca href=\"https://news.artnet.com/art-world/gary-garrels-departure-sfmoma-1893964\" rel=\"noopener noreferrer\" target=\"_blank\">first reported\u003c/a>, about statements he had previously made concerning the museum’s collection priorities. At a time when museums are being called upon to diversify their holdings beyond the work of Western, white male artists, an \u003ca href=\"https://www.instagram.com/p/CB9QPOYlt5U/\" rel=\"noopener noreferrer\" target=\"_blank\">Instagram post\u003c/a> on the account @changethemuseum claimed that a white senior curator (widely understood to be Garrels) had ended a presentation about recent acquisitions of work by artists of color saying, “Don’t worry, we will definitely still continue to collect white artists.”\u003c/p>\n\u003cp>Garrels shared a similar sentiment while speaking publicly during a February 2020 panel at the FOG Design+Art Fair titled “Ways of Being Seen: Creating Visibility for Women in Art.”\u003c/p>\n\u003cp>“You’ve got this huge mountain you’re scaling to get to parity, to get to balance. It’s going to take a lot of time,” he said. “The other thing I have to say, and I’ve reassured artists, we will continue to collect white men. There are a lot of great women artists, but there are also still a lot of good men out there working as well.” \u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" width=\"800\" src=\"https://www.youtube.com/embed/BQnoV_iAAfo?start=1340\" frameborder=\"0\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>When panel moderator Sarah Douglas, editor in chief of ARTnews, suggested one approach would be to stop collecting work by white male artists for a period of time (as the Baltimore Museum of Art \u003ca href=\"https://www.baltimoresun.com/entertainment/arts/bs-fe-bma-female-artists-2020-20191115-33s5hjjnqfghzhmwkt7dqbargq-story.html\" rel=\"noopener noreferrer\" target=\"_blank\">announced it would do\u003c/a> in 2020), Garrels said, “I just don’t agree with that. That’s an alternative, different kind of profiling.”\u003c/p>\n\u003cp>In last week’s staff meeting, Garrels said avoiding the work of white men would amount to “reverse discrimination,” a phrase he later described as “an extremely poor choice of words.” A group of former museum employees organized under the name \u003ca href=\"https://www.instagram.com/xsfm0ma/\" rel=\"noopener noreferrer\" target=\"_blank\">xSFM0MA\u003c/a> quickly created \u003ca href=\"https://www.change.org/p/xsfm0ma-we-are-calling-for-the-resignation-of-sfmoma-senior-curator-gary-garrels\" rel=\"noopener noreferrer\" target=\"_blank\">a petition\u003c/a> calling for Garrels’ resignation, writing, “Gary’s removal from SFMOMA is non-negotiable. Considering his lengthy tenure at this institution, we ask just how long have his toxic white supremacist beliefs regarding race and equity directed his position curating the content of the museum?”\u003c/p>\n\u003cp>Garrels first worked at SFMOMA from 1993 to 2000 and returned to the museum in 2008 after curatorial positions at the Museum of Modern Art in New York and the Hammer Museum in Los Angeles. As ARTnews has \u003ca href=\"https://www.artnews.com/art-news/news/sfmoma-protest-letter-1202692108/\" rel=\"noopener noreferrer\" target=\"_blank\">previously reported\u003c/a>, Garrels received a no-interest home loan for $500,000 from SFMOMA, approved by the museum’s board. (Museum director Neal Benezra received a $800,000 no-interest home loan.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Recently, Garrels organized SFMOMA’s 2019 \u003ca href=\"https://www.kqed.org/arts/13848287/in-vija-celmins-work-looking-is-a-multisensory-experience\" rel=\"noopener noreferrer\" target=\"_blank\">Vija Celmins retrospective\u003c/a> and led, with chief curator Janet Bishop, the deaccession and sale of a Mark Rothko painting from the museum’s collection. Funds from the $50.1 million sale (an endowment named the Peggy Guggenheim Fund after the Rothko’s original donor), have now been used to accession 110 artworks across curatorial departments. The initial purchases of 11 works \u003ca href=\"https://www.sfmoma.org/press-release/sfmoma-announces-11-new-acquisitions-by-10-modern-and-contemporary-artists-to-strategically-diversify-the-collection/\" rel=\"noopener noreferrer\" target=\"_blank\">were announced\u003c/a> as part of a concerted effort to diversify the museum’s holdings with works by female artists, artists of color and self-identifying LGBTQ+ artists.\u003c/p>\n\u003cp>“I deeply and personally apologize to all of you for any hurt I may have caused,” Garrels wrote in an all-staff email announcing his resignation. “I am so proud of this museum and I am proud of the work I have been able to do with so many of you. But I realize that in the current climate, I can no longer effectively work at SFMOMA, and so I have offered my resignation to Neal Benezra and the Board of Trustees.”\u003c/p>\n\u003cp>Garrels is the fifth SFMOMA staff member to step down in recent weeks as the museum faces accusations of racial inequity from both internal and external critics after the \u003ca href=\"https://www.kqed.org/arts/13881257/sfmoma-faces-censorship-racism-accusations-over-george-floyd-response\" rel=\"noopener noreferrer\" target=\"_blank\">deletion of a critical comment\u003c/a> written by former museum employee Taylor Brandon on a May 30 Instagram post. His departure follows that of \u003ca href=\"https://www.kqed.org/arts/13882814/high-ranking-sfmoma-employee-to-leave-during-ongoing-reckoning\" rel=\"noopener noreferrer\" target=\"_blank\">Nan Keeton\u003c/a>, the deputy museum director in charge of external relations; Marisa Robisch, director of human resources; Cindi Hubbard, recruitment and staffing manager; and Ann von Germeten, chief marketing and communications officer. \u003c/p>\n\u003cp>In addition to the June 27 quote attributed to Garrels, the Instagram account @changethemuseum, which shares anonymous stories of racism within U.S. museums, has featured \u003ca href=\"https://www.instagram.com/p/CCEYUSjlWCL/\" rel=\"noopener noreferrer\" target=\"_blank\">nearly\u003c/a> \u003ca href=\"https://www.instagram.com/p/CCFRh2CFhVD/\" rel=\"noopener noreferrer\" target=\"_blank\">a\u003c/a> \u003ca href=\"https://www.instagram.com/p/CCHUroslnBW/\" rel=\"noopener noreferrer\" target=\"_blank\">dozen\u003c/a> \u003ca href=\"https://www.instagram.com/p/CCHrsG7FvrA/\" rel=\"noopener noreferrer\" target=\"_blank\">stories\u003c/a> of employee experiences at SFMOMA. Brandon, in conjunction with the Nure Collective, the No Neutral Alliance and xSFM0MA have called for, among other demands, the resignation of museum director Neal Benezra.\u003c/p>\n\u003cp>Since shutting down due to the coronavirus pandemic in mid-March, SFMOMA has laid off or reduced the hours of 186 employees. According to \u003ca href=\"https://www.sfmoma.org/press-release/statement-on-the-resignation-of-gary-garrels/\" rel=\"noopener noreferrer\" target=\"_blank\">a statement\u003c/a> issued by Benezra on July 11, Sarah Roberts, curator and head of painting and sculpture, will assume responsibility for the department in an interim capacity.\u003c/p>\n\u003cp>\u003ci>This story has been updated to include the total number of works accessioned through the sale of a Mark Rothko painting and the actual number of employees laid off or furloughed in recent months.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>Updated July 15, 11am\u003c/i>\u003c/p>\n\u003cp>Gary Garrels, the San Francisco Museum of Modern Art’s senior curator of painting and sculpture, announced his resignation on Saturday following an uproar over comments made at an all-staff Zoom meeting last week. His final day at the museum will be July 31.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Garrels was confronted in the July 7 staff meeting, Artnet \u003ca href=\"https://news.artnet.com/art-world/gary-garrels-departure-sfmoma-1893964\" rel=\"noopener noreferrer\" target=\"_blank\">first reported\u003c/a>, about statements he had previously made concerning the museum’s collection priorities. At a time when museums are being called upon to diversify their holdings beyond the work of Western, white male artists, an \u003ca href=\"https://www.instagram.com/p/CB9QPOYlt5U/\" rel=\"noopener noreferrer\" target=\"_blank\">Instagram post\u003c/a> on the account @changethemuseum claimed that a white senior curator (widely understood to be Garrels) had ended a presentation about recent acquisitions of work by artists of color saying, “Don’t worry, we will definitely still continue to collect white artists.”\u003c/p>\n\u003cp>Garrels shared a similar sentiment while speaking publicly during a February 2020 panel at the FOG Design+Art Fair titled “Ways of Being Seen: Creating Visibility for Women in Art.”\u003c/p>\n\u003cp>“You’ve got this huge mountain you’re scaling to get to parity, to get to balance. It’s going to take a lot of time,” he said. “The other thing I have to say, and I’ve reassured artists, we will continue to collect white men. There are a lot of great women artists, but there are also still a lot of good men out there working as well.” \u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" width=\"800\" src=\"https://www.youtube.com/embed/BQnoV_iAAfo?start=1340\" frameborder=\"0\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>When panel moderator Sarah Douglas, editor in chief of ARTnews, suggested one approach would be to stop collecting work by white male artists for a period of time (as the Baltimore Museum of Art \u003ca href=\"https://www.baltimoresun.com/entertainment/arts/bs-fe-bma-female-artists-2020-20191115-33s5hjjnqfghzhmwkt7dqbargq-story.html\" rel=\"noopener noreferrer\" target=\"_blank\">announced it would do\u003c/a> in 2020), Garrels said, “I just don’t agree with that. That’s an alternative, different kind of profiling.”\u003c/p>\n\u003cp>In last week’s staff meeting, Garrels said avoiding the work of white men would amount to “reverse discrimination,” a phrase he later described as “an extremely poor choice of words.” A group of former museum employees organized under the name \u003ca href=\"https://www.instagram.com/xsfm0ma/\" rel=\"noopener noreferrer\" target=\"_blank\">xSFM0MA\u003c/a> quickly created \u003ca href=\"https://www.change.org/p/xsfm0ma-we-are-calling-for-the-resignation-of-sfmoma-senior-curator-gary-garrels\" rel=\"noopener noreferrer\" target=\"_blank\">a petition\u003c/a> calling for Garrels’ resignation, writing, “Gary’s removal from SFMOMA is non-negotiable. Considering his lengthy tenure at this institution, we ask just how long have his toxic white supremacist beliefs regarding race and equity directed his position curating the content of the museum?”\u003c/p>\n\u003cp>Garrels first worked at SFMOMA from 1993 to 2000 and returned to the museum in 2008 after curatorial positions at the Museum of Modern Art in New York and the Hammer Museum in Los Angeles. As ARTnews has \u003ca href=\"https://www.artnews.com/art-news/news/sfmoma-protest-letter-1202692108/\" rel=\"noopener noreferrer\" target=\"_blank\">previously reported\u003c/a>, Garrels received a no-interest home loan for $500,000 from SFMOMA, approved by the museum’s board. (Museum director Neal Benezra received a $800,000 no-interest home loan.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Recently, Garrels organized SFMOMA’s 2019 \u003ca href=\"https://www.kqed.org/arts/13848287/in-vija-celmins-work-looking-is-a-multisensory-experience\" rel=\"noopener noreferrer\" target=\"_blank\">Vija Celmins retrospective\u003c/a> and led, with chief curator Janet Bishop, the deaccession and sale of a Mark Rothko painting from the museum’s collection. Funds from the $50.1 million sale (an endowment named the Peggy Guggenheim Fund after the Rothko’s original donor), have now been used to accession 110 artworks across curatorial departments. The initial purchases of 11 works \u003ca href=\"https://www.sfmoma.org/press-release/sfmoma-announces-11-new-acquisitions-by-10-modern-and-contemporary-artists-to-strategically-diversify-the-collection/\" rel=\"noopener noreferrer\" target=\"_blank\">were announced\u003c/a> as part of a concerted effort to diversify the museum’s holdings with works by female artists, artists of color and self-identifying LGBTQ+ artists.\u003c/p>\n\u003cp>“I deeply and personally apologize to all of you for any hurt I may have caused,” Garrels wrote in an all-staff email announcing his resignation. “I am so proud of this museum and I am proud of the work I have been able to do with so many of you. But I realize that in the current climate, I can no longer effectively work at SFMOMA, and so I have offered my resignation to Neal Benezra and the Board of Trustees.”\u003c/p>\n\u003cp>Garrels is the fifth SFMOMA staff member to step down in recent weeks as the museum faces accusations of racial inequity from both internal and external critics after the \u003ca href=\"https://www.kqed.org/arts/13881257/sfmoma-faces-censorship-racism-accusations-over-george-floyd-response\" rel=\"noopener noreferrer\" target=\"_blank\">deletion of a critical comment\u003c/a> written by former museum employee Taylor Brandon on a May 30 Instagram post. His departure follows that of \u003ca href=\"https://www.kqed.org/arts/13882814/high-ranking-sfmoma-employee-to-leave-during-ongoing-reckoning\" rel=\"noopener noreferrer\" target=\"_blank\">Nan Keeton\u003c/a>, the deputy museum director in charge of external relations; Marisa Robisch, director of human resources; Cindi Hubbard, recruitment and staffing manager; and Ann von Germeten, chief marketing and communications officer. \u003c/p>\n\u003cp>In addition to the June 27 quote attributed to Garrels, the Instagram account @changethemuseum, which shares anonymous stories of racism within U.S. museums, has featured \u003ca href=\"https://www.instagram.com/p/CCEYUSjlWCL/\" rel=\"noopener noreferrer\" target=\"_blank\">nearly\u003c/a> \u003ca href=\"https://www.instagram.com/p/CCFRh2CFhVD/\" rel=\"noopener noreferrer\" target=\"_blank\">a\u003c/a> \u003ca href=\"https://www.instagram.com/p/CCHUroslnBW/\" rel=\"noopener noreferrer\" target=\"_blank\">dozen\u003c/a> \u003ca href=\"https://www.instagram.com/p/CCHrsG7FvrA/\" rel=\"noopener noreferrer\" target=\"_blank\">stories\u003c/a> of employee experiences at SFMOMA. Brandon, in conjunction with the Nure Collective, the No Neutral Alliance and xSFM0MA have called for, among other demands, the resignation of museum director Neal Benezra.\u003c/p>\n\u003cp>Since shutting down due to the coronavirus pandemic in mid-March, SFMOMA has laid off or reduced the hours of 186 employees. According to \u003ca href=\"https://www.sfmoma.org/press-release/statement-on-the-resignation-of-gary-garrels/\" rel=\"noopener noreferrer\" target=\"_blank\">a statement\u003c/a> issued by Benezra on July 11, Sarah Roberts, curator and head of painting and sculpture, will assume responsibility for the department in an interim capacity.\u003c/p>\n\u003cp>\u003ci>This story has been updated to include the total number of works accessioned through the sale of a Mark Rothko painting and the actual number of employees laid off or furloughed in recent months.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"content": "\u003cp>When Sophie Appel and Cole Solinger opened San Francisco’s \u003ca href=\"https://www.instagram.com/delaplanesf/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Delaplane\u003c/a> gallery at 483 14th Street, they were unaware the narrow storefront was already a landmark of local art history. Theirs was a new enterprise, exhibiting young and emerging artists, many of them alums of the San Francisco Art Institute. But in the weeks and months that followed their October 2019 inaugural show, Appel and Solinger heard more and more stories from those who’d frequented the same spot in the early ’90s. They learned that Delaplane shared the address, a quarter-century removed, with a space called Kiki Gallery.\u003c/p>\n\u003cp>Despite a short existence, or perhaps because of it, Kiki is the stuff of legend. Founded in 1993 by artist and activist Rick Jacobsen, the gallery was only open for 18 months. During that time, Kiki hosted over 150 artists and performers, among them future international names and beloved Bay Area artists: Lutz Bacher, Nao Bustamante, Jerome Caja, Frances Stark, Chris Johanson, Nayland Blake, Catherine Opie, Rex Ray and \u003ca href=\"https://www.kqed.org/arts/13859939/remembering-kevin-killian-poet-playwright-and-artist-who-gave-us-courage\" target=\"_blank\" rel=\"noopener noreferrer\">Kevin Killian\u003c/a>. Arts writer Glen Helfand \u003ca href=\"https://static1.squarespace.com/static/573520facf80a15b05a67492/t/573c1a2ac6fc087da45a5ed2/1463556651523/Helfand+Art+AIDS+America+1st+text.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">remembers the space\u003c/a> as “somewhere between commercial gallery and clubhouse,” a reflection of “Jacobson’s wit, showmanship, and endearing cynicism.”\u003c/p>\n\u003cfigure id=\"attachment_13883067\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13883067\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/Peace_Lukaza_Colter_640.jpg\" alt=\"\" width=\"640\" height=\"927\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Peace_Lukaza_Colter_640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Peace_Lukaza_Colter_640-160x232.jpg 160w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The exterior of Delaplane, Colter Jacobson’s flag residency (left) and Lukaza Branfman-Verissimo, ‘Untitled.’ \u003ccite>(Delaplane)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The gallery came from Jacobsen’s desire to gather an arts community on his own, rather on behalf of an organization. Faced with his own AIDS diagnosis, he quit his job at a nonprofit and put all his money into the project. “If I couldn’t do anything firsthand about AIDS, I could be at least a motivating force in art—perhaps the next best thing,” he said in a \u003ca href=\"https://www.stretcher.org/features/kiki_exhibitions_bits/\" target=\"_blank\" rel=\"noopener noreferrer\">1994 interview\u003c/a>.\u003c/p>\n\u003cp>The city at the time was devastated by both the epidemic and an economic downturn, but Jacobsen created something vibrant, irreverent and (paradoxically) lasting. The titles of his shows speak volumes: the scatological \u003ci>Caca @ Kiki\u003c/i>; the gallows humor of \u003ci>Sick Joke: Bitterness, Sarcasm, and Irony in the Second AIDS Decade\u003c/i>; and the self-referential artiness of \u003ci>Piece: Nine Artists Consider Yoko Ono\u003c/i>, the gallery’s final exhibition in February 1995. Jacobsen died of AIDS-related lymphoma in 1997.\u003c/p>\n\u003cp>Decades later, in a very different San Francisco, the punny, carefully assembled \u003ci>Peace: Nine Artists Consider Kiki Gallery\u003c/i> honors the site-specific history of 483 14th Street, gathering artists with a direct relationship to Kiki alongside a younger generation now considering its legacy.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The show begins outside, where Lukaza Branfman-Verissimo’s window installation speaks directly to Kiki: “27 years / both born in 1993 / celebrating you / who / knew we would / be here in this / way / making a sa / fe space / for the bay / qu / eers.” With this overarching sentiment, \u003ci>Peace\u003c/i> becomes a passing of torches—not just from one group of artists to another, but back and forth, between members of a multigenerational community.\u003c/p>\n\u003cp>For those without firsthand experience of Kiki’s heyday, a booklet put together by Wayne Smith includes ephemera and pictures of individual artworks, installations and performances. (Smith encourages viewers to visit the James C. Hormel LGBTQIA Center at the San Francisco Public Library for more of the gallery’s \u003ca href=\"https://sfpl.bibliocommons.com/item/show/2108471093\" target=\"_blank\" rel=\"noopener noreferrer\">ephemera\u003c/a>.) Additional archival material comes in Delaplane’s back room, where a vitrine displays the spread-out contents of \u003ci>Kikibox\u003c/i>, a 1994 kit of editioned objects by gallery-affiliated artists.\u003c/p>\n\u003cfigure id=\"attachment_13883063\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13883063\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/Peace_Kikibox.jpg\" alt=\"\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Peace_Kikibox.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Peace_Kikibox-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Peace_Kikibox-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Peace_Kikibox-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Peace_Kikibox-768x512.jpg 768w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Kikibox,’ 1994. \u003ccite>(Delaplane)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This is not the first time an exhibition has been organized in memory of Kiki Gallery—Ratio 3 hosted \u003ci>\u003ca href=\"https://www.ratio3.org/exhibitions/kiki-the-proof-is-in-the-pudding/installation\" target=\"_blank\" rel=\"noopener noreferrer\">The Proof is in the Pudding\u003c/a>\u003c/i>, curated by Colter Jacobsen and Kevin Killian, in 2008. But it is the first time the honoring has happened on-site, and the shape of the space lends \u003ci>Peace\u003c/i> a special resonance.\u003c/p>\n\u003cp>The younger artists in the show respond as much to Kiki as they do the similar conditions of both galleries’ temporal surroundings: a pandemic, widespread unemployment, experiences of injustice, isolation and despair. In Kennedy Morgan’s very vertical panting (an homage to a Jim Winters screen print) \u003ci>After the Parakeet Attack\u003c/i>, a scratched and bleeding green hand draws back a curtain to reveal what looks to be a solid, impassable surface.\u003c/p>\n\u003cp>rel robinson (who has written for KQED Arts) contributes a textile piece dotted with some of the most indelible images of the last four months: the \u003ca href=\"https://www.nytimes.com/2020/03/14/technology/coronavirus-purell-wipes-amazon-sellers.html\" target=\"_blank\" rel=\"noopener noreferrer\">sanitizer stockpile\u003c/a>; the \u003ca href=\"https://www.dispatch.com/news/20200413/gop-lawmakers-protesters-call-on-dewine-to-begin-re-opening-ohio\" target=\"_blank\" rel=\"noopener noreferrer\">Ohio zombies\u003c/a>; \u003ca href=\"https://www.instagram.com/p/B9w3JvYjQ5S/\" target=\"_blank\" rel=\"noopener noreferrer\">penguins\u003c/a> freed from their aquarium bounds. The application of digital images onto tangible, domestic materials conjures a vision of a feed scrolled while propped up in bed—a new world experienced through one’s screen.\u003c/p>\n\u003cfigure id=\"attachment_13883062\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13883062\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/Peace_install_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Peace_install_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Peace_install_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Peace_install_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Peace_install_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Peace_install_1200-768x512.jpg 768w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Peace’: Kennedy Morgan, ‘After the Parakeet Attack (left); Ocean Escalanti, ‘Hole in the Wall,’ 2020 (right); D-L Alvarez, ‘Scar,’ 2020 (above). \u003ccite>(Delaplane)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite plenty of reasons for despair, some of the artists in \u003ci>Peace\u003c/i> do find—well, \u003ci>peace\u003c/i>. In Ocean Escalanti’s small acrylic painting \u003ci>Hole in the Wall\u003c/i>, lush greenery and peeping eyes surround a vignette of two heads close together, a perfect depiction of the safe space described by Branfman-Verissimo’s installation. And back outside, Delaplane’s “flag residency” hoists a charming banner by Colter Jacobsen that resembles a giant, almost empty roll of polka-dotted toilet paper. (\u003ci>Caca @ Kiki\u003c/i>, indeed.)\u003c/p>\n\u003cp>Representing the original members of the Kiki scene, D-L Alvarez, Cliff Hengst, Scott Hewicker and Jennifer Locke present works that reference both then and now. Alvarez’s delicate graphite-on-paper works, collectively titled \u003ci>Peanut\u003c/i>, carry weight without explaining themselves, personal scraps of memory and influence that sit comfortably above Smith’s booklet, itself a Kiki scrapbook.\u003c/p>\n\u003cp>Next on the wall, Hengst’s untitled painting, reading “IT IS HER,” references a voicemail Yoko Ono herself left at the gallery, on the occasion of Kiki’s final show. The slight pink tinge at the upper right corner of the canvas is a nice echo of Alvarez’s other contribution to \u003ci>Peace\u003c/i>, a dotted line of plaster and pigment that traces the shape of Kiki’s former loft at the back of the main gallery.\u003c/p>\n\u003cfigure id=\"attachment_13883166\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/Locke_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13883166\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Locke_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Locke_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Locke_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Locke_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Locke_1200-768x512.jpg 768w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of Jennifer Locke, ‘Séance for R.J. (Candle, Rubber, Levitation, Blood),’ 2020. \u003ccite>(Delaplane)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In a narrow hallway between the front and back spaces, a video by Locke fits snugly into an odd little corner, playing a short loop of repeated rituals—a seance for Jacobsen, but also an evocation of life under shelter in place. (\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/Peace_Locke_1200.jpg\" rel=\"noopener noreferrer\" target=\"_blank\">A scene\u003c/a> of a condom rolled over a dildo is nicely matched by Hewicker’s sex toy still life.)\u003c/p>\n\u003cp>The exhibition’s parting elements come from Sahar Khoury, in a stacked floor sculpture of boxes and a mixed media textile piece made out of an SFMOMA tote bag. “I like everything about you but you,” the modified canvas bag reads, a fitting comment on the museum’s \u003ca href=\"https://www.kqed.org/arts/13881257/sfmoma-faces-censorship-racism-accusations-over-george-floyd-response\" target=\"_blank\" rel=\"noopener noreferrer\">recent inability\u003c/a> to take a stance on racial justice.\u003c/p>\n\u003cp>There’s nothing monumental in \u003ci>Peace\u003c/i>. Most of the work is small-scale, provisional, made with materials that don’t fit many definitions of “high art.” And yet in these artworks, the principles for which Kiki stood, the ideas that compelled Jacobsen to open its doors in the first place, persist. \u003ci>Peace\u003c/i> underscores the importance of making art in difficult times—as a way of documenting, but also transcending. 483 14th Street is once again a space for the exchange of artistic ideas; in this case, a conversation that spans at least one participant’s entire lifetime. And until we can gather for events that might live up to Kiki’s legendary status, those exchanges will happen one viewer at a time, in half-hour increments.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>‘Peace: Nine Artists Consider Kiki Gallery’ is on view though July 25 at Delaplane (483 14th Street, San Francisco). Open by appointment, \u003ca href=\"https://calendly.com/delaplane\" 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>When Sophie Appel and Cole Solinger opened San Francisco’s \u003ca href=\"https://www.instagram.com/delaplanesf/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Delaplane\u003c/a> gallery at 483 14th Street, they were unaware the narrow storefront was already a landmark of local art history. Theirs was a new enterprise, exhibiting young and emerging artists, many of them alums of the San Francisco Art Institute. But in the weeks and months that followed their October 2019 inaugural show, Appel and Solinger heard more and more stories from those who’d frequented the same spot in the early ’90s. They learned that Delaplane shared the address, a quarter-century removed, with a space called Kiki Gallery.\u003c/p>\n\u003cp>Despite a short existence, or perhaps because of it, Kiki is the stuff of legend. Founded in 1993 by artist and activist Rick Jacobsen, the gallery was only open for 18 months. During that time, Kiki hosted over 150 artists and performers, among them future international names and beloved Bay Area artists: Lutz Bacher, Nao Bustamante, Jerome Caja, Frances Stark, Chris Johanson, Nayland Blake, Catherine Opie, Rex Ray and \u003ca href=\"https://www.kqed.org/arts/13859939/remembering-kevin-killian-poet-playwright-and-artist-who-gave-us-courage\" target=\"_blank\" rel=\"noopener noreferrer\">Kevin Killian\u003c/a>. Arts writer Glen Helfand \u003ca href=\"https://static1.squarespace.com/static/573520facf80a15b05a67492/t/573c1a2ac6fc087da45a5ed2/1463556651523/Helfand+Art+AIDS+America+1st+text.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">remembers the space\u003c/a> as “somewhere between commercial gallery and clubhouse,” a reflection of “Jacobson’s wit, showmanship, and endearing cynicism.”\u003c/p>\n\u003cfigure id=\"attachment_13883067\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13883067\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/Peace_Lukaza_Colter_640.jpg\" alt=\"\" width=\"640\" height=\"927\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Peace_Lukaza_Colter_640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Peace_Lukaza_Colter_640-160x232.jpg 160w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The exterior of Delaplane, Colter Jacobson’s flag residency (left) and Lukaza Branfman-Verissimo, ‘Untitled.’ \u003ccite>(Delaplane)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The gallery came from Jacobsen’s desire to gather an arts community on his own, rather on behalf of an organization. Faced with his own AIDS diagnosis, he quit his job at a nonprofit and put all his money into the project. “If I couldn’t do anything firsthand about AIDS, I could be at least a motivating force in art—perhaps the next best thing,” he said in a \u003ca href=\"https://www.stretcher.org/features/kiki_exhibitions_bits/\" target=\"_blank\" rel=\"noopener noreferrer\">1994 interview\u003c/a>.\u003c/p>\n\u003cp>The city at the time was devastated by both the epidemic and an economic downturn, but Jacobsen created something vibrant, irreverent and (paradoxically) lasting. The titles of his shows speak volumes: the scatological \u003ci>Caca @ Kiki\u003c/i>; the gallows humor of \u003ci>Sick Joke: Bitterness, Sarcasm, and Irony in the Second AIDS Decade\u003c/i>; and the self-referential artiness of \u003ci>Piece: Nine Artists Consider Yoko Ono\u003c/i>, the gallery’s final exhibition in February 1995. Jacobsen died of AIDS-related lymphoma in 1997.\u003c/p>\n\u003cp>Decades later, in a very different San Francisco, the punny, carefully assembled \u003ci>Peace: Nine Artists Consider Kiki Gallery\u003c/i> honors the site-specific history of 483 14th Street, gathering artists with a direct relationship to Kiki alongside a younger generation now considering its legacy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The show begins outside, where Lukaza Branfman-Verissimo’s window installation speaks directly to Kiki: “27 years / both born in 1993 / celebrating you / who / knew we would / be here in this / way / making a sa / fe space / for the bay / qu / eers.” With this overarching sentiment, \u003ci>Peace\u003c/i> becomes a passing of torches—not just from one group of artists to another, but back and forth, between members of a multigenerational community.\u003c/p>\n\u003cp>For those without firsthand experience of Kiki’s heyday, a booklet put together by Wayne Smith includes ephemera and pictures of individual artworks, installations and performances. (Smith encourages viewers to visit the James C. Hormel LGBTQIA Center at the San Francisco Public Library for more of the gallery’s \u003ca href=\"https://sfpl.bibliocommons.com/item/show/2108471093\" target=\"_blank\" rel=\"noopener noreferrer\">ephemera\u003c/a>.) Additional archival material comes in Delaplane’s back room, where a vitrine displays the spread-out contents of \u003ci>Kikibox\u003c/i>, a 1994 kit of editioned objects by gallery-affiliated artists.\u003c/p>\n\u003cfigure id=\"attachment_13883063\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13883063\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/Peace_Kikibox.jpg\" alt=\"\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Peace_Kikibox.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Peace_Kikibox-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Peace_Kikibox-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Peace_Kikibox-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Peace_Kikibox-768x512.jpg 768w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Kikibox,’ 1994. \u003ccite>(Delaplane)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This is not the first time an exhibition has been organized in memory of Kiki Gallery—Ratio 3 hosted \u003ci>\u003ca href=\"https://www.ratio3.org/exhibitions/kiki-the-proof-is-in-the-pudding/installation\" target=\"_blank\" rel=\"noopener noreferrer\">The Proof is in the Pudding\u003c/a>\u003c/i>, curated by Colter Jacobsen and Kevin Killian, in 2008. But it is the first time the honoring has happened on-site, and the shape of the space lends \u003ci>Peace\u003c/i> a special resonance.\u003c/p>\n\u003cp>The younger artists in the show respond as much to Kiki as they do the similar conditions of both galleries’ temporal surroundings: a pandemic, widespread unemployment, experiences of injustice, isolation and despair. In Kennedy Morgan’s very vertical panting (an homage to a Jim Winters screen print) \u003ci>After the Parakeet Attack\u003c/i>, a scratched and bleeding green hand draws back a curtain to reveal what looks to be a solid, impassable surface.\u003c/p>\n\u003cp>rel robinson (who has written for KQED Arts) contributes a textile piece dotted with some of the most indelible images of the last four months: the \u003ca href=\"https://www.nytimes.com/2020/03/14/technology/coronavirus-purell-wipes-amazon-sellers.html\" target=\"_blank\" rel=\"noopener noreferrer\">sanitizer stockpile\u003c/a>; the \u003ca href=\"https://www.dispatch.com/news/20200413/gop-lawmakers-protesters-call-on-dewine-to-begin-re-opening-ohio\" target=\"_blank\" rel=\"noopener noreferrer\">Ohio zombies\u003c/a>; \u003ca href=\"https://www.instagram.com/p/B9w3JvYjQ5S/\" target=\"_blank\" rel=\"noopener noreferrer\">penguins\u003c/a> freed from their aquarium bounds. The application of digital images onto tangible, domestic materials conjures a vision of a feed scrolled while propped up in bed—a new world experienced through one’s screen.\u003c/p>\n\u003cfigure id=\"attachment_13883062\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13883062\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/Peace_install_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Peace_install_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Peace_install_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Peace_install_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Peace_install_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Peace_install_1200-768x512.jpg 768w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Peace’: Kennedy Morgan, ‘After the Parakeet Attack (left); Ocean Escalanti, ‘Hole in the Wall,’ 2020 (right); D-L Alvarez, ‘Scar,’ 2020 (above). \u003ccite>(Delaplane)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite plenty of reasons for despair, some of the artists in \u003ci>Peace\u003c/i> do find—well, \u003ci>peace\u003c/i>. In Ocean Escalanti’s small acrylic painting \u003ci>Hole in the Wall\u003c/i>, lush greenery and peeping eyes surround a vignette of two heads close together, a perfect depiction of the safe space described by Branfman-Verissimo’s installation. And back outside, Delaplane’s “flag residency” hoists a charming banner by Colter Jacobsen that resembles a giant, almost empty roll of polka-dotted toilet paper. (\u003ci>Caca @ Kiki\u003c/i>, indeed.)\u003c/p>\n\u003cp>Representing the original members of the Kiki scene, D-L Alvarez, Cliff Hengst, Scott Hewicker and Jennifer Locke present works that reference both then and now. Alvarez’s delicate graphite-on-paper works, collectively titled \u003ci>Peanut\u003c/i>, carry weight without explaining themselves, personal scraps of memory and influence that sit comfortably above Smith’s booklet, itself a Kiki scrapbook.\u003c/p>\n\u003cp>Next on the wall, Hengst’s untitled painting, reading “IT IS HER,” references a voicemail Yoko Ono herself left at the gallery, on the occasion of Kiki’s final show. The slight pink tinge at the upper right corner of the canvas is a nice echo of Alvarez’s other contribution to \u003ci>Peace\u003c/i>, a dotted line of plaster and pigment that traces the shape of Kiki’s former loft at the back of the main gallery.\u003c/p>\n\u003cfigure id=\"attachment_13883166\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/Locke_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13883166\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Locke_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Locke_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Locke_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Locke_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Locke_1200-768x512.jpg 768w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of Jennifer Locke, ‘Séance for R.J. (Candle, Rubber, Levitation, Blood),’ 2020. \u003ccite>(Delaplane)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In a narrow hallway between the front and back spaces, a video by Locke fits snugly into an odd little corner, playing a short loop of repeated rituals—a seance for Jacobsen, but also an evocation of life under shelter in place. (\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/Peace_Locke_1200.jpg\" rel=\"noopener noreferrer\" target=\"_blank\">A scene\u003c/a> of a condom rolled over a dildo is nicely matched by Hewicker’s sex toy still life.)\u003c/p>\n\u003cp>The exhibition’s parting elements come from Sahar Khoury, in a stacked floor sculpture of boxes and a mixed media textile piece made out of an SFMOMA tote bag. “I like everything about you but you,” the modified canvas bag reads, a fitting comment on the museum’s \u003ca href=\"https://www.kqed.org/arts/13881257/sfmoma-faces-censorship-racism-accusations-over-george-floyd-response\" target=\"_blank\" rel=\"noopener noreferrer\">recent inability\u003c/a> to take a stance on racial justice.\u003c/p>\n\u003cp>There’s nothing monumental in \u003ci>Peace\u003c/i>. Most of the work is small-scale, provisional, made with materials that don’t fit many definitions of “high art.” And yet in these artworks, the principles for which Kiki stood, the ideas that compelled Jacobsen to open its doors in the first place, persist. \u003ci>Peace\u003c/i> underscores the importance of making art in difficult times—as a way of documenting, but also transcending. 483 14th Street is once again a space for the exchange of artistic ideas; in this case, a conversation that spans at least one participant’s entire lifetime. And until we can gather for events that might live up to Kiki’s legendary status, those exchanges will happen one viewer at a time, in half-hour increments.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Peace: Nine Artists Consider Kiki Gallery’ is on view though July 25 at Delaplane (483 14th Street, San Francisco). Open by appointment, \u003ca href=\"https://calendly.com/delaplane\" 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>The San Francisco Museum of Modern Art announced Monday that Nan Keeton, the museum’s deputy director of external relations since 2013, will step down from her position as of July 2. Keeton’s departure follows weeks of discussions both public and internal about the museum’s commitment to diversity and equity following the death of George Floyd and nationwide uprisings for racial justice.\u003c/p>\n\u003cp>[aside postID='arts_13881257']On May 30, the museum posted \u003ca href=\"https://www.instagram.com/p/CA0PIUpl_xs/\" rel=\"noopener noreferrer\" target=\"_blank\">an image\u003c/a> on social media of artist Glenn Ligon’s work (they weren’t the only \u003ca href=\"https://www.instagram.com/p/CAyYq8PFBpi/\" rel=\"noopener noreferrer\" target=\"_blank\">institution\u003c/a> to do so), including a quote from Ligon but no statement from the museum itself. Taylor Brandon, a former SFMOMA communications associate, commented on the Instagram post, \u003ca href=\"https://www.kqed.org/arts/13881257\" rel=\"noopener noreferrer\" target=\"_blank\">later telling KQED\u003c/a>, “You can’t use the work of Black artists to make a statement you should make. You can’t stand behind the work of Black people to do the work you need to do inside.”\u003c/p>\n\u003cp>When the museum deleted Brandon’s comment and disabled comments on the post, \u003ca href=\"https://www.instagram.com/p/CA3LjlUBGqP/\" rel=\"noopener noreferrer\" target=\"_blank\">screenshots\u003c/a> shared by SFMOMA’s labor union, OPEIU Local 29, spread through the Bay Area arts community, inciting outcry on social media. Brandon connected with the Nure Collective, a Bay Area group of Black artists who had been commissioned by the museum to create content for SFMOMA’s “#MuseumFromHome” initiative, to issue a seven-point \u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Nure-Collective-Letter-to-SFMOMA-final.pdf\" rel=\"noopener noreferrer\" target=\"_blank\">list of demands\u003c/a> on June 2. Among them was a demand for “SFMOMA [to] seriously consider replacing upper-level Marketing + Communications staff who have proven their racial bias.”\u003c/p>\n\u003cp>That same day, Keeton explained in an SFMOMA staff meeting that the museum removed Brandon’s comment because it deemed the remarks “potential threats” that “target individuals.” In a conversation with KQED, Brandon described Keeton’s statement as a bad-faith misreading of her comments.\u003c/p>\n\u003cp>When asked if Keeton was stepping down in response to these events and the ongoing pressure on the museum, SFMOMA’s spokesperson did not respond. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In recent weeks, the number of groups calling for change at SFMOMA has grown. Brandon and the Nure Collective have joined forces with CTRL+SHFT Collective, Heavy Breathing, the Prison Arts Project and Work More! to form \u003ca href=\"https://www.noneutralalliance.com/\" rel=\"noopener noreferrer\" target=\"_blank\">No Neutral Alliance\u003c/a>—groups all initially included in SFMOMA’s #MuseumFromHome program. (All have since requested their work be removed from SFMOMA’s website.) \u003c/p>\n\u003cp>A multiracial group of former SFMOMA workers calling themselves \u003ca href=\"https://www.instagram.com/xsfm0ma/\" rel=\"noopener noreferrer\" target=\"_blank\">XSFMOMA\u003c/a> issued their own \u003ca href=\"https://drive.google.com/file/d/1ICDUYGGYVDUKkYxEPHIrc3GEZ8Gw8LLE/view\" rel=\"noopener noreferrer\" target=\"_blank\">open letter\u003c/a> on June 23, calling on the museum to fulfill the demands made by Taylor and No Neutral Alliance.\u003c/p>\n\u003cp>“We’ve heard the news of Nan Keeton’s resignation,” No Neutral Alliance wrote in a statement to KQED. “The No Neutral Alliance maintains our list of demands from the letter released June 12, none of which have been fulfilled upon the resignation of Keeton.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>SFMOMA Director Neal Benezra has yet to meet with members of No Neutral Alliance, which is now sharing annotated screenshots of their email correspondence on \u003ca href=\"https://www.instagram.com/noneutralalliance/\" rel=\"noopener noreferrer\" target=\"_blank\">Instagram\u003c/a>. SFMOMA’s own Instagram account has been inactive since \u003ca href=\"https://www.instagram.com/p/CBBIbYtlERX/\" rel=\"noopener noreferrer\" target=\"_blank\">June 4\u003c/a>, when the museum posted an apology from Benezra claiming full responsibility for the deletion of Brandon’s comment.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The San Francisco Museum of Modern Art announced Monday that Nan Keeton, the museum’s deputy director of external relations since 2013, will step down from her position as of July 2. Keeton’s departure follows weeks of discussions both public and internal about the museum’s commitment to diversity and equity following the death of George Floyd and nationwide uprisings for racial justice.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>On May 30, the museum posted \u003ca href=\"https://www.instagram.com/p/CA0PIUpl_xs/\" rel=\"noopener noreferrer\" target=\"_blank\">an image\u003c/a> on social media of artist Glenn Ligon’s work (they weren’t the only \u003ca href=\"https://www.instagram.com/p/CAyYq8PFBpi/\" rel=\"noopener noreferrer\" target=\"_blank\">institution\u003c/a> to do so), including a quote from Ligon but no statement from the museum itself. Taylor Brandon, a former SFMOMA communications associate, commented on the Instagram post, \u003ca href=\"https://www.kqed.org/arts/13881257\" rel=\"noopener noreferrer\" target=\"_blank\">later telling KQED\u003c/a>, “You can’t use the work of Black artists to make a statement you should make. You can’t stand behind the work of Black people to do the work you need to do inside.”\u003c/p>\n\u003cp>When the museum deleted Brandon’s comment and disabled comments on the post, \u003ca href=\"https://www.instagram.com/p/CA3LjlUBGqP/\" rel=\"noopener noreferrer\" target=\"_blank\">screenshots\u003c/a> shared by SFMOMA’s labor union, OPEIU Local 29, spread through the Bay Area arts community, inciting outcry on social media. Brandon connected with the Nure Collective, a Bay Area group of Black artists who had been commissioned by the museum to create content for SFMOMA’s “#MuseumFromHome” initiative, to issue a seven-point \u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Nure-Collective-Letter-to-SFMOMA-final.pdf\" rel=\"noopener noreferrer\" target=\"_blank\">list of demands\u003c/a> on June 2. Among them was a demand for “SFMOMA [to] seriously consider replacing upper-level Marketing + Communications staff who have proven their racial bias.”\u003c/p>\n\u003cp>That same day, Keeton explained in an SFMOMA staff meeting that the museum removed Brandon’s comment because it deemed the remarks “potential threats” that “target individuals.” In a conversation with KQED, Brandon described Keeton’s statement as a bad-faith misreading of her comments.\u003c/p>\n\u003cp>When asked if Keeton was stepping down in response to these events and the ongoing pressure on the museum, SFMOMA’s spokesperson did not respond. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In recent weeks, the number of groups calling for change at SFMOMA has grown. Brandon and the Nure Collective have joined forces with CTRL+SHFT Collective, Heavy Breathing, the Prison Arts Project and Work More! to form \u003ca href=\"https://www.noneutralalliance.com/\" rel=\"noopener noreferrer\" target=\"_blank\">No Neutral Alliance\u003c/a>—groups all initially included in SFMOMA’s #MuseumFromHome program. (All have since requested their work be removed from SFMOMA’s website.) \u003c/p>\n\u003cp>A multiracial group of former SFMOMA workers calling themselves \u003ca href=\"https://www.instagram.com/xsfm0ma/\" rel=\"noopener noreferrer\" target=\"_blank\">XSFMOMA\u003c/a> issued their own \u003ca href=\"https://drive.google.com/file/d/1ICDUYGGYVDUKkYxEPHIrc3GEZ8Gw8LLE/view\" rel=\"noopener noreferrer\" target=\"_blank\">open letter\u003c/a> on June 23, calling on the museum to fulfill the demands made by Taylor and No Neutral Alliance.\u003c/p>\n\u003cp>“We’ve heard the news of Nan Keeton’s resignation,” No Neutral Alliance wrote in a statement to KQED. “The No Neutral Alliance maintains our list of demands from the letter released June 12, none of which have been fulfilled upon the resignation of Keeton.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>SFMOMA Director Neal Benezra has yet to meet with members of No Neutral Alliance, which is now sharing annotated screenshots of their email correspondence on \u003ca href=\"https://www.instagram.com/noneutralalliance/\" rel=\"noopener noreferrer\" target=\"_blank\">Instagram\u003c/a>. SFMOMA’s own Instagram account has been inactive since \u003ca href=\"https://www.instagram.com/p/CBBIbYtlERX/\" rel=\"noopener noreferrer\" target=\"_blank\">June 4\u003c/a>, when the museum posted an apology from Benezra claiming full responsibility for the deletion of Brandon’s comment.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The Berkeley Art Museum and Pacific Film Archive (BAMPFA) announced on Thursday \u003ca href=\"https://bampfa.org/news/julie-rodrigues-widholm-appointed-lead-bampfa\" rel=\"noopener noreferrer\" target=\"_blank\">the appointment\u003c/a> of a new director: Julie Rodrigues Widholm, the current director and chief curator of the DePaul Art Museum (DPAM) in Chicago.\u003c/p>\n\u003cp>Widholm comes into Berkeley with high marks. During her five years at DPAM, the museum experienced a 40% increase in attendance and a tripling of its annual budget. She also oversaw the addition of 500 artworks to the museum’s collection “with a particular emphasis on work by underrecognized artists from marginalized groups,” according to BAMPFA’s press release.\u003c/p>\n\u003cp>Widholm succeeds BAMPFA’s \u003ca href=\"https://www.kqed.org/arts/13866997/lawrence-rinder-bampfa-director-and-chief-curator-to-step-down\" rel=\"noopener noreferrer\" target=\"_blank\">exiting director Lawrence Rinder\u003c/a>, whose history with the museum stretches back to the 1980s and whose role as director began in 2008. [aside postID='arts_13866997']\u003c/p>\n\u003cp>Rinder was widely acknowledged to have left the museum in good standing, after overseeing a major move from the institution’s former home—a 101,000-square-foot brutalist concrete shell on Bancroft Way—to a new building on Center Street. Rinder, whose acquisition program added over 6,000 works to the museum’s collection, also reportedly secured a “significant gift from an anonymous donor” before his departure. \u003c/p>\n\u003cp>The museum, currently closed due to the COVID-19 pandemic, cites Widholm’s “emphasis on diversity and inclusion” as a contributing factor in her hiring, pointing to DPAM’s curatorial program and its emphasis on work by artists of color, women and LGBTQ artists. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I am incredibly honored to join BAMPFA at this critical juncture to work collaboratively with staff, colleagues, faculty, students, and other stakeholders in the community to think deeply about what it means to be an inclusive academic art museum in the 21st century,” Widholm said in a statement. “I have long admired BAMPFA’s program, including the MATRIX program’s longstanding role in bringing emerging and underrecognized contemporary artists to the fore.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Windholm will start at BAMPFA on Aug. 1.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Rinder was widely acknowledged to have left the museum in good standing, after overseeing a major move from the institution’s former home—a 101,000-square-foot brutalist concrete shell on Bancroft Way—to a new building on Center Street. Rinder, whose acquisition program added over 6,000 works to the museum’s collection, also reportedly secured a “significant gift from an anonymous donor” before his departure. \u003c/p>\n\u003cp>The museum, currently closed due to the COVID-19 pandemic, cites Widholm’s “emphasis on diversity and inclusion” as a contributing factor in her hiring, pointing to DPAM’s curatorial program and its emphasis on work by artists of color, women and LGBTQ artists. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Sometimes the energy of a movement looks like the \u003ca href=\"https://twitter.com/LinaBlanco/status/1274059418770927616\" rel=\"noopener noreferrer\" target=\"_blank\">mass mobilization of people marching towards a common goal\u003c/a>, and sometimes it’s hundreds of square feet of painted plywood.\u003c/p>\n\u003cp>In May, as protests in response to the killing of George Floyd by Minneapolis police officer Derek Chauvin began in downtown Oakland, businesses covered their storefronts with plywood, inadvertently creating surfaces primed for messages of liberation and solidarity. In the days that followed, artists and volunteers lined the sidewalks with buckets and spray cans of paint, putting up Cornel West quotes, Black Power imagery and, over and over again, the names of those killed by police.\u003c/p>\n\u003cp>Almost as soon as these large-scale murals went up, people \u003ca href=\"https://twitter.com/is_a_lau/status/1270374072166178817\" rel=\"noopener noreferrer\" target=\"_blank\">began asking\u003c/a> how the ephemeral pieces of public art could be preserved.\u003c/p>\n\u003cp>https://twitter.com/OGpenn/status/1270021040312221696\u003c/p>\n\u003cp>“The consensus is that this is an important time,” says Randolph Belle, spokesperson for the \u003ca href=\"https://www.blackculturalzone.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Black Cultural Zone\u003c/a>, a coalition of Black residents, leaders and organizers working to keep Black culture and people in East Oakland. “The movement is what we’re most concerned with. But the artwork is obviously a result of the protests, and the protests are a result of the historical injustices.”\u003c/p>\n\u003cp>The Black Cultural Zone, \u003ca href=\"https://bettiono.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Betti Ono Gallery\u003c/a>, and other Black-led arts organizations, with support from ally organizations like the Oakland Museum and Oakland Art Murmur, are now attempting to bring some order to the preservation of murals that emerged spontaneously and without centralized coordination. The Black Cultural Zone has launched an \u003ca href=\"https://docs.google.com/forms/d/e/1FAIpQLScwvM8ZV7Ln2CwiPtCyywTaPzE0xwTw2jXDB9947Z1rbLj1lw/viewform\" target=\"_blank\" rel=\"noopener noreferrer\">online form\u003c/a> to help identify artists and artworks, which business owners or landlords can use to let the group know if they’re planning to remove a mural.\u003c/p>\n\u003cp>(Endeavors, a project affiliated with Oakland’s Good Mother Gallery, has simultaneously created \u003ca href=\"https://www.endeavors-oakland.com/home-copy\" target=\"_blank\" rel=\"noopener noreferrer\">an online gallery\u003c/a> of mural documentation, also hosts a form which promises to notify artists when their boards are removed.)\u003c/p>\n\u003cfigure id=\"attachment_13881569\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13881569\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-41-25-PM.jpg\" alt=\"\" width=\"1200\" height=\"900\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-41-25-PM.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-41-25-PM-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-41-25-PM-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-41-25-PM-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-41-25-PM-1020x765.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Artist unknown. \u003ccite>(Cianni Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Still, certain questions linger: Should pieces go back to the artists, stay with the businesses, go into archival storage, or remain on view at another public location?\u003c/p>\n\u003cp>Oakland Museum of California Director Lori Fogarty underscores Belle’s point about focusing on the movement, first and foremost, over the murals. Though the institution was on \u003ca href=\"https://twitter.com/Bethpikegirl/status/1270023479228686342\" target=\"_blank\" rel=\"noopener noreferrer\">many minds\u003c/a> as a \u003ca href=\"https://twitter.com/OKcouncil/status/1270033041319026688\" target=\"_blank\" rel=\"noopener noreferrer\">possible home\u003c/a> for the murals, Fogarty says the museum isn’t yet looking to accession artwork or schedule an exhibition. Instead, OMCA is providing logistical support to the preservation efforts.\u003c/p>\n\u003cp>“Black-led organizations and artists need to be at the forefront,” Fogarty says. “It is a paradigm shift we need to acknowledge and honor at every step.”\u003c/p>\n\u003cp>Curator and arts organizer \u003ca href=\"https://artistasfirstrespondercom.godaddysites.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Ashara Ekundayo\u003c/a> watched the murals go up, visiting the downtown gallery every day. She says early on her conversations with artists raised red flags about the challenges of documenting and preserving the murals. “What alarmed me was that very few of the artists had thought about the importance and value of their work, and what could happen to it without them knowing and being credited or compensated,” she says. \u003c/p>\n\u003cp>She also noticed racial and cultural dynamics playing out in the murals: white artists were being commissioned to write “Black Lives Matter” on boarded-up storefronts and Black artists were not being paid for their work. Not acknowledging the artwork as valuable, particularly the work of Black artists, Ekundayo says, “will continue to perpetuate this idea that artists will make art for free and that we can disrespect them.”\u003c/p>\n\u003cp>https://www.instagram.com/p/CBygQVZhC1v/\u003c/p>\n\u003cp>“From the Black Cultural Zone specifically, we really wanted to be documenters of the documentation,” Belle says. “We don’t want to own a movement, but it is important that a Black voice holds this conversation. As people are saying that this feels different, we’ve got to make sure it \u003ci>is\u003c/i> different.”\u003c/p>\n\u003cp>[aside postID='arts_13881529']In this vein, Betti Ono Gallery is hosting a conversation on Thursday, June 25, for Black artists and community members to collectively decide how to honor, preserve and protect the art. Possible outcomes Belle lists off include reinstallation of the murals in a lot in East Oakland, a spot the Black Cultural Zone currently uses as a distribution point for hot meals, produce and other supplies. Or, he says, “Some of the panels could be used to build something semi-permanent.” An in-depth immersive exhibition incorporating video footage of the murals, or something similar, could take place several years down the road.\u003c/p>\n\u003cp>“We have no interest in nor would we support privatizing this art other than in the hands of the artists and support of our Black community,” the Black Cultural Zone writes in the description for Thursday’s event.\u003c/p>\n\u003cp>But as discussions about how to collect and preserve the murals continue, many of the artworks are already coming down—and only some of their destinations are known.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13868732/cece-carpio\" target=\"_blank\" rel=\"noopener noreferrer\">Cece Carpio\u003c/a> and the \u003ca href=\"http://www.trustyourstruggle.com/a/\" target=\"_blank\" rel=\"noopener noreferrer\">Trust Your Struggle Collective\u003c/a> painted three murals in downtown Oakland. “We just went forward and protested the way we knew how, which is to paint up the streets,” she says. They weren’t thinking, at the time, about the future of their work.\u003c/p>\n\u003cp>https://www.instagram.com/p/CBCYs9fhTF0/\u003c/p>\n\u003cp>One of those murals—featuring five raised hands and fists and the text “We Got Us” over the boarded-up doors of a Chase bank—became the backdrop for an altar to those killed by police violence. When workers later arrived with the task of removing the plywood to create an entrance to the building, they refused to dismantle the altar.\u003c/p>\n\u003cp>“They saw our crew name and made the call to make sure this is preserved,” Carpio says. “It was very lucky and fortunate that it was within the community of folks.” Carpio was able to call her friends to move the altar, and the workers delivered the plywood boards directly to her own Oakland backyard.\u003c/p>\n\u003cp>Other muralists say they too thought only passingly about the future of their murals as they worked to get them up. Estella Tse and Sofia Sharpe, who both grew up in Oakland, painted a mural in honor of Breonna Taylor on June 5—what would have been her 27th birthday.\u003c/p>\n\u003cp>“Her name was kind of getting swept in between larger events happening around her, and she wasn’t getting a lot of the recognition for the justice she deserved,” Sharpe says of the impulse behind their painting. Only one of the three officers who shot Taylor has been fired; the other two have been placed on administrative reassignment, and none have been charged.\u003c/p>\n\u003cfigure id=\"attachment_13881568\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13881568\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-39-53-PM.jpg\" alt=\"\" width=\"1200\" height=\"900\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-39-53-PM.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-39-53-PM-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-39-53-PM-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-39-53-PM-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-39-53-PM-1020x765.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">The mural in honor of Breonna Taylor’s 27th birthday, painted by Sofia Sharpe and Estella Tse. \u003ccite>(Cianni Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sharpe echoes the Black Cultural Zone’s desire to place the murals within the context of the movement for racial justice. “It’s not just about murals, but about everything that is happening and has led up to it and where it’s going from there,” Sharpe says.\u003c/p>\n\u003cp>Objects can tell powerful stories, which is why conversations about how to preserve and honor items related to the Black Lives Matter movement and the latest uprisings are happening at both the grassroots community level and in national organizations. Coalition building and the centering of Black voices is key: The National Museum of African American History and Culture, the National Museum of American History and the Anacostia Community Museum \u003ca href=\"https://nmaahc.si.edu/about/news/statement-efforts-collect-objects-lafayette-square\" rel=\"noopener noreferrer\" target=\"_blank\">recently announced\u003c/a> a collective effort to document and preserve “expressions of protest and hope” from Lafayette Square in Washington, D.C. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“You never know what stories artifacts and objects will tell,” Fogarty says, pointing to architectural fragments exhibited in OMCA’s \u003ci>\u003ca href=\"https://museumca.org/exhibit/all-power-people-black-panthers-50\" rel=\"noopener noreferrer\" target=\"_blank\">All Power to the People: Black Panthers at 50\u003c/a>\u003c/i>, testaments to the physical destruction of the Black community. While it’s difficult to know exactly which objects will speak most loudly a half century from now, the mistakes of the past can be illuminating. “We’re very mindful of what the museum was not collecting in 1968,” Fogarty says.\u003c/p>\n\u003cp>For Tse and Sharpe, whether or not their own work is preserved is less important to them than the messages the murals contain, and how the desire to document those messages illustrates art’s place in social movements.\u003c/p>\n\u003cp>“We can see from this how art heals, there is an impact, there is a purpose for art,” Tse says. Citing the difficult and long process of going through official channels to create public art, she adds, “I just hope there’s more opportunities for artists to make art like this in very challenging times.”\u003c/p>\n\u003cp>Carpio agrees: “I feel like this is one way to mark this moment and is also another way of really showing that what artists can contribute to a movement, and how we can envision a different future than what we normally have lived, prior to the pandemic and prior to the uprising.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Sometimes the energy of a movement looks like the \u003ca href=\"https://twitter.com/LinaBlanco/status/1274059418770927616\" rel=\"noopener noreferrer\" target=\"_blank\">mass mobilization of people marching towards a common goal\u003c/a>, and sometimes it’s hundreds of square feet of painted plywood.\u003c/p>\n\u003cp>In May, as protests in response to the killing of George Floyd by Minneapolis police officer Derek Chauvin began in downtown Oakland, businesses covered their storefronts with plywood, inadvertently creating surfaces primed for messages of liberation and solidarity. In the days that followed, artists and volunteers lined the sidewalks with buckets and spray cans of paint, putting up Cornel West quotes, Black Power imagery and, over and over again, the names of those killed by police.\u003c/p>\n\u003cp>Almost as soon as these large-scale murals went up, people \u003ca href=\"https://twitter.com/is_a_lau/status/1270374072166178817\" rel=\"noopener noreferrer\" target=\"_blank\">began asking\u003c/a> how the ephemeral pieces of public art could be preserved.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>“The consensus is that this is an important time,” says Randolph Belle, spokesperson for the \u003ca href=\"https://www.blackculturalzone.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Black Cultural Zone\u003c/a>, a coalition of Black residents, leaders and organizers working to keep Black culture and people in East Oakland. “The movement is what we’re most concerned with. But the artwork is obviously a result of the protests, and the protests are a result of the historical injustices.”\u003c/p>\n\u003cp>The Black Cultural Zone, \u003ca href=\"https://bettiono.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Betti Ono Gallery\u003c/a>, and other Black-led arts organizations, with support from ally organizations like the Oakland Museum and Oakland Art Murmur, are now attempting to bring some order to the preservation of murals that emerged spontaneously and without centralized coordination. The Black Cultural Zone has launched an \u003ca href=\"https://docs.google.com/forms/d/e/1FAIpQLScwvM8ZV7Ln2CwiPtCyywTaPzE0xwTw2jXDB9947Z1rbLj1lw/viewform\" target=\"_blank\" rel=\"noopener noreferrer\">online form\u003c/a> to help identify artists and artworks, which business owners or landlords can use to let the group know if they’re planning to remove a mural.\u003c/p>\n\u003cp>(Endeavors, a project affiliated with Oakland’s Good Mother Gallery, has simultaneously created \u003ca href=\"https://www.endeavors-oakland.com/home-copy\" target=\"_blank\" rel=\"noopener noreferrer\">an online gallery\u003c/a> of mural documentation, also hosts a form which promises to notify artists when their boards are removed.)\u003c/p>\n\u003cfigure id=\"attachment_13881569\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13881569\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-41-25-PM.jpg\" alt=\"\" width=\"1200\" height=\"900\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-41-25-PM.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-41-25-PM-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-41-25-PM-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-41-25-PM-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-41-25-PM-1020x765.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Artist unknown. \u003ccite>(Cianni Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Still, certain questions linger: Should pieces go back to the artists, stay with the businesses, go into archival storage, or remain on view at another public location?\u003c/p>\n\u003cp>Oakland Museum of California Director Lori Fogarty underscores Belle’s point about focusing on the movement, first and foremost, over the murals. Though the institution was on \u003ca href=\"https://twitter.com/Bethpikegirl/status/1270023479228686342\" target=\"_blank\" rel=\"noopener noreferrer\">many minds\u003c/a> as a \u003ca href=\"https://twitter.com/OKcouncil/status/1270033041319026688\" target=\"_blank\" rel=\"noopener noreferrer\">possible home\u003c/a> for the murals, Fogarty says the museum isn’t yet looking to accession artwork or schedule an exhibition. Instead, OMCA is providing logistical support to the preservation efforts.\u003c/p>\n\u003cp>“Black-led organizations and artists need to be at the forefront,” Fogarty says. “It is a paradigm shift we need to acknowledge and honor at every step.”\u003c/p>\n\u003cp>Curator and arts organizer \u003ca href=\"https://artistasfirstrespondercom.godaddysites.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Ashara Ekundayo\u003c/a> watched the murals go up, visiting the downtown gallery every day. She says early on her conversations with artists raised red flags about the challenges of documenting and preserving the murals. “What alarmed me was that very few of the artists had thought about the importance and value of their work, and what could happen to it without them knowing and being credited or compensated,” she says. \u003c/p>\n\u003cp>She also noticed racial and cultural dynamics playing out in the murals: white artists were being commissioned to write “Black Lives Matter” on boarded-up storefronts and Black artists were not being paid for their work. Not acknowledging the artwork as valuable, particularly the work of Black artists, Ekundayo says, “will continue to perpetuate this idea that artists will make art for free and that we can disrespect them.”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“From the Black Cultural Zone specifically, we really wanted to be documenters of the documentation,” Belle says. “We don’t want to own a movement, but it is important that a Black voice holds this conversation. As people are saying that this feels different, we’ve got to make sure it \u003ci>is\u003c/i> different.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In this vein, Betti Ono Gallery is hosting a conversation on Thursday, June 25, for Black artists and community members to collectively decide how to honor, preserve and protect the art. Possible outcomes Belle lists off include reinstallation of the murals in a lot in East Oakland, a spot the Black Cultural Zone currently uses as a distribution point for hot meals, produce and other supplies. Or, he says, “Some of the panels could be used to build something semi-permanent.” An in-depth immersive exhibition incorporating video footage of the murals, or something similar, could take place several years down the road.\u003c/p>\n\u003cp>“We have no interest in nor would we support privatizing this art other than in the hands of the artists and support of our Black community,” the Black Cultural Zone writes in the description for Thursday’s event.\u003c/p>\n\u003cp>But as discussions about how to collect and preserve the murals continue, many of the artworks are already coming down—and only some of their destinations are known.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13868732/cece-carpio\" target=\"_blank\" rel=\"noopener noreferrer\">Cece Carpio\u003c/a> and the \u003ca href=\"http://www.trustyourstruggle.com/a/\" target=\"_blank\" rel=\"noopener noreferrer\">Trust Your Struggle Collective\u003c/a> painted three murals in downtown Oakland. “We just went forward and protested the way we knew how, which is to paint up the streets,” she says. They weren’t thinking, at the time, about the future of their work.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>One of those murals—featuring five raised hands and fists and the text “We Got Us” over the boarded-up doors of a Chase bank—became the backdrop for an altar to those killed by police violence. When workers later arrived with the task of removing the plywood to create an entrance to the building, they refused to dismantle the altar.\u003c/p>\n\u003cp>“They saw our crew name and made the call to make sure this is preserved,” Carpio says. “It was very lucky and fortunate that it was within the community of folks.” Carpio was able to call her friends to move the altar, and the workers delivered the plywood boards directly to her own Oakland backyard.\u003c/p>\n\u003cp>Other muralists say they too thought only passingly about the future of their murals as they worked to get them up. Estella Tse and Sofia Sharpe, who both grew up in Oakland, painted a mural in honor of Breonna Taylor on June 5—what would have been her 27th birthday.\u003c/p>\n\u003cp>“Her name was kind of getting swept in between larger events happening around her, and she wasn’t getting a lot of the recognition for the justice she deserved,” Sharpe says of the impulse behind their painting. Only one of the three officers who shot Taylor has been fired; the other two have been placed on administrative reassignment, and none have been charged.\u003c/p>\n\u003cfigure id=\"attachment_13881568\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13881568\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-39-53-PM.jpg\" alt=\"\" width=\"1200\" height=\"900\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-39-53-PM.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-39-53-PM-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-39-53-PM-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-39-53-PM-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-39-53-PM-1020x765.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">The mural in honor of Breonna Taylor’s 27th birthday, painted by Sofia Sharpe and Estella Tse. \u003ccite>(Cianni Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sharpe echoes the Black Cultural Zone’s desire to place the murals within the context of the movement for racial justice. “It’s not just about murals, but about everything that is happening and has led up to it and where it’s going from there,” Sharpe says.\u003c/p>\n\u003cp>Objects can tell powerful stories, which is why conversations about how to preserve and honor items related to the Black Lives Matter movement and the latest uprisings are happening at both the grassroots community level and in national organizations. Coalition building and the centering of Black voices is key: The National Museum of African American History and Culture, the National Museum of American History and the Anacostia Community Museum \u003ca href=\"https://nmaahc.si.edu/about/news/statement-efforts-collect-objects-lafayette-square\" rel=\"noopener noreferrer\" target=\"_blank\">recently announced\u003c/a> a collective effort to document and preserve “expressions of protest and hope” from Lafayette Square in Washington, D.C. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“You never know what stories artifacts and objects will tell,” Fogarty says, pointing to architectural fragments exhibited in OMCA’s \u003ci>\u003ca href=\"https://museumca.org/exhibit/all-power-people-black-panthers-50\" rel=\"noopener noreferrer\" target=\"_blank\">All Power to the People: Black Panthers at 50\u003c/a>\u003c/i>, testaments to the physical destruction of the Black community. While it’s difficult to know exactly which objects will speak most loudly a half century from now, the mistakes of the past can be illuminating. “We’re very mindful of what the museum was not collecting in 1968,” Fogarty says.\u003c/p>\n\u003cp>For Tse and Sharpe, whether or not their own work is preserved is less important to them than the messages the murals contain, and how the desire to document those messages illustrates art’s place in social movements.\u003c/p>\n\u003cp>“We can see from this how art heals, there is an impact, there is a purpose for art,” Tse says. Citing the difficult and long process of going through official channels to create public art, she adds, “I just hope there’s more opportunities for artists to make art like this in very challenging times.”\u003c/p>\n\u003cp>Carpio agrees: “I feel like this is one way to mark this moment and is also another way of really showing that what artists can contribute to a movement, and how we can envision a different future than what we normally have lived, prior to the pandemic and prior to the uprising.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>In solidarity with the Black Lives Matter movement, San Francisco’s \u003ca href=\"https://www.cccsf.us/\" target=\"_blank\" rel=\"noopener noreferrer\">Chinese Culture Center\u003c/a> has organized a day of painting in Portsmouth Square.\u003c/p>\n\u003cp>On Saturday, June 20, 11am–2pm, artists and volunteers, led by artist Vida Kuang, will paint messages in support of racial justice in the historic gathering place, continuing the square’s legacy as a site of actions, protests and resistance to white supremacy.\u003c/p>\n\u003cp>Members of the public are invited to join in the project, which will render messages in both English and Chinese. The CCC will provide painting supplies, gloves, hand-sanitizer and instructions. Volunteers are asked to bring “mess-friendly clothing” and open minds.\u003c/p>\n\u003cp>The event is timed to coincide with \u003ca href=\"https://www.kqed.org/news/11824859/juneteenth-2020-in-the-bay-area-what-to-know-where-to-go\" target=\"_blank\" rel=\"noopener noreferrer\">Juneteenth\u003c/a> celebrations honoring Black freedom and resistance.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/events/1661384060682427/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In solidarity with the Black Lives Matter movement, San Francisco’s \u003ca href=\"https://www.cccsf.us/\" target=\"_blank\" rel=\"noopener noreferrer\">Chinese Culture Center\u003c/a> has organized a day of painting in Portsmouth Square.\u003c/p>\n\u003cp>On Saturday, June 20, 11am–2pm, artists and volunteers, led by artist Vida Kuang, will paint messages in support of racial justice in the historic gathering place, continuing the square’s legacy as a site of actions, protests and resistance to white supremacy.\u003c/p>\n\u003cp>Members of the public are invited to join in the project, which will render messages in both English and Chinese. The CCC will provide painting supplies, gloves, hand-sanitizer and instructions. Volunteers are asked to bring “mess-friendly clothing” and open minds.\u003c/p>\n\u003cp>The event is timed to coincide with \u003ca href=\"https://www.kqed.org/news/11824859/juneteenth-2020-in-the-bay-area-what-to-know-where-to-go\" target=\"_blank\" rel=\"noopener noreferrer\">Juneteenth\u003c/a> celebrations honoring Black freedom and resistance.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/events/1661384060682427/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Saying Goodbye to Artist and Prankster Clayton Bailey",
"headTitle": "Saying Goodbye to Artist and Prankster Clayton Bailey | KQED",
"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\">A\u003c/span> man equal parts imagination and mustache (his facial hair was rumored to be over 24 inches long in its full glory), the irreverent East Bay artist \u003ca href=\"http://www.claytonbailey.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Clayton Bailey\u003c/a> died on June 6. His art was steeped in the universal languages of humor, curiosity and mischief, which allowed it to be accessible and beloved by everyone, fine art academics and young children included. As a longtime fan, I’m sad he’s gone, but comforted by the fact that I can’t think of anyone who led a better life than him. He passed as he lived: surrounded by loved ones, as well as legions of sketchy robots, burbling clay blobs, shrieking horn dogs, laboratory specimens and a triple-jointed “Bigfoot penis bone.”\u003c/p>\n\u003cp>Hailing from Antigo, Wisconsin, Clayton’s artistic impulses were first ignited while working as a comic book censor at a local drug store in the ’50s. His mother warned him that \u003ci>Mad Magazine\u003c/i> and EC horror comics would ruin his mind. “Maybe she was right,” he once told me. “But I got some good ideas and it has been a good life anyway.”\u003c/p>\n\u003cfigure id=\"attachment_13882107\" class=\"wp-caption alignright\" style=\"max-width: 543px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13882107\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/claytonbailey-mustacheoil.jpg\" alt=\"Clayton Bailey mustache ceramics\" width=\"543\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/claytonbailey-mustacheoil.jpg 543w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/claytonbailey-mustacheoil-160x236.jpg 160w\" sizes=\"(max-width: 543px) 100vw, 543px\">\u003cfigcaption class=\"wp-caption-text\">Clayton Bailey’s mustache oil. \u003ccite>(Janelle Hessig)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In junior high, he met the love of his life, the artist \u003ca href=\"http://www.claytonbailey.com/bettyindex.htm\" rel=\"noopener noreferrer\" target=\"_blank\">Betty Bailey\u003c/a> (née Graveen). The two were married in the Midwest and had two kids, Kurt and Robin, before heeding the siren song of ’60s counterculture and moving to the Bay Area. They were core contributors to the Funk Art scene (and, later, the Nut Art scene), a loosely defined movement of absurdist and personal art that thumbed its nose at fine art pretension. Their contemporaries included local artists like \u003ca href=\"https://www.kqed.org/arts/12413395/the-10-shocking-toilets-that-helped-put-uc-davis-on-the-art-world-map\" rel=\"noopener noreferrer\" target=\"_blank\">Robert Arneson\u003c/a>, \u003ca href=\"http://www.maijapeeples-bright.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Maija Peeples-Bright\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13148579/dogs-are-people-too-inside-the-fantastical-world-of-roy-de-forest\" rel=\"noopener noreferrer\" target=\"_blank\">Roy De Forest\u003c/a>.\u003c/p>\n\u003cp>The Baileys settled in the outskirts of Contra Costa County, first in an old storefront in the shadow of Crockett’s iconic C&H Sugar Factory, before ultimately landing in a house situated along the rural back roads known as the Carquinez Straits. Their house sat alone (save for neighbor Roy De Forest) in a little valley amid the rolling hills between Crockett and Port Costa. Once settled in, and with their ceramics kiln fired up, the house grew into a fantastical fortress guarded by ceramic demon dogs and giant metal insects clinging to the eaves of the roof. “The Crockett Rocket,” a pointy silver rocket ship reminiscent of a ’50s sci-fi paperback cover, juts over the top of the fence poised for take-off. This psychedelic oasis in the middle of the countryside would be the Baileys’ home for the next 50 years.\u003c/p>\n\u003cp>My fascination with Clayton Bailey was seeded in the ’90s through tales told by one of his former Cal State Hayward ceramics students. On late night adventures to Port Costa as a young punk, I would press my nose against the car window as we passed his house, hoping to catch sight of a new creation peeking out from behind the fence.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Port Costa is a rough-and-tumble little town, too small to warrant a traffic light. It ends in a dirt parking lot next to the train tracks and the Warehouse Bar, a cavernous and musty pit stop for bikers. The building is crammed full of vintage signage, dusty velvet bunting and dangling swag lamps; a large taxidermied polar bear rears up on its hind legs over the pool table.\u003c/p>\n\u003cfigure id=\"attachment_13882101\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13882101\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/bigfootdropping2.jpg\" alt=\"Clayton Bailey Bigfoot dropping tester\" width=\"600\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/bigfootdropping2.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/bigfootdropping2-160x213.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Scientific apparatus created by Dr. Gladstone to test Bigfoot droppings. \u003ccite>(Janelle Hessig)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 1976, this was the site of Clayton Bailey’s World of Wonders, an unnatural history museum where his P. T. Barnum tendencies could really run amok. Clayton had been sculpting full-size skeletons of mythical beasts like Bigfoot and Cyclops as part of a self-invented branch of pseudoscience called \u003ci>kaolism\u003c/i>. He buried these fossils “from the pre-credulous era of the Bone Age” in the hillside near his house and then brought in groups of school kids on archaeological expeditions to “discover” the bones (and have their minds blown). The fossils were exhibited at World of Wonders alongside certificates and scientific contraptions meant to “verify” their authenticity.\u003c/p>\n\u003cp>Clayton’s love of science, coupled with his mischievous spirit, synthesized into an alter ego named Dr. George Gladstone. Dr. Gladstone wore a pith helmet and a lab coat and served two purposes: to lend scientific credibility to Clayton’s art hoaxes and to operate as a stand-in able to discuss Clayton’s work. In true Andy Kaufman-level devotion to the bit, Clayton never conceded that Dr. Gladstone was just a character. (A UC Berkeley professor nominated Dr. Gladstone for a Nobel Prize in physics in 1976. Alas, he didn’t win.)\u003c/p>\n\u003cp>To lure visitors into the museum, Clayton decided he needed a hype man, an old-fashioned carnival barker to reel them in. This is how ON/OFF the Wonder Robot was conceived. ON/OFF was essentially a robot suit made of scrap metal worn by either Clayton or his son, Kurt. The robot would chase neighborhood children and had a thunderous amplified voice he used to command adults to feed him quarters and buy tickets to the museum. A trapdoor penis was later added to discourage curious people from non-consensually playing with his buttons and levers.\u003c/p>\n\u003cp>ON/OFF was the first in a long line of robots. While there would be no more suits, many of the robots were human-sized. Clayton pieced them together with familiar objects: coffee pots, brake pedals, vacuum parts and radio consoles. He scoured flea markets and the Custom Alloy scrap metal yard in Oakland for discarded home appliances that called out to be reborn into something greater and funnier than their original utilitarian form. As with all things, sex sells, and robots are no exception. A female robot with pointy breasts ultimately got Clayton removed from an exhibit at the Lawrence Hall of Science.\u003c/p>\n\u003cfigure id=\"attachment_13882106\" class=\"wp-caption alignnone\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13882106\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/ONOFF.jpg\" alt=\"ON/OFF Clayton Bailey robot\" width=\"640\" height=\"623\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/ONOFF.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/ONOFF-160x156.jpg 160w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">ON/OFF enjoying semi-retirement at the Bailey Art Gallery, 2014. \u003ccite>(Janelle Hessig)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>World of Wonders closed its doors after only two years, but it planted a seed in its creator’s mind. When the Bailey Art Museum opened in 2013, it was housed in Clayton and Betty’s original storefront home in Crockett. Finally, all of Clayton and Betty’s whimsical creations were available for the public to marvel over. The displays included a mad scientist lab with motion-activated animatronics. Lady Bigfoot (with high-heel foot bones), Cyclops and other fossils from the unnatural history museum returned to view. “Burping Bowls,” little ceramic blob creatures submerged in buckets of water, burbled up to the surface as visitors walked past, propelled by hidden fish tank pumps. A giant mounted pop gun allowed visitors to shoot a cork at a gong 30 feet away with a satisfying \u003ci>pop!\u003c/i> and \u003ci>ka-bong!\u003c/i> Hidden motion detectors triggered lights or radio fuzz in seemingly inactive robots. In a side room, the “Crime Fighting Device,” a suit of armor with a Bible burning in its belly, guaranteed the viewer psychic immunity from evil (for a small fee).\u003c/p>\n\u003cfigure id=\"attachment_13882109\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13882109\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/blob2-800x600.jpg\" alt=\"Clayton Bailey blob\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/blob2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/blob2-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/blob2-768x576.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Blob: “It came from a bucket of mud!” \u003ccite>(Janelle Hessig)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Apart from being near a major metropolis, the museum bore all the hallmarks that define a quintessential roadside attraction. And it wasn’t all about Clayton. The Baileys’ son, Kurt, displayed fluorescent monster art in the museum. One room was mostly devoted to Betty’s amazing and often hilarious watercolor pencil drawings, lively folk-art renderings of the everyday moments that define a life. In these works on paper, women smoke around a table, take trips to Reno, play bocce ball, stand in line and make hospital visits. I still chuckle over a piece depicting Whoopi Goldberg on \u003ci>The View\u003c/i>, advising women to “air it out.”\u003c/p>\n\u003cfigure id=\"attachment_13882142\" class=\"wp-caption aligncenter\" style=\"max-width: 2500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13882142\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/smokingparty.jpg\" alt=\"\" width=\"2500\" height=\"2095\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/smokingparty.jpg 2500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/smokingparty-160x134.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/smokingparty-800x670.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/smokingparty-768x644.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/smokingparty-1020x855.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/smokingparty-1920x1609.jpg 1920w\" sizes=\"(max-width: 2500px) 100vw, 2500px\">\u003cfigcaption class=\"wp-caption-text\">Betty Bailey, ‘A Smoking Party,’ 2005; Colored pencil and gouache on paper, 18 x 24 inches. \u003ccite>(Courtesy of \u003ca href=\"https://etaletc.com/betty-bailey-and-johanna-billing-jam-session\" target=\"_blank\">Et al.\u003c/a>)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After conducting a fanzine interview with Clayton in 2002, we became pen pals. Once the museum opened its doors, I was a frequent visitor and eventually a friend. Every time I published something new, I dropped by for a hand delivery. If I had a special date or a new friend I wanted to impress, I brought them to the museum to chat with Clayton and Betty and to shoot the pop gun, to stick our hands in a demon dog’s mouth and trigger a sound effect. The Baileys had a knack for making everyone feel like the center of the universe and an honored guest. Their special brand of love and attention made me feel cool—and probably helped me land some second dates.\u003c/p>\n\u003cp>In 2018, Clayton suffered a stroke that left him partially paralyzed and mostly unable to speak. Later that year, Betty discovered the cancer she’d beat years before had returned. She passed away in 2019. Clayton’s old ceramics apprentice from the ’70s, Mary Smiley, moved into the house to keep him company for the remaining year of his life. He died shortly after his 81st birthday.\u003c/p>\n\u003cp>https://www.instagram.com/p/CBJxqOtDr9U/?igshid=2mbxohl0ib70\u003c/p>\n\u003cp>Clayton’s parting words in our 2002 interview were, “I think you need to be slightly out of whack to spend your life making personal things that are not really wanted or needed by anyone else but yourself.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>This may be true in its way. But in a world that would prefer we spend the majority of our days staring into screens and commodifying our creative impulses, being out of whack seems to be the only way to truly win. Clayton spent his life surrounded by love, with his lifelong sweetheart by his side, making art that was simultaneously poignant and goofy. In the end, by becoming the robot, Clayton beat the robot. He will be missed.\u003c/p>\n\n",
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"excerpt": "The irreverent East Bay artist died on June 6, shortly after his 81st birthday.",
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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\">A\u003c/span> man equal parts imagination and mustache (his facial hair was rumored to be over 24 inches long in its full glory), the irreverent East Bay artist \u003ca href=\"http://www.claytonbailey.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Clayton Bailey\u003c/a> died on June 6. His art was steeped in the universal languages of humor, curiosity and mischief, which allowed it to be accessible and beloved by everyone, fine art academics and young children included. As a longtime fan, I’m sad he’s gone, but comforted by the fact that I can’t think of anyone who led a better life than him. He passed as he lived: surrounded by loved ones, as well as legions of sketchy robots, burbling clay blobs, shrieking horn dogs, laboratory specimens and a triple-jointed “Bigfoot penis bone.”\u003c/p>\n\u003cp>Hailing from Antigo, Wisconsin, Clayton’s artistic impulses were first ignited while working as a comic book censor at a local drug store in the ’50s. His mother warned him that \u003ci>Mad Magazine\u003c/i> and EC horror comics would ruin his mind. “Maybe she was right,” he once told me. “But I got some good ideas and it has been a good life anyway.”\u003c/p>\n\u003cfigure id=\"attachment_13882107\" class=\"wp-caption alignright\" style=\"max-width: 543px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13882107\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/claytonbailey-mustacheoil.jpg\" alt=\"Clayton Bailey mustache ceramics\" width=\"543\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/claytonbailey-mustacheoil.jpg 543w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/claytonbailey-mustacheoil-160x236.jpg 160w\" sizes=\"(max-width: 543px) 100vw, 543px\">\u003cfigcaption class=\"wp-caption-text\">Clayton Bailey’s mustache oil. \u003ccite>(Janelle Hessig)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In junior high, he met the love of his life, the artist \u003ca href=\"http://www.claytonbailey.com/bettyindex.htm\" rel=\"noopener noreferrer\" target=\"_blank\">Betty Bailey\u003c/a> (née Graveen). The two were married in the Midwest and had two kids, Kurt and Robin, before heeding the siren song of ’60s counterculture and moving to the Bay Area. They were core contributors to the Funk Art scene (and, later, the Nut Art scene), a loosely defined movement of absurdist and personal art that thumbed its nose at fine art pretension. Their contemporaries included local artists like \u003ca href=\"https://www.kqed.org/arts/12413395/the-10-shocking-toilets-that-helped-put-uc-davis-on-the-art-world-map\" rel=\"noopener noreferrer\" target=\"_blank\">Robert Arneson\u003c/a>, \u003ca href=\"http://www.maijapeeples-bright.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Maija Peeples-Bright\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13148579/dogs-are-people-too-inside-the-fantastical-world-of-roy-de-forest\" rel=\"noopener noreferrer\" target=\"_blank\">Roy De Forest\u003c/a>.\u003c/p>\n\u003cp>The Baileys settled in the outskirts of Contra Costa County, first in an old storefront in the shadow of Crockett’s iconic C&H Sugar Factory, before ultimately landing in a house situated along the rural back roads known as the Carquinez Straits. Their house sat alone (save for neighbor Roy De Forest) in a little valley amid the rolling hills between Crockett and Port Costa. Once settled in, and with their ceramics kiln fired up, the house grew into a fantastical fortress guarded by ceramic demon dogs and giant metal insects clinging to the eaves of the roof. “The Crockett Rocket,” a pointy silver rocket ship reminiscent of a ’50s sci-fi paperback cover, juts over the top of the fence poised for take-off. This psychedelic oasis in the middle of the countryside would be the Baileys’ home for the next 50 years.\u003c/p>\n\u003cp>My fascination with Clayton Bailey was seeded in the ’90s through tales told by one of his former Cal State Hayward ceramics students. On late night adventures to Port Costa as a young punk, I would press my nose against the car window as we passed his house, hoping to catch sight of a new creation peeking out from behind the fence.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Port Costa is a rough-and-tumble little town, too small to warrant a traffic light. It ends in a dirt parking lot next to the train tracks and the Warehouse Bar, a cavernous and musty pit stop for bikers. The building is crammed full of vintage signage, dusty velvet bunting and dangling swag lamps; a large taxidermied polar bear rears up on its hind legs over the pool table.\u003c/p>\n\u003cfigure id=\"attachment_13882101\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13882101\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/bigfootdropping2.jpg\" alt=\"Clayton Bailey Bigfoot dropping tester\" width=\"600\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/bigfootdropping2.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/bigfootdropping2-160x213.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Scientific apparatus created by Dr. Gladstone to test Bigfoot droppings. \u003ccite>(Janelle Hessig)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 1976, this was the site of Clayton Bailey’s World of Wonders, an unnatural history museum where his P. T. Barnum tendencies could really run amok. Clayton had been sculpting full-size skeletons of mythical beasts like Bigfoot and Cyclops as part of a self-invented branch of pseudoscience called \u003ci>kaolism\u003c/i>. He buried these fossils “from the pre-credulous era of the Bone Age” in the hillside near his house and then brought in groups of school kids on archaeological expeditions to “discover” the bones (and have their minds blown). The fossils were exhibited at World of Wonders alongside certificates and scientific contraptions meant to “verify” their authenticity.\u003c/p>\n\u003cp>Clayton’s love of science, coupled with his mischievous spirit, synthesized into an alter ego named Dr. George Gladstone. Dr. Gladstone wore a pith helmet and a lab coat and served two purposes: to lend scientific credibility to Clayton’s art hoaxes and to operate as a stand-in able to discuss Clayton’s work. In true Andy Kaufman-level devotion to the bit, Clayton never conceded that Dr. Gladstone was just a character. (A UC Berkeley professor nominated Dr. Gladstone for a Nobel Prize in physics in 1976. Alas, he didn’t win.)\u003c/p>\n\u003cp>To lure visitors into the museum, Clayton decided he needed a hype man, an old-fashioned carnival barker to reel them in. This is how ON/OFF the Wonder Robot was conceived. ON/OFF was essentially a robot suit made of scrap metal worn by either Clayton or his son, Kurt. The robot would chase neighborhood children and had a thunderous amplified voice he used to command adults to feed him quarters and buy tickets to the museum. A trapdoor penis was later added to discourage curious people from non-consensually playing with his buttons and levers.\u003c/p>\n\u003cp>ON/OFF was the first in a long line of robots. While there would be no more suits, many of the robots were human-sized. Clayton pieced them together with familiar objects: coffee pots, brake pedals, vacuum parts and radio consoles. He scoured flea markets and the Custom Alloy scrap metal yard in Oakland for discarded home appliances that called out to be reborn into something greater and funnier than their original utilitarian form. As with all things, sex sells, and robots are no exception. A female robot with pointy breasts ultimately got Clayton removed from an exhibit at the Lawrence Hall of Science.\u003c/p>\n\u003cfigure id=\"attachment_13882106\" class=\"wp-caption alignnone\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13882106\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/ONOFF.jpg\" alt=\"ON/OFF Clayton Bailey robot\" width=\"640\" height=\"623\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/ONOFF.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/ONOFF-160x156.jpg 160w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">ON/OFF enjoying semi-retirement at the Bailey Art Gallery, 2014. \u003ccite>(Janelle Hessig)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>World of Wonders closed its doors after only two years, but it planted a seed in its creator’s mind. When the Bailey Art Museum opened in 2013, it was housed in Clayton and Betty’s original storefront home in Crockett. Finally, all of Clayton and Betty’s whimsical creations were available for the public to marvel over. The displays included a mad scientist lab with motion-activated animatronics. Lady Bigfoot (with high-heel foot bones), Cyclops and other fossils from the unnatural history museum returned to view. “Burping Bowls,” little ceramic blob creatures submerged in buckets of water, burbled up to the surface as visitors walked past, propelled by hidden fish tank pumps. A giant mounted pop gun allowed visitors to shoot a cork at a gong 30 feet away with a satisfying \u003ci>pop!\u003c/i> and \u003ci>ka-bong!\u003c/i> Hidden motion detectors triggered lights or radio fuzz in seemingly inactive robots. In a side room, the “Crime Fighting Device,” a suit of armor with a Bible burning in its belly, guaranteed the viewer psychic immunity from evil (for a small fee).\u003c/p>\n\u003cfigure id=\"attachment_13882109\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13882109\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/blob2-800x600.jpg\" alt=\"Clayton Bailey blob\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/blob2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/blob2-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/blob2-768x576.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Blob: “It came from a bucket of mud!” \u003ccite>(Janelle Hessig)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Apart from being near a major metropolis, the museum bore all the hallmarks that define a quintessential roadside attraction. And it wasn’t all about Clayton. The Baileys’ son, Kurt, displayed fluorescent monster art in the museum. One room was mostly devoted to Betty’s amazing and often hilarious watercolor pencil drawings, lively folk-art renderings of the everyday moments that define a life. In these works on paper, women smoke around a table, take trips to Reno, play bocce ball, stand in line and make hospital visits. I still chuckle over a piece depicting Whoopi Goldberg on \u003ci>The View\u003c/i>, advising women to “air it out.”\u003c/p>\n\u003cfigure id=\"attachment_13882142\" class=\"wp-caption aligncenter\" style=\"max-width: 2500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13882142\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/smokingparty.jpg\" alt=\"\" width=\"2500\" height=\"2095\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/smokingparty.jpg 2500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/smokingparty-160x134.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/smokingparty-800x670.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/smokingparty-768x644.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/smokingparty-1020x855.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/smokingparty-1920x1609.jpg 1920w\" sizes=\"(max-width: 2500px) 100vw, 2500px\">\u003cfigcaption class=\"wp-caption-text\">Betty Bailey, ‘A Smoking Party,’ 2005; Colored pencil and gouache on paper, 18 x 24 inches. \u003ccite>(Courtesy of \u003ca href=\"https://etaletc.com/betty-bailey-and-johanna-billing-jam-session\" target=\"_blank\">Et al.\u003c/a>)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After conducting a fanzine interview with Clayton in 2002, we became pen pals. Once the museum opened its doors, I was a frequent visitor and eventually a friend. Every time I published something new, I dropped by for a hand delivery. If I had a special date or a new friend I wanted to impress, I brought them to the museum to chat with Clayton and Betty and to shoot the pop gun, to stick our hands in a demon dog’s mouth and trigger a sound effect. The Baileys had a knack for making everyone feel like the center of the universe and an honored guest. Their special brand of love and attention made me feel cool—and probably helped me land some second dates.\u003c/p>\n\u003cp>In 2018, Clayton suffered a stroke that left him partially paralyzed and mostly unable to speak. Later that year, Betty discovered the cancer she’d beat years before had returned. She passed away in 2019. Clayton’s old ceramics apprentice from the ’70s, Mary Smiley, moved into the house to keep him company for the remaining year of his life. He died shortly after his 81st birthday.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Clayton’s parting words in our 2002 interview were, “I think you need to be slightly out of whack to spend your life making personal things that are not really wanted or needed by anyone else but yourself.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This may be true in its way. But in a world that would prefer we spend the majority of our days staring into screens and commodifying our creative impulses, being out of whack seems to be the only way to truly win. Clayton spent his life surrounded by love, with his lifelong sweetheart by his side, making art that was simultaneously poignant and goofy. In the end, by becoming the robot, Clayton beat the robot. He will be missed.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Isabelle Frances McGuire’s Time Capsule of Pandemic Isolation",
"headTitle": "Isabelle Frances McGuire’s Time Capsule of Pandemic Isolation | KQED",
"content": "\u003cp>Isabelle Frances McGuire’s \u003ci>P**** B**** ARENA\u003c/i> (asterisks the artist’s own), which opened in Et al.’s Chinatown location on May 30, is shrouded in sickness.\u003c/p>\n\u003cp>The work itself was made under Chicago’s stay-at-home order, during which McGuire created a diaristic set of embroidered textile works, the date of each piece’s making stitched into its fabric. The show marks time: 50 days of making, 50 days of anxiety, loneliness, boredom and steady production. It’s a state McGuire sums up in an accompanying text as “Stressful Leisure Limbo.”\u003c/p>\n\u003cp>Viewed now, with the world still in the throes of the COVID-19 pandemic, but within the context of a nationwide and urgent movement for racial justice, \u003ci>P**** B**** ARENA\u003c/i> functions as a highly specific and already dated time capsule, documenting one artist’s experience of working alone in physical stasis, fashioning plush proxies for friends and garments for absent audiences.\u003c/p>\n\u003cfigure id=\"attachment_13881541\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13881541\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/GoodWeather_IsabelleFrancesMcGuire_P-B-ARENA_18_A_1200.jpg\" alt=\"\" width=\"1200\" height=\"771\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/GoodWeather_IsabelleFrancesMcGuire_P-B-ARENA_18_A_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/GoodWeather_IsabelleFrancesMcGuire_P-B-ARENA_18_A_1200-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/GoodWeather_IsabelleFrancesMcGuire_P-B-ARENA_18_A_1200-800x514.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/GoodWeather_IsabelleFrancesMcGuire_P-B-ARENA_18_A_1200-768x493.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/GoodWeather_IsabelleFrancesMcGuire_P-B-ARENA_18_A_1200-1020x655.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of Isabelle Frances McGuire’s ‘May 3, 2020’ above Union Cleaners and Et al. \u003ccite>(Courtesy the artist and Good Weather)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To see the show, presented by the itinerant gallery \u003ca href=\"http://goodweathergallery.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Good Weather\u003c/a> (originally a single-car garage in Little Rock, Arkansas) and hosted by Et al., viewers make an appointment for a 20-minute private viewing window. Gallery representatives wait outside while visitors have the run of the place—in this case, both Et al.’s regular basement space and an additional two rooms above Union Cleaners.\u003c/p>\n\u003cp>Just one item in \u003ci>P**** B**** ARENA\u003c/i> preexisted the pandemic, but it too, speaks of sickness. \u003ci>Digesting Duck Entry Level Position\u003c/i> is a figurative sculpture on all fours, its human body replaced by a cardboard box. Periodically, the sculpture vomits red wine out of its mouth and into a waiting aluminum bowl, resulting in a tang of tannins wafting through the air. This piece is encountered upstairs, on a stained red carpet, in a series of rooms with mysterious signs of activity and storage options. (A mirrored wall with shelf mounts but no shelves being the most mysterious.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ci>Digesting Duck Entry Level Position\u003c/i> started out as a party sculpture, its name a reference to an \u003ca href=\"https://en.wikipedia.org/wiki/Digesting_Duck\" target=\"_blank\" rel=\"noopener noreferrer\">18th-century automaton\u003c/a> that mimicked a duck’s digestive system. When it was shown earlier this year at \u003ca href=\"http://www.lucybull.com/fromthedeskof/isabelle-frances-mcguire\" target=\"_blank\" rel=\"noopener noreferrer\">From the Desk of Lucy Bull\u003c/a>, a table-top exhibition space in Los Angeles, viewers held their glasses beneath the sculpture’s mouth for drink refills. Without the party context, the sculpture’s kinetic aspect is now legitimately startling in those ghostly, desolate rooms.\u003c/p>\n\u003cfigure id=\"attachment_13881540\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13881540\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/GoodWeather_IsabelleFrancesMcGuire_P-B-ARENA_13_B_Detail_1200.jpg\" alt=\"\" width=\"1200\" height=\"771\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/GoodWeather_IsabelleFrancesMcGuire_P-B-ARENA_13_B_Detail_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/GoodWeather_IsabelleFrancesMcGuire_P-B-ARENA_13_B_Detail_1200-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/GoodWeather_IsabelleFrancesMcGuire_P-B-ARENA_13_B_Detail_1200-800x514.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/GoodWeather_IsabelleFrancesMcGuire_P-B-ARENA_13_B_Detail_1200-768x493.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/GoodWeather_IsabelleFrancesMcGuire_P-B-ARENA_13_B_Detail_1200-1020x655.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Detail of ‘Digesting Duck Entry Level Position,’ 2020. \u003ccite>(Courtesy the artist and Good Weather)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Downstairs, McGuire’s daily project offers an alternative to an in-person communal gathering like the one in L.A., this time imagined by the artist in their studio. A grid of folded garments on the gallery’s beige-painted floor could outfit dozens of people. Instead, eight stuffed animals (all ducks), face each other across the arrangement, recalling Mike Kelley’s \u003ca href=\"https://mikekelleyfoundation.org/artwork/mike-kelley-arenas?q=arena\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>Arena\u003c/i> series\u003c/a>, comforting and somehow “off.” In an additional nod to art historical antecedents, the textile works mark the days On Kawara-style, starting March 20 and ending May 8 (the previously planned opening date of McGuire’s show).\u003c/p>\n\u003cp>The varying level of detail in McGuire’s alterations offer a potential view into the artist’s emotional state over that time. Some days, the embellishment is just the date, almost offhandedly so. \u003ci>April 15, 2020\u003c/i> features red thread across the chest of a black Gildan tee—and its sizing sticker, which they didn’t bother to remove. But just a day before, their elaborate additions to a gray coat capture the experience of mindlessly scrolling through social media in a pandemic. Square images of teacup chihuahuas line either side of the buttons, and the phrase “now more than ever” repeats, stitched in different colored thread, across the garment’s bottom third.\u003c/p>\n\u003cfigure id=\"attachment_13881539\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13881539\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/GoodWeather_IsabelleFrancesMcGuire_P-B-ARENA_08_B_1200.jpg\" alt=\"\" width=\"1200\" height=\"771\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/GoodWeather_IsabelleFrancesMcGuire_P-B-ARENA_08_B_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/GoodWeather_IsabelleFrancesMcGuire_P-B-ARENA_08_B_1200-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/GoodWeather_IsabelleFrancesMcGuire_P-B-ARENA_08_B_1200-800x514.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/GoodWeather_IsabelleFrancesMcGuire_P-B-ARENA_08_B_1200-768x493.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/GoodWeather_IsabelleFrancesMcGuire_P-B-ARENA_08_B_1200-1020x655.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Isabelle Frances McGuire, ‘Touch,’ 2020; ‘Target,’ 2020; and ‘April 10, 2020,’ 2020. \u003ccite>(Courtesy the artist and Good Weather)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In \u003ci>P**** B**** ARENA\u003c/i>, the loneliness of making art in isolation is echoed by the loneliness of viewing art alone. (The lack of a gathering to celebrate the show’s opening even made me miss the refrain “Let me know if you have any questions about the work!”) The ducks, made out of Wubby fabric (a kind of fleece), reversible sequins and pillows, bearing giant plastic eyes, were once stand-ins for artistic companions. Now they’re fellow gallerygoers.\u003c/p>\n\u003cp>Through repetition and the tally of days, \u003ci>P**** B**** ARENA\u003c/i> marks time in a way that’s been lost to many during the pandemic. Weeks of sickness tend to blend together, the same goes for weeks of isolation. But in recent days, time has demarcations again, punctuated by rallies, reckonings and a critical need to see change happen.\u003c/p>\n\u003cp>The day after I visited McGuire’s show, Market Street bore the signs of the collective anger that fueled both peaceful protests and late-night destruction. Shattered safety glass lined the sidewalks and gutters; six-foot-tall “ACAB” graffiti repeated across boarded-up storefronts.\u003c/p>\n\u003cp>These are reactions to another sickness—America’s systemic, institutionalized racism. When I think of \u003ci>Digesting Duck Entry Level Position\u003c/i>, the sculpture now looks like it’s vomiting in disgust, trying to purge the toxins from the very fabric of American society. But unlike the COVID-19 pandemic, this is a sickness of our own making.\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>‘P**** B**** ARENA’ is on view at Et al. (620 Kearny Street, San Francisco) through July 11 by appointment only. \u003ca href=\"https://etaletc.com/isabelle-frances-mcguire\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"excerpt": "The Chicago artist's solo show at Et al. marks a historic time in the country.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Isabelle Frances McGuire’s \u003ci>P**** B**** ARENA\u003c/i> (asterisks the artist’s own), which opened in Et al.’s Chinatown location on May 30, is shrouded in sickness.\u003c/p>\n\u003cp>The work itself was made under Chicago’s stay-at-home order, during which McGuire created a diaristic set of embroidered textile works, the date of each piece’s making stitched into its fabric. The show marks time: 50 days of making, 50 days of anxiety, loneliness, boredom and steady production. It’s a state McGuire sums up in an accompanying text as “Stressful Leisure Limbo.”\u003c/p>\n\u003cp>Viewed now, with the world still in the throes of the COVID-19 pandemic, but within the context of a nationwide and urgent movement for racial justice, \u003ci>P**** B**** ARENA\u003c/i> functions as a highly specific and already dated time capsule, documenting one artist’s experience of working alone in physical stasis, fashioning plush proxies for friends and garments for absent audiences.\u003c/p>\n\u003cfigure id=\"attachment_13881541\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13881541\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/GoodWeather_IsabelleFrancesMcGuire_P-B-ARENA_18_A_1200.jpg\" alt=\"\" width=\"1200\" height=\"771\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/GoodWeather_IsabelleFrancesMcGuire_P-B-ARENA_18_A_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/GoodWeather_IsabelleFrancesMcGuire_P-B-ARENA_18_A_1200-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/GoodWeather_IsabelleFrancesMcGuire_P-B-ARENA_18_A_1200-800x514.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/GoodWeather_IsabelleFrancesMcGuire_P-B-ARENA_18_A_1200-768x493.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/GoodWeather_IsabelleFrancesMcGuire_P-B-ARENA_18_A_1200-1020x655.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of Isabelle Frances McGuire’s ‘May 3, 2020’ above Union Cleaners and Et al. \u003ccite>(Courtesy the artist and Good Weather)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To see the show, presented by the itinerant gallery \u003ca href=\"http://goodweathergallery.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Good Weather\u003c/a> (originally a single-car garage in Little Rock, Arkansas) and hosted by Et al., viewers make an appointment for a 20-minute private viewing window. Gallery representatives wait outside while visitors have the run of the place—in this case, both Et al.’s regular basement space and an additional two rooms above Union Cleaners.\u003c/p>\n\u003cp>Just one item in \u003ci>P**** B**** ARENA\u003c/i> preexisted the pandemic, but it too, speaks of sickness. \u003ci>Digesting Duck Entry Level Position\u003c/i> is a figurative sculpture on all fours, its human body replaced by a cardboard box. Periodically, the sculpture vomits red wine out of its mouth and into a waiting aluminum bowl, resulting in a tang of tannins wafting through the air. This piece is encountered upstairs, on a stained red carpet, in a series of rooms with mysterious signs of activity and storage options. (A mirrored wall with shelf mounts but no shelves being the most mysterious.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>Digesting Duck Entry Level Position\u003c/i> started out as a party sculpture, its name a reference to an \u003ca href=\"https://en.wikipedia.org/wiki/Digesting_Duck\" target=\"_blank\" rel=\"noopener noreferrer\">18th-century automaton\u003c/a> that mimicked a duck’s digestive system. When it was shown earlier this year at \u003ca href=\"http://www.lucybull.com/fromthedeskof/isabelle-frances-mcguire\" target=\"_blank\" rel=\"noopener noreferrer\">From the Desk of Lucy Bull\u003c/a>, a table-top exhibition space in Los Angeles, viewers held their glasses beneath the sculpture’s mouth for drink refills. Without the party context, the sculpture’s kinetic aspect is now legitimately startling in those ghostly, desolate rooms.\u003c/p>\n\u003cfigure id=\"attachment_13881540\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13881540\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/GoodWeather_IsabelleFrancesMcGuire_P-B-ARENA_13_B_Detail_1200.jpg\" alt=\"\" width=\"1200\" height=\"771\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/GoodWeather_IsabelleFrancesMcGuire_P-B-ARENA_13_B_Detail_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/GoodWeather_IsabelleFrancesMcGuire_P-B-ARENA_13_B_Detail_1200-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/GoodWeather_IsabelleFrancesMcGuire_P-B-ARENA_13_B_Detail_1200-800x514.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/GoodWeather_IsabelleFrancesMcGuire_P-B-ARENA_13_B_Detail_1200-768x493.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/GoodWeather_IsabelleFrancesMcGuire_P-B-ARENA_13_B_Detail_1200-1020x655.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Detail of ‘Digesting Duck Entry Level Position,’ 2020. \u003ccite>(Courtesy the artist and Good Weather)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Downstairs, McGuire’s daily project offers an alternative to an in-person communal gathering like the one in L.A., this time imagined by the artist in their studio. A grid of folded garments on the gallery’s beige-painted floor could outfit dozens of people. Instead, eight stuffed animals (all ducks), face each other across the arrangement, recalling Mike Kelley’s \u003ca href=\"https://mikekelleyfoundation.org/artwork/mike-kelley-arenas?q=arena\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>Arena\u003c/i> series\u003c/a>, comforting and somehow “off.” In an additional nod to art historical antecedents, the textile works mark the days On Kawara-style, starting March 20 and ending May 8 (the previously planned opening date of McGuire’s show).\u003c/p>\n\u003cp>The varying level of detail in McGuire’s alterations offer a potential view into the artist’s emotional state over that time. Some days, the embellishment is just the date, almost offhandedly so. \u003ci>April 15, 2020\u003c/i> features red thread across the chest of a black Gildan tee—and its sizing sticker, which they didn’t bother to remove. But just a day before, their elaborate additions to a gray coat capture the experience of mindlessly scrolling through social media in a pandemic. Square images of teacup chihuahuas line either side of the buttons, and the phrase “now more than ever” repeats, stitched in different colored thread, across the garment’s bottom third.\u003c/p>\n\u003cfigure id=\"attachment_13881539\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13881539\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/GoodWeather_IsabelleFrancesMcGuire_P-B-ARENA_08_B_1200.jpg\" alt=\"\" width=\"1200\" height=\"771\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/GoodWeather_IsabelleFrancesMcGuire_P-B-ARENA_08_B_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/GoodWeather_IsabelleFrancesMcGuire_P-B-ARENA_08_B_1200-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/GoodWeather_IsabelleFrancesMcGuire_P-B-ARENA_08_B_1200-800x514.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/GoodWeather_IsabelleFrancesMcGuire_P-B-ARENA_08_B_1200-768x493.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/GoodWeather_IsabelleFrancesMcGuire_P-B-ARENA_08_B_1200-1020x655.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Isabelle Frances McGuire, ‘Touch,’ 2020; ‘Target,’ 2020; and ‘April 10, 2020,’ 2020. \u003ccite>(Courtesy the artist and Good Weather)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In \u003ci>P**** B**** ARENA\u003c/i>, the loneliness of making art in isolation is echoed by the loneliness of viewing art alone. (The lack of a gathering to celebrate the show’s opening even made me miss the refrain “Let me know if you have any questions about the work!”) The ducks, made out of Wubby fabric (a kind of fleece), reversible sequins and pillows, bearing giant plastic eyes, were once stand-ins for artistic companions. Now they’re fellow gallerygoers.\u003c/p>\n\u003cp>Through repetition and the tally of days, \u003ci>P**** B**** ARENA\u003c/i> marks time in a way that’s been lost to many during the pandemic. Weeks of sickness tend to blend together, the same goes for weeks of isolation. But in recent days, time has demarcations again, punctuated by rallies, reckonings and a critical need to see change happen.\u003c/p>\n\u003cp>The day after I visited McGuire’s show, Market Street bore the signs of the collective anger that fueled both peaceful protests and late-night destruction. Shattered safety glass lined the sidewalks and gutters; six-foot-tall “ACAB” graffiti repeated across boarded-up storefronts.\u003c/p>\n\u003cp>These are reactions to another sickness—America’s systemic, institutionalized racism. When I think of \u003ci>Digesting Duck Entry Level Position\u003c/i>, the sculpture now looks like it’s vomiting in disgust, trying to purge the toxins from the very fabric of American society. But unlike the COVID-19 pandemic, this is a sickness of our own making.\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>‘P**** B**** ARENA’ is on view at Et al. (620 Kearny Street, San Francisco) through July 11 by appointment only. \u003ca href=\"https://etaletc.com/isabelle-frances-mcguire\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "photos-black-lives-matter-murals-call-for-justice-on-oaklands-walls",
"title": "PHOTOS: Oakland’s Black Lives Matter Murals Call for Justice",
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"headTitle": "PHOTOS: Oakland’s Black Lives Matter Murals Call for Justice | KQED",
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"content": "\u003cp>Over the last week, Oaklanders have risen up in solidarity with protestors in Minneapolis, Louisville and cities across the country to denounce police violence and systemic, anti-black racism. Tens of thousands of people marching have called for the city to defund or abolish the police, and have advocated for bringing the killers of George Floyd, Breonna Taylor, Tony McDade and other black victims of violence to justice. While the protests have mostly been peaceful, some have resulted in broken windows and graffiti that drastically changed the face of the city.\u003c/p>\n\u003cp>Over the weekend, local artists came together to cover Oakland’s streets with murals that bear remembrances, messages of solidarity with the black community, outrage and visions for a more equitable future. \u003ca href=\"https://twitter.com/jacknicas/status/1269758998171004930?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">On 15th Street\u003c/a>, artists wrote the words “Black Lives Matter” in enormous letters that spanned three blocks.\u003c/p>\n\u003cp>Photographer \u003ca href=\"https://www.instagram.com/heyitsthemomlife/\" target=\"_blank\" rel=\"noopener noreferrer\">Cianni Jackson\u003c/a> was at the scene. —\u003cem>Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Editor’s note:\u003c/strong> KQED tried to credit the artists whenever possible, but not all the murals were signed. Email \u003ca href=\"mailto:nvoynovskaya@kqed.org\" target=\"_blank\" rel=\"noopener noreferrer\">nvoynovskaya@kqed.org\u003c/a> to have an artist’s name added. \u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13881557\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881557\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-33-36-PM-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-33-36-PM-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-33-36-PM-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-33-36-PM-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-33-36-PM-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-33-36-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mural by DeredWRK (@deredwrk). \u003ccite>(Cianni Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881578\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881578\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-48-18-PM-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-48-18-PM-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-48-18-PM-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-48-18-PM-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-48-18-PM-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-48-18-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mural by T. Banks (@reallyfebanksy). \u003ccite>(Cianni Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881542\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881542\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-21-58-PM-800x1067.jpg\" alt=\"\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-21-58-PM-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-21-58-PM-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-21-58-PM-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-21-58-PM-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-21-58-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mural by @studionoiroakland. \u003ccite>(Cianni Jackson )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881580\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881580\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-50-00-PM-800x600.jpg\" alt=\"A Black Lives Matter mural in downtown Oakland by @studionoiroakland.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-50-00-PM-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-50-00-PM-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-50-00-PM-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-50-00-PM-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-50-00-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist unknown. \u003ccite>(Cianni Jackson )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881579\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881579\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-49-23-PM-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-49-23-PM-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-49-23-PM-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-49-23-PM-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-49-23-PM-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-49-23-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist unknown. \u003ccite>(Cianni Jackson )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881577\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881577\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-48-09-PM-800x1067.jpg\" alt=\"\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-48-09-PM-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-48-09-PM-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-48-09-PM-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-48-09-PM-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-48-09-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mural by Divya Bala (@divyabala). \u003ccite>(Cianni Jackson )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881576\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881576\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-46-57-PM-800x1067.jpg\" alt=\"\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-46-57-PM-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-46-57-PM-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-46-57-PM-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-46-57-PM-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-46-57-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mural by Skyline High School students. (@_lemons_draw, @meyerlemonsketches, @happyemoart, @kaiadesigncircle, @rachelkantor.skyline) \u003ccite>(Cianni Jackson )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881575\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881575\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-45-42-PM-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-45-42-PM-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-45-42-PM-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-45-42-PM-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-45-42-PM-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-45-42-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist unknown. \u003ccite>(Cianni Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881574\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881574\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-45-17-PM-800x1067.jpg\" alt=\"\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-45-17-PM-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-45-17-PM-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-45-17-PM-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-45-17-PM-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-45-17-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist unknown. \u003ccite>(Cianni Jackson.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881573\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881573\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-45-07-PM-800x1067.jpg\" alt=\"\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-45-07-PM-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-45-07-PM-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-45-07-PM-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-45-07-PM-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-45-07-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist unknown. \u003ccite>(Cianni Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881570\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881570\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-43-12-PM-800x1067.jpg\" alt=\"\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-43-12-PM-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-43-12-PM-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-43-12-PM-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-43-12-PM-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-43-12-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist unknown. \u003ccite>(Cianni Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881571\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881571\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-44-33-PM-800x1067.jpg\" alt=\"\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-44-33-PM-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-44-33-PM-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-44-33-PM-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-44-33-PM-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-44-33-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mural by @justblaze88tats. \u003ccite>(Cianni Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881569\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881569\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-41-25-PM-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-41-25-PM-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-41-25-PM-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-41-25-PM-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-41-25-PM-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-41-25-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist unknown. \u003ccite>(Cianni Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881568\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13881568 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-39-53-PM-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-39-53-PM-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-39-53-PM-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-39-53-PM-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-39-53-PM-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-39-53-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mural by Sofia Sharpe and Estella Tse (@filosa_sofia and @estellatse). \u003ccite>(Cianni Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881567\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881567\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-39-28-PM-800x1067.jpg\" alt=\"\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-39-28-PM-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-39-28-PM-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-39-28-PM-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-39-28-PM-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-39-28-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mural by Keene Visionz. \u003ccite>(Cianni Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881566\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881566\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-39-24-PM-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-39-24-PM-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-39-24-PM-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-39-24-PM-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-39-24-PM-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-39-24-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mural by Christian Muñoz (@kilimunoz). \u003ccite>(Cianni Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881565\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881565\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-38-57-PM-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-38-57-PM-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-38-57-PM-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-38-57-PM-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-38-57-PM-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-38-57-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist unknown. \u003ccite>(Cianni Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881563\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881563\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-38-05-PM-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-38-05-PM-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-38-05-PM-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-38-05-PM-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-38-05-PM-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-38-05-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mural by Sarah Siskin (@ssiskin). \u003ccite>(Cianni Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881561\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881561\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-36-32-PM-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-36-32-PM-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-36-32-PM-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-36-32-PM-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-36-32-PM-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-36-32-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mural by Keena (@lamakina510), Leslie Dime Lopez (@ladimeuna) and Few and Far Women (@fewandfarwomen). \u003ccite>(Cianni Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881556\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881556\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-33-14-PM-800x1067.jpg\" alt=\"\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-33-14-PM-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-33-14-PM-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-33-14-PM-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-33-14-PM-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-33-14-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mural by Gaia (@gaiaw.xyz). \u003ccite>(Cianni Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881555\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881555\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-33-04-PM-800x1067.jpg\" alt=\"\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-33-04-PM-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-33-04-PM-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-33-04-PM-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-33-04-PM-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-33-04-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mural by Gaia (@gaiaw.xyz). \u003ccite>(Cianni Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881554\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881554\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-32-54-PM-800x1067.jpg\" alt=\"\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-32-54-PM-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-32-54-PM-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-32-54-PM-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-32-54-PM-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-32-54-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mural by Maxx Slaughter (@maxxslaughter). \u003ccite>(Cianni Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881600\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881600\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-32-18-PM-800x1067.jpg\" alt=\"\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-32-18-PM-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-32-18-PM-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-32-18-PM-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-32-18-PM-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-32-18-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mural by C. Gazaleh (@c.gazaleh). \u003ccite>(Cianni Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881552\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881552\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-31-19-PM-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-31-19-PM-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-31-19-PM-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-31-19-PM-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-31-19-PM-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-31-19-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist unknown. \u003ccite>(Cianni Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881551\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881551\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-31-04-PM-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-31-04-PM-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-31-04-PM-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-31-04-PM-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-31-04-PM-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-31-04-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist unknown. \u003ccite>(Cianni Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881550\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881550\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-30-27-PM-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-30-27-PM-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-30-27-PM-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-30-27-PM-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-30-27-PM-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-30-27-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist unknown. \u003ccite>(Cianni Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881549\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881549\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-29-52-PM-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-29-52-PM-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-29-52-PM-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-29-52-PM-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-29-52-PM-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-29-52-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist unknown. \u003ccite>(Cianni Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881548\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881548\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-29-33-PM-800x1067.jpg\" alt=\"\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-29-33-PM-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-29-33-PM-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-29-33-PM-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-29-33-PM-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-29-33-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist unknown. \u003ccite>(Cianni Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881547\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881547\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-28-40-PM-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-28-40-PM-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-28-40-PM-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-28-40-PM-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-28-40-PM-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-28-40-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mural by @girlmobb. \u003ccite>(Cianni Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881546\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881546\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-28-27-PM-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-28-27-PM-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-28-27-PM-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-28-27-PM-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-28-27-PM-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-28-27-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mural by @girlmobb. \u003ccite>(Cianni Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881559\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881559\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-35-56-PM-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-35-56-PM-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-35-56-PM-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-35-56-PM-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-35-56-PM-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-35-56-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artists unknown. \u003ccite>(Cianni Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
"blocks": [],
"excerpt": "Artists covered Oakland’s streets with murals that bear remembrances, messages of solidarity, outrage and visions for an equitable future.",
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"title": "PHOTOS: Oakland’s Black Lives Matter Murals Call for Justice | KQED",
"description": "Artists covered Oakland’s streets with murals that bear remembrances, messages of solidarity, outrage and visions for an equitable future.",
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"headline": "PHOTOS: Oakland’s Black Lives Matter Murals Call for Justice",
"datePublished": "2020-06-08T17:19:43-07:00",
"dateModified": "2024-09-19T09:05:31-07:00",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Over the last week, Oaklanders have risen up in solidarity with protestors in Minneapolis, Louisville and cities across the country to denounce police violence and systemic, anti-black racism. Tens of thousands of people marching have called for the city to defund or abolish the police, and have advocated for bringing the killers of George Floyd, Breonna Taylor, Tony McDade and other black victims of violence to justice. While the protests have mostly been peaceful, some have resulted in broken windows and graffiti that drastically changed the face of the city.\u003c/p>\n\u003cp>Over the weekend, local artists came together to cover Oakland’s streets with murals that bear remembrances, messages of solidarity with the black community, outrage and visions for a more equitable future. \u003ca href=\"https://twitter.com/jacknicas/status/1269758998171004930?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">On 15th Street\u003c/a>, artists wrote the words “Black Lives Matter” in enormous letters that spanned three blocks.\u003c/p>\n\u003cp>Photographer \u003ca href=\"https://www.instagram.com/heyitsthemomlife/\" target=\"_blank\" rel=\"noopener noreferrer\">Cianni Jackson\u003c/a> was at the scene. —\u003cem>Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Editor’s note:\u003c/strong> KQED tried to credit the artists whenever possible, but not all the murals were signed. Email \u003ca href=\"mailto:nvoynovskaya@kqed.org\" target=\"_blank\" rel=\"noopener noreferrer\">nvoynovskaya@kqed.org\u003c/a> to have an artist’s name added. \u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13881557\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881557\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-33-36-PM-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-33-36-PM-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-33-36-PM-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-33-36-PM-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-33-36-PM-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-33-36-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mural by DeredWRK (@deredwrk). \u003ccite>(Cianni Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881578\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881578\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-48-18-PM-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-48-18-PM-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-48-18-PM-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-48-18-PM-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-48-18-PM-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-48-18-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mural by T. Banks (@reallyfebanksy). \u003ccite>(Cianni Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881542\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881542\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-21-58-PM-800x1067.jpg\" alt=\"\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-21-58-PM-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-21-58-PM-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-21-58-PM-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-21-58-PM-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-21-58-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mural by @studionoiroakland. \u003ccite>(Cianni Jackson )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881580\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881580\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-50-00-PM-800x600.jpg\" alt=\"A Black Lives Matter mural in downtown Oakland by @studionoiroakland.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-50-00-PM-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-50-00-PM-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-50-00-PM-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-50-00-PM-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-50-00-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist unknown. \u003ccite>(Cianni Jackson )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881579\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881579\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-49-23-PM-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-49-23-PM-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-49-23-PM-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-49-23-PM-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-49-23-PM-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-49-23-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist unknown. \u003ccite>(Cianni Jackson )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881577\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881577\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-48-09-PM-800x1067.jpg\" alt=\"\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-48-09-PM-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-48-09-PM-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-48-09-PM-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-48-09-PM-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-48-09-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mural by Divya Bala (@divyabala). \u003ccite>(Cianni Jackson )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881576\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881576\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-46-57-PM-800x1067.jpg\" alt=\"\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-46-57-PM-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-46-57-PM-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-46-57-PM-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-46-57-PM-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-46-57-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mural by Skyline High School students. (@_lemons_draw, @meyerlemonsketches, @happyemoart, @kaiadesigncircle, @rachelkantor.skyline) \u003ccite>(Cianni Jackson )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881575\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881575\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-45-42-PM-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-45-42-PM-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-45-42-PM-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-45-42-PM-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-45-42-PM-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-45-42-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist unknown. \u003ccite>(Cianni Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881574\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881574\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-45-17-PM-800x1067.jpg\" alt=\"\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-45-17-PM-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-45-17-PM-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-45-17-PM-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-45-17-PM-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-45-17-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist unknown. \u003ccite>(Cianni Jackson.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881573\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881573\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-45-07-PM-800x1067.jpg\" alt=\"\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-45-07-PM-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-45-07-PM-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-45-07-PM-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-45-07-PM-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-45-07-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist unknown. \u003ccite>(Cianni Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881570\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881570\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-43-12-PM-800x1067.jpg\" alt=\"\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-43-12-PM-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-43-12-PM-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-43-12-PM-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-43-12-PM-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-43-12-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist unknown. \u003ccite>(Cianni Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881571\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881571\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-44-33-PM-800x1067.jpg\" alt=\"\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-44-33-PM-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-44-33-PM-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-44-33-PM-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-44-33-PM-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-44-33-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mural by @justblaze88tats. \u003ccite>(Cianni Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881569\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881569\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-41-25-PM-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-41-25-PM-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-41-25-PM-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-41-25-PM-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-41-25-PM-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-41-25-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist unknown. \u003ccite>(Cianni Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881568\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13881568 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-39-53-PM-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-39-53-PM-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-39-53-PM-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-39-53-PM-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-39-53-PM-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-39-53-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mural by Sofia Sharpe and Estella Tse (@filosa_sofia and @estellatse). \u003ccite>(Cianni Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881567\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881567\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-39-28-PM-800x1067.jpg\" alt=\"\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-39-28-PM-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-39-28-PM-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-39-28-PM-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-39-28-PM-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-39-28-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mural by Keene Visionz. \u003ccite>(Cianni Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881566\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881566\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-39-24-PM-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-39-24-PM-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-39-24-PM-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-39-24-PM-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-39-24-PM-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-39-24-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mural by Christian Muñoz (@kilimunoz). \u003ccite>(Cianni Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881565\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881565\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-38-57-PM-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-38-57-PM-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-38-57-PM-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-38-57-PM-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-38-57-PM-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-38-57-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist unknown. \u003ccite>(Cianni Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881563\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881563\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-38-05-PM-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-38-05-PM-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-38-05-PM-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-38-05-PM-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-38-05-PM-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-38-05-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mural by Sarah Siskin (@ssiskin). \u003ccite>(Cianni Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881561\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881561\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-36-32-PM-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-36-32-PM-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-36-32-PM-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-36-32-PM-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-36-32-PM-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-36-32-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mural by Keena (@lamakina510), Leslie Dime Lopez (@ladimeuna) and Few and Far Women (@fewandfarwomen). \u003ccite>(Cianni Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881556\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881556\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-33-14-PM-800x1067.jpg\" alt=\"\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-33-14-PM-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-33-14-PM-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-33-14-PM-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-33-14-PM-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-33-14-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mural by Gaia (@gaiaw.xyz). \u003ccite>(Cianni Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881555\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881555\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-33-04-PM-800x1067.jpg\" alt=\"\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-33-04-PM-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-33-04-PM-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-33-04-PM-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-33-04-PM-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-33-04-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mural by Gaia (@gaiaw.xyz). \u003ccite>(Cianni Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881554\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881554\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-32-54-PM-800x1067.jpg\" alt=\"\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-32-54-PM-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-32-54-PM-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-32-54-PM-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-32-54-PM-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-32-54-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mural by Maxx Slaughter (@maxxslaughter). \u003ccite>(Cianni Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881600\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881600\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-32-18-PM-800x1067.jpg\" alt=\"\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-32-18-PM-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-32-18-PM-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-32-18-PM-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-32-18-PM-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-32-18-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mural by C. Gazaleh (@c.gazaleh). \u003ccite>(Cianni Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881552\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881552\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-31-19-PM-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-31-19-PM-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-31-19-PM-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-31-19-PM-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-31-19-PM-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-31-19-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist unknown. \u003ccite>(Cianni Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881551\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881551\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-31-04-PM-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-31-04-PM-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-31-04-PM-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-31-04-PM-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-31-04-PM-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-31-04-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist unknown. \u003ccite>(Cianni Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881550\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881550\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-30-27-PM-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-30-27-PM-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-30-27-PM-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-30-27-PM-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-30-27-PM-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-30-27-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist unknown. \u003ccite>(Cianni Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881549\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881549\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-29-52-PM-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-29-52-PM-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-29-52-PM-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-29-52-PM-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-29-52-PM-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-29-52-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist unknown. \u003ccite>(Cianni Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881548\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881548\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-29-33-PM-800x1067.jpg\" alt=\"\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-29-33-PM-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-29-33-PM-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-29-33-PM-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-29-33-PM-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-29-33-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist unknown. \u003ccite>(Cianni Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881547\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881547\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-28-40-PM-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-28-40-PM-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-28-40-PM-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-28-40-PM-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-28-40-PM-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-28-40-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mural by @girlmobb. \u003ccite>(Cianni Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881546\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881546\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-28-27-PM-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-28-27-PM-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-28-27-PM-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-28-27-PM-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-28-27-PM-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-28-27-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mural by @girlmobb. \u003ccite>(Cianni Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881559\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881559\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-35-56-PM-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-35-56-PM-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-35-56-PM-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-35-56-PM-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-35-56-PM-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-35-56-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artists unknown. \u003ccite>(Cianni Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Doc of Sculptor Ursula von Rydingsvard Goes ‘Into Her Own’",
"headTitle": "Doc of Sculptor Ursula von Rydingsvard Goes ‘Into Her Own’ | KQED",
"content": "\u003cp>The word monumental recurs throughout the new documentary \u003ca href=\"https://intoherownfilm.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Ursula von Rydingsvard: Into Her Own\u003c/em>\u003c/a>. Art critics, friends of the artist and casual observers reflexively use the adjective to describe the Stonehenge-sized scale of von Rydingsvard’s work. It’s a self-evident fact that her public sculptures meet dinosaurs at eye-level. But Daniel Traub, director of the film, suggests that people are responding to their immensity as well as something else. Speaking in a phone interview, Traub says that a work of art that fits in the palm of your hand can also be monumental. “But it has to resonate symbolically and with something that’s very human,” he says. “It transcends the moment.”\u003c/p>\n\u003cp>Von Rydingsvard, who was born in 1942, displays that sense of timelessness in massive works like \u003cem>Czara z Bąbelkami\u003c/em>, \u003cem>Scientia\u003c/em> and \u003cem>Uroda\u003c/em>. In Traub’s biographical film about the artist and her practice, he concentrates his attention on the fabrication of \u003cem>Uroda\u003c/em>, finished in 2015. The director filmed von Rydingsvard in the studio for over two years; the entire documentary took five years to complete. \u003c/p>\n\u003cp>Traub wanted to showcase both her work and her personal story. “It took a long time to find that balance,” he explains.\u003c/p>\n\u003cfigure id=\"attachment_13881481\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881481\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL12-800x450.jpeg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL12-800x450.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL12-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL12-768x432.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL12-1020x574.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL12.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Von Rydingsvard standing in front of ‘Dumna’ in her studio in Bushwick, 2015. Courtesy of the filmmaker.\u003c/figcaption>\u003c/figure>\n\u003cp>From various angles, \u003cem>Uroda\u003c/em>—an inverted tower of copper, steel and bronze—calls to mind totemic images from ancient civilizations. The work feels familiar to our reptile brains even if we’ve never seen it before. It resembles a calcified fossil that’s been extracted from deep inside the churning, magmatic earth. If you’re going to apply meaning to a giant abstraction like \u003cem>Uroda\u003c/em>, your subjectivity should be kept open-ended and permeable. It’s not merely coded with vegetal traces, or mineral and animal ones, and ecological associations, but all of the above. \u003c/p>\n\u003cp>\u003cem>Into Her Own\u003c/em>, though, isn’t an esoteric film that’s concerned with excavating hidden meanings. Traub focuses on more practical matters, like her team of assistants, their hands-on process and the materials von Rydingsvard batters and shapes.\u003c/p>\n\u003cfigure id=\"attachment_13881483\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881483\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL17-800x450.jpeg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL17-800x450.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL17-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL17-768x432.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL17-1020x574.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL17.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Von Rydingsvard and assistants preparing to work on ‘Ene Due Rabe,’ San Francisco, 1990. Courtesy of the filmmaker.\u003c/figcaption>\u003c/figure>\n\u003cp>The artist’s primary material was cedar, from 1975 onwards, until she started to work on \u003cem>Uroda\u003c/em>. She previously tried to incorporate other materials into her work, but cedar kept calling her back, an affinity the documentary links to personal history.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Von Rydingsvard and her Polish family lived in a German refugee camp as displaced persons after World War II. In her 70s, von Rydingsvard is still able to vividly recall the rough wood that made up the camp walls. The material offered no insulation from the cold, she says, but the walls still provided her family with a sense of safety from the war-torn world outside.\u003c/p>\n\u003cfigure id=\"attachment_13881482\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881482\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL03-800x450.jpeg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL03-800x450.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL03-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL03-768x432.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL03-1020x574.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL03.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Von Rydingsvard working on the patina of ‘Uroda,’ a monumental copper sculpture commissioned by Princeton University, 2015. Courtesy of the filmmaker.\u003c/figcaption>\u003c/figure>\n\u003cp>Traub is careful to point out that he didn’t want biography to be the only interpretive lens used to understand her work. But given her family’s background, he says, “it’s inevitable that that’s part of it.” Her father, who was physically and emotionally abusive toward his family, was a laborer who worked in wood. In her work, Von Rydingsvard transforms his methods and materials towards her own pursuits.\u003c/p>\n\u003cfigure id=\"attachment_13881484\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881484\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL02-800x450.jpeg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL02-800x450.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL02-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL02-768x432.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL02-1020x574.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL02.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Von Rydingsvard in her Williamsburg studio on South 5th Street, surrounded by the cedar cast of ‘katul katul,’ 2002. Courtesy of the filmmaker.\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s a way for her to vent her anger, or exhaust her emotions,” Traub says. The work itself doesn’t embody or represent anger. Art’s simply been a support system for her. Or, as Traub puts it, “it was a means for her to heal herself of her anger.” The amount of labor von Rydingsvard and her team put into \u003cem>Uroda\u003c/em> is immense: the sculpture is made of thousands of hand-pounded plates.\u003c/p>\n\u003cp>Von Rydingsvard’s began receiving recognition for her art in 1980 with \u003cem>Saint Martin’s Dream\u003c/em>, a site-specific public work located in what is now New York City’s Battery Park. Since then, museums across the country have collected her sculptures. In the documentary, collaborator Judy Pfaff says she thought von Rydingsvard might to take things easier as she got older, and then laughs at herself for even making such an absurd assumption about her driven friend. \u003c/p>\n\u003cfigure id=\"attachment_13881480\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881480\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL32-800x450.jpeg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL32-800x450.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL32-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL32-768x432.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL32-1020x574.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL32.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Von Rydingsvard walking beside her work ‘Saint Martin’s Dream’ in Battery Park, New York, 1980. Courtesy of the filmmaker.\u003c/figcaption>\u003c/figure>\n\u003cp>In the final stages of bringing \u003ci>Uroda\u003c/i> to completion, its installation on the Princeton University campus requires a team of people. In Traub’s shots, the installation team is poised as if they’re about to position a steeple on top of a cathedral. If von Rydingsvard expresses faith in something, it’s in the material world of solid objects, or as she puts it, in things “that one can see and feel, as having the potential of being very consequential to us in our lives.”\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>‘Ursula von Rydingsvard: Into Her Own’ is now screening virtually through June 30 at \u003ca href=\"https://bampfa.org/event/ursula-von-rydingsvard\" target=\"_blank\" rel=\"noopener noreferrer\">BAMPFA\u003c/a>, the \u003ca href=\"https://vimeo.com/ondemand/ursulaattheroxie\" target=\"_blank\" rel=\"noopener noreferrer\">Roxie Theater\u003c/a> and the \u003ca href=\"https://rafaelfilm.cafilm.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Rafael Film Center\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"excerpt": "Daniel Traub’s film about the 77-year-old artist showcases both her monumental work and her life. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The word monumental recurs throughout the new documentary \u003ca href=\"https://intoherownfilm.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Ursula von Rydingsvard: Into Her Own\u003c/em>\u003c/a>. Art critics, friends of the artist and casual observers reflexively use the adjective to describe the Stonehenge-sized scale of von Rydingsvard’s work. It’s a self-evident fact that her public sculptures meet dinosaurs at eye-level. But Daniel Traub, director of the film, suggests that people are responding to their immensity as well as something else. Speaking in a phone interview, Traub says that a work of art that fits in the palm of your hand can also be monumental. “But it has to resonate symbolically and with something that’s very human,” he says. “It transcends the moment.”\u003c/p>\n\u003cp>Von Rydingsvard, who was born in 1942, displays that sense of timelessness in massive works like \u003cem>Czara z Bąbelkami\u003c/em>, \u003cem>Scientia\u003c/em> and \u003cem>Uroda\u003c/em>. In Traub’s biographical film about the artist and her practice, he concentrates his attention on the fabrication of \u003cem>Uroda\u003c/em>, finished in 2015. The director filmed von Rydingsvard in the studio for over two years; the entire documentary took five years to complete. \u003c/p>\n\u003cp>Traub wanted to showcase both her work and her personal story. “It took a long time to find that balance,” he explains.\u003c/p>\n\u003cfigure id=\"attachment_13881481\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881481\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL12-800x450.jpeg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL12-800x450.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL12-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL12-768x432.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL12-1020x574.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL12.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Von Rydingsvard standing in front of ‘Dumna’ in her studio in Bushwick, 2015. Courtesy of the filmmaker.\u003c/figcaption>\u003c/figure>\n\u003cp>From various angles, \u003cem>Uroda\u003c/em>—an inverted tower of copper, steel and bronze—calls to mind totemic images from ancient civilizations. The work feels familiar to our reptile brains even if we’ve never seen it before. It resembles a calcified fossil that’s been extracted from deep inside the churning, magmatic earth. If you’re going to apply meaning to a giant abstraction like \u003cem>Uroda\u003c/em>, your subjectivity should be kept open-ended and permeable. It’s not merely coded with vegetal traces, or mineral and animal ones, and ecological associations, but all of the above. \u003c/p>\n\u003cp>\u003cem>Into Her Own\u003c/em>, though, isn’t an esoteric film that’s concerned with excavating hidden meanings. Traub focuses on more practical matters, like her team of assistants, their hands-on process and the materials von Rydingsvard batters and shapes.\u003c/p>\n\u003cfigure id=\"attachment_13881483\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881483\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL17-800x450.jpeg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL17-800x450.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL17-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL17-768x432.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL17-1020x574.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL17.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Von Rydingsvard and assistants preparing to work on ‘Ene Due Rabe,’ San Francisco, 1990. Courtesy of the filmmaker.\u003c/figcaption>\u003c/figure>\n\u003cp>The artist’s primary material was cedar, from 1975 onwards, until she started to work on \u003cem>Uroda\u003c/em>. She previously tried to incorporate other materials into her work, but cedar kept calling her back, an affinity the documentary links to personal history.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Von Rydingsvard and her Polish family lived in a German refugee camp as displaced persons after World War II. In her 70s, von Rydingsvard is still able to vividly recall the rough wood that made up the camp walls. The material offered no insulation from the cold, she says, but the walls still provided her family with a sense of safety from the war-torn world outside.\u003c/p>\n\u003cfigure id=\"attachment_13881482\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881482\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL03-800x450.jpeg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL03-800x450.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL03-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL03-768x432.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL03-1020x574.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL03.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Von Rydingsvard working on the patina of ‘Uroda,’ a monumental copper sculpture commissioned by Princeton University, 2015. Courtesy of the filmmaker.\u003c/figcaption>\u003c/figure>\n\u003cp>Traub is careful to point out that he didn’t want biography to be the only interpretive lens used to understand her work. But given her family’s background, he says, “it’s inevitable that that’s part of it.” Her father, who was physically and emotionally abusive toward his family, was a laborer who worked in wood. In her work, Von Rydingsvard transforms his methods and materials towards her own pursuits.\u003c/p>\n\u003cfigure id=\"attachment_13881484\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881484\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL02-800x450.jpeg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL02-800x450.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL02-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL02-768x432.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL02-1020x574.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL02.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Von Rydingsvard in her Williamsburg studio on South 5th Street, surrounded by the cedar cast of ‘katul katul,’ 2002. Courtesy of the filmmaker.\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s a way for her to vent her anger, or exhaust her emotions,” Traub says. The work itself doesn’t embody or represent anger. Art’s simply been a support system for her. Or, as Traub puts it, “it was a means for her to heal herself of her anger.” The amount of labor von Rydingsvard and her team put into \u003cem>Uroda\u003c/em> is immense: the sculpture is made of thousands of hand-pounded plates.\u003c/p>\n\u003cp>Von Rydingsvard’s began receiving recognition for her art in 1980 with \u003cem>Saint Martin’s Dream\u003c/em>, a site-specific public work located in what is now New York City’s Battery Park. Since then, museums across the country have collected her sculptures. In the documentary, collaborator Judy Pfaff says she thought von Rydingsvard might to take things easier as she got older, and then laughs at herself for even making such an absurd assumption about her driven friend. \u003c/p>\n\u003cfigure id=\"attachment_13881480\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881480\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL32-800x450.jpeg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL32-800x450.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL32-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL32-768x432.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL32-1020x574.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL32.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Von Rydingsvard walking beside her work ‘Saint Martin’s Dream’ in Battery Park, New York, 1980. Courtesy of the filmmaker.\u003c/figcaption>\u003c/figure>\n\u003cp>In the final stages of bringing \u003ci>Uroda\u003c/i> to completion, its installation on the Princeton University campus requires a team of people. In Traub’s shots, the installation team is poised as if they’re about to position a steeple on top of a cathedral. If von Rydingsvard expresses faith in something, it’s in the material world of solid objects, or as she puts it, in things “that one can see and feel, as having the potential of being very consequential to us in our lives.”\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>‘Ursula von Rydingsvard: Into Her Own’ is now screening virtually through June 30 at \u003ca href=\"https://bampfa.org/event/ursula-von-rydingsvard\" target=\"_blank\" rel=\"noopener noreferrer\">BAMPFA\u003c/a>, the \u003ca href=\"https://vimeo.com/ondemand/ursulaattheroxie\" target=\"_blank\" rel=\"noopener noreferrer\">Roxie Theater\u003c/a> and the \u003ca href=\"https://rafaelfilm.cafilm.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Rafael Film Center\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In a public statement issued Tuesday evening, the San Francisco Museum of Modern Art announced the layoff or reduced schedules of 55 staff members, to take effect, an employee confirmed, on June 8. This number includes both union and non-union employees, joining the 131 on-call employees SFMOMA laid off April 8. The latest phase of layoffs will impact departments across the museum.\u003c/p>\n\u003cp>SFMOMA has been closed since March 14 due to the coronavirus pandemic and now faces an estimated $18 million deficit. In late March, \u003ca href=\"https://www.kqed.org/arts/13877653/sfmoma-to-lay-off-or-furlough-over-300-museum-staff\" target=\"_blank\" rel=\"noopener noreferrer\">the museum announced\u003c/a> the layoffs of on-call staff and the planned layoff or furlough of an additional 191 regular staff beginning May 1.\u003c/p>\n\u003cp>But shortly before furlough took effect, the museum received $6.2 million through the CARES Act’s Paycheck Protection Program, \u003ca href=\"https://hyperallergic.com/558505/furloughed-sfmoma-staff-ask-director-to-draw-salary-of-zero-to-retain-workers/\" target=\"_blank\" rel=\"noopener noreferrer\">Hyperallergic reported\u003c/a>, allowing them maintain employment and shift the furlough date to June 30.\u003c/p>\n\u003cp>Shortly before the museum received the PPP loan, staff issued \u003ca href=\"https://www.change.org/p/san-francisco-museum-of-modern-art-open-letter-calling-on-sfmoma-to-retain-staff-during-covid-19-crisis\" target=\"_blank\" rel=\"noopener noreferrer\">an open letter\u003c/a> calling on the museum to do everything in its power to retain all staff members during the pandemic. Of the loan, the letter states, “While this is a temporary reprieve for SFMOMA workers, we know that this simply kicks the can down the road.”\u003c/p>\n\u003cp>Employees who received layoff notices today will retain their full salary and benefits through June 30, thanks to the PPP loan. (SFMOMA is eligible for loan forgiveness, per the CARES Act, if 75% of the funds are used for payroll costs during the eight-week period of coverage.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The museum’s statement concludes: “We anticipate reopening sometime this summer based on City of SF reopening protocols with reduced hours, a revised exhibition schedule and a streamlined program.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>— Sarah Hotchkiss (\u003ca href=\"https://twitter.com/sahotchkiss\" target=\"_blank\" rel=\"noopener noreferrer\">@sahotchkiss\u003c/a>)\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In a public statement issued Tuesday evening, the San Francisco Museum of Modern Art announced the layoff or reduced schedules of 55 staff members, to take effect, an employee confirmed, on June 8. This number includes both union and non-union employees, joining the 131 on-call employees SFMOMA laid off April 8. The latest phase of layoffs will impact departments across the museum.\u003c/p>\n\u003cp>SFMOMA has been closed since March 14 due to the coronavirus pandemic and now faces an estimated $18 million deficit. In late March, \u003ca href=\"https://www.kqed.org/arts/13877653/sfmoma-to-lay-off-or-furlough-over-300-museum-staff\" target=\"_blank\" rel=\"noopener noreferrer\">the museum announced\u003c/a> the layoffs of on-call staff and the planned layoff or furlough of an additional 191 regular staff beginning May 1.\u003c/p>\n\u003cp>But shortly before furlough took effect, the museum received $6.2 million through the CARES Act’s Paycheck Protection Program, \u003ca href=\"https://hyperallergic.com/558505/furloughed-sfmoma-staff-ask-director-to-draw-salary-of-zero-to-retain-workers/\" target=\"_blank\" rel=\"noopener noreferrer\">Hyperallergic reported\u003c/a>, allowing them maintain employment and shift the furlough date to June 30.\u003c/p>\n\u003cp>Shortly before the museum received the PPP loan, staff issued \u003ca href=\"https://www.change.org/p/san-francisco-museum-of-modern-art-open-letter-calling-on-sfmoma-to-retain-staff-during-covid-19-crisis\" target=\"_blank\" rel=\"noopener noreferrer\">an open letter\u003c/a> calling on the museum to do everything in its power to retain all staff members during the pandemic. Of the loan, the letter states, “While this is a temporary reprieve for SFMOMA workers, we know that this simply kicks the can down the road.”\u003c/p>\n\u003cp>Employees who received layoff notices today will retain their full salary and benefits through June 30, thanks to the PPP loan. (SFMOMA is eligible for loan forgiveness, per the CARES Act, if 75% of the funds are used for payroll costs during the eight-week period of coverage.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The museum’s statement concludes: “We anticipate reopening sometime this summer based on City of SF reopening protocols with reduced hours, a revised exhibition schedule and a streamlined program.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>— Sarah Hotchkiss (\u003ca href=\"https://twitter.com/sahotchkiss\" target=\"_blank\" rel=\"noopener noreferrer\">@sahotchkiss\u003c/a>)\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ci>Updated June 4, 3:15pm\u003c/i>\u003c/p>\n\u003cp>On Saturday, Taylor Brandon was at home in Oakland, resting after protests against the police killing of George Floyd roiled her hometown. She decided to check in on the social media presence of her former employer, the San Francisco Museum of Modern Art. Brandon, who is black, had quit as a communications associate in April after experiencing racism in the workplace, and she was frustrated to find her former employer addressing the extrajudicial killing of Floyd only indirectly.\u003c/p>\n\u003cp>On Instagram, SFMOMA had posted a picture of New York conceptual artist Glenn Ligon’s \u003cem>We’re Black and Strong (I)\u003c/em>, a 1996 screenprint showing raised fists and a white banner inspired by the previous year’s Million Man March in Washington, D.C. “I was taken aback,” she said in an interview. “SFMOMA, you can’t use the work of black artists to make a statement you should make. You can’t stand behind the work of black people to do the work you need to do inside.”\u003c/p>\n\u003cp>Brandon, the only black employee in the marketing and communications department when she quit, left a comment on the post calling it a “cop out,” writing that the museum has a “history of using black pain for their own financial gain.” What happened next strengthened her view that museum leadership is afraid to discuss racism: The comment was deleted, and all comments were disabled. “It was very true of my experience there—speak out and be silenced,” Brandon said.\u003c/p>\n\u003cfigure id=\"attachment_13881263\" class=\"wp-caption aligncenter\" style=\"max-width: 1870px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13881263\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Screen-Shot-2020-06-02-at-1.16.55-PM.png\" alt=\"SFMOMA's labor union account calls the museum's deletion of Brandon's comment racist censorship.\" width=\"1870\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Screen-Shot-2020-06-02-at-1.16.55-PM.png 1870w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Screen-Shot-2020-06-02-at-1.16.55-PM-160x103.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Screen-Shot-2020-06-02-at-1.16.55-PM-800x513.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Screen-Shot-2020-06-02-at-1.16.55-PM-768x493.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Screen-Shot-2020-06-02-at-1.16.55-PM-1020x655.png 1020w\" sizes=\"auto, (max-width: 1870px) 100vw, 1870px\">\u003cfigcaption class=\"wp-caption-text\">SFMOMA’s labor union account calls the museum’s deletion of Brandon’s comment racist censorship.\u003c/figcaption>\u003c/figure>\n\u003cp>SFMOMA’s labor union, OPEIU Local 29, \u003ca href=\"https://www.instagram.com/p/CA3LjlUBGqP/\">shared screenshots\u003c/a> of Brandon’s deleted comment over the weekend, calling it an act of racist censorship. And the outcry is catching on: Brandon and the \u003ca href=\"https://www.nurecollective.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Nure Collective\u003c/a>, a group of 11 black artists in Oakland and San Francisco who’d been hired to create content for SFMOMA’s “#MuseumfromHome” initiative, on Tuesday issued an open letter condemning the museum’s actions and demanding several restorative measures.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Brandon and the collective are calling for SFMOMA to publicly apologize to all current and past black employees; re-examine complaints of racial and other forms of bias; consider replacing senior marketing staff who they say have exhibited racial bias; create a permanent gallery space dedicated to featuring the work of black artists; create a program to advance black curators; and make donations to memorial funds for George Floyd and Tony McDade. (Read the entire list of demands and letter \u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Nure-Collective-Letter-to-SFMOMA-final.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.)\u003c/p>\n\u003cp>On Monday, SFMOMA \u003ca href=\"https://www.instagram.com/p/CA512AMld1s/\" target=\"_blank\" rel=\"noopener noreferrer\">issued a statement\u003c/a> on Instagram saying its post from Saturday “should have more directly expressed our sadness and outrage as an institution at the ongoing trauma and violence that continues to disproportionately affect Black lives.” The statement names Floyd and other black people killed by police and vows to foster change within the organization.\u003c/p>\n\u003cp>The response is “too little, too late,” Brandon said. “They’re trying to save themselves.”\u003c/p>\n\u003cp>Nan Keeton, SFMOMA’s deputy director of external relations, elaborated on the museum’s decision to delete Brandon’s comment at a staff meeting Tuesday. Because Brandon’s comment named senior museum leadership figures and included the phrase “museums kill black people too,” SFMOMA deemed the remarks “potential threats” that “target individuals,” Keeton said in a video acquired by KQED. “This language threatens the safety of the museum and its staff,” she said.\u003c/p>\n\u003cp>Brandon, after seeing the video of the staff meeting, described Keeton’s statement as a bad-faith misreading of her comments that continues a legacy of casting black people as threatening figures. “I was struck by the choice not to use my name. I mean, Nan has met my mom,” she said. “It’s more of this narrative that I’m a part of the violence of this moment.”\u003c/p>\n\u003cfigure id=\"attachment_13881265\" class=\"wp-caption aligncenter\" style=\"max-width: 1868px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13881265\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Screen-Shot-2020-06-02-at-1.17.03-PM.png\" alt=\"Local artists Leila Weefur and Elena Gross, with the Heavy Breathing collective register their objections to SFMOMA.\" width=\"1868\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Screen-Shot-2020-06-02-at-1.17.03-PM.png 1868w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Screen-Shot-2020-06-02-at-1.17.03-PM-160x103.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Screen-Shot-2020-06-02-at-1.17.03-PM-800x514.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Screen-Shot-2020-06-02-at-1.17.03-PM-768x493.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Screen-Shot-2020-06-02-at-1.17.03-PM-1020x655.png 1020w\" sizes=\"auto, (max-width: 1868px) 100vw, 1868px\">\u003cfigcaption class=\"wp-caption-text\">Local artists Leila Weefur and Elena Gross, with the Heavy Breathing collective register their objections to SFMOMA.\u003c/figcaption>\u003c/figure>\n\u003cp>Other artists commissioned by the museum for online programming are registering their objections to SFMOMA’s treatment of Brandon. Local artist Leila Weefur and writer Elena Gross, with the Heavy Breathing collective, refused to continue with planned museum-sponsored programming unless SFMOMA posted their statement online, verbatim. \u003ca href=\"https://www.instagram.com/p/CA8YqBPljd7/\" target=\"_blank\" rel=\"noopener noreferrer\">The resulting post\u003c/a> features a black square with the centered phrase, “Uncensor Black Narratives,” an image Weefur created.\u003c/p>\n\u003cp>“SFMOMA’s apology fails to acknowledge that their act of censorship, in deleting and disabling comments on their May 30th post, is a silencing act that is complicit with and enables systemized violence against Black individuals,” the statement reads in part. “Heavy Breathing, Weefur and Gross support criticism of the museum’s initial media response to the protests.”\u003c/p>\n\u003cp>Brandon, who aims to find work as a curator, said SFMOMA’s reactions to her and others’ criticisms follow a crisis management approach familiar from her own time at the museum as a communications professional. “It’s always, how can we remain in conversation but not rock the boat? How can we not upset our donors and remain neutral? But museums aren’t neutral.”\u003c/p>\n\u003cp>SFMOMA, which has been closed since March 14, in late March \u003ca href=\"https://www.kqed.org/arts/13877653/sfmoma-to-lay-off-or-furlough-over-300-museum-staff\" target=\"_blank\" rel=\"noopener noreferrer\">announced\u003c/a> plans to lay off or furlough hundreds of workers. After receiving a $6.2 million federal loan, the museum committed to retaining workers through June 30. In April, staff launched a \u003ca href=\"https://www.change.org/p/san-francisco-museum-of-modern-art-open-letter-calling-on-sfmoma-to-retain-staff-during-covid-19-crisis?\" target=\"blank\" rel=\"noopener noreferrer\">petition\u003c/a> calling on leadership to forego pay, among other demands.\u003c/p>\n\u003cp>On the morning of June 4, SFMOMA posted \u003ca href=\"https://www.instagram.com/p/CBBIbYtlERX/\" rel=\"noopener noreferrer\" target=\"_blank\">a letter of apology\u003c/a> to Brandon from museum director Neal Benezra on its Instagram page. “Taylor was right,” Benezra’s letter says. “The decision to limit comments was not consistent with our values as a museum.” He apologizes for the “pain and anger” the museum’s decision to delete and disable comments has caused current and past black employees and SFMOMA’s community, writing, “I take full responsibility for the museum’s actions.” \u003c/p>\n\u003cfigure id=\"attachment_13881409\" class=\"wp-caption aligncenter\" style=\"max-width: 1627px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/SFMOMA_Apology_FINAL.png\" alt=\"\" width=\"1627\" height=\"1198\" class=\"size-full wp-image-13881409\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/SFMOMA_Apology_FINAL.png 1627w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/SFMOMA_Apology_FINAL-160x118.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/SFMOMA_Apology_FINAL-800x589.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/SFMOMA_Apology_FINAL-768x565.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/SFMOMA_Apology_FINAL-1020x751.png 1020w\" sizes=\"auto, (max-width: 1627px) 100vw, 1627px\">\u003cfigcaption class=\"wp-caption-text\">SFMOMA posted a letter of apology from museum director Neal Benezra to Taylor Brandon on June 4.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>This story has been updated to include Neal Benezra’s apology from June 4.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>Updated June 4, 3:15pm\u003c/i>\u003c/p>\n\u003cp>On Saturday, Taylor Brandon was at home in Oakland, resting after protests against the police killing of George Floyd roiled her hometown. She decided to check in on the social media presence of her former employer, the San Francisco Museum of Modern Art. Brandon, who is black, had quit as a communications associate in April after experiencing racism in the workplace, and she was frustrated to find her former employer addressing the extrajudicial killing of Floyd only indirectly.\u003c/p>\n\u003cp>On Instagram, SFMOMA had posted a picture of New York conceptual artist Glenn Ligon’s \u003cem>We’re Black and Strong (I)\u003c/em>, a 1996 screenprint showing raised fists and a white banner inspired by the previous year’s Million Man March in Washington, D.C. “I was taken aback,” she said in an interview. “SFMOMA, you can’t use the work of black artists to make a statement you should make. You can’t stand behind the work of black people to do the work you need to do inside.”\u003c/p>\n\u003cp>Brandon, the only black employee in the marketing and communications department when she quit, left a comment on the post calling it a “cop out,” writing that the museum has a “history of using black pain for their own financial gain.” What happened next strengthened her view that museum leadership is afraid to discuss racism: The comment was deleted, and all comments were disabled. “It was very true of my experience there—speak out and be silenced,” Brandon said.\u003c/p>\n\u003cfigure id=\"attachment_13881263\" class=\"wp-caption aligncenter\" style=\"max-width: 1870px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13881263\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Screen-Shot-2020-06-02-at-1.16.55-PM.png\" alt=\"SFMOMA's labor union account calls the museum's deletion of Brandon's comment racist censorship.\" width=\"1870\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Screen-Shot-2020-06-02-at-1.16.55-PM.png 1870w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Screen-Shot-2020-06-02-at-1.16.55-PM-160x103.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Screen-Shot-2020-06-02-at-1.16.55-PM-800x513.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Screen-Shot-2020-06-02-at-1.16.55-PM-768x493.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Screen-Shot-2020-06-02-at-1.16.55-PM-1020x655.png 1020w\" sizes=\"auto, (max-width: 1870px) 100vw, 1870px\">\u003cfigcaption class=\"wp-caption-text\">SFMOMA’s labor union account calls the museum’s deletion of Brandon’s comment racist censorship.\u003c/figcaption>\u003c/figure>\n\u003cp>SFMOMA’s labor union, OPEIU Local 29, \u003ca href=\"https://www.instagram.com/p/CA3LjlUBGqP/\">shared screenshots\u003c/a> of Brandon’s deleted comment over the weekend, calling it an act of racist censorship. And the outcry is catching on: Brandon and the \u003ca href=\"https://www.nurecollective.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Nure Collective\u003c/a>, a group of 11 black artists in Oakland and San Francisco who’d been hired to create content for SFMOMA’s “#MuseumfromHome” initiative, on Tuesday issued an open letter condemning the museum’s actions and demanding several restorative measures.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Brandon and the collective are calling for SFMOMA to publicly apologize to all current and past black employees; re-examine complaints of racial and other forms of bias; consider replacing senior marketing staff who they say have exhibited racial bias; create a permanent gallery space dedicated to featuring the work of black artists; create a program to advance black curators; and make donations to memorial funds for George Floyd and Tony McDade. (Read the entire list of demands and letter \u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Nure-Collective-Letter-to-SFMOMA-final.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.)\u003c/p>\n\u003cp>On Monday, SFMOMA \u003ca href=\"https://www.instagram.com/p/CA512AMld1s/\" target=\"_blank\" rel=\"noopener noreferrer\">issued a statement\u003c/a> on Instagram saying its post from Saturday “should have more directly expressed our sadness and outrage as an institution at the ongoing trauma and violence that continues to disproportionately affect Black lives.” The statement names Floyd and other black people killed by police and vows to foster change within the organization.\u003c/p>\n\u003cp>The response is “too little, too late,” Brandon said. “They’re trying to save themselves.”\u003c/p>\n\u003cp>Nan Keeton, SFMOMA’s deputy director of external relations, elaborated on the museum’s decision to delete Brandon’s comment at a staff meeting Tuesday. Because Brandon’s comment named senior museum leadership figures and included the phrase “museums kill black people too,” SFMOMA deemed the remarks “potential threats” that “target individuals,” Keeton said in a video acquired by KQED. “This language threatens the safety of the museum and its staff,” she said.\u003c/p>\n\u003cp>Brandon, after seeing the video of the staff meeting, described Keeton’s statement as a bad-faith misreading of her comments that continues a legacy of casting black people as threatening figures. “I was struck by the choice not to use my name. I mean, Nan has met my mom,” she said. “It’s more of this narrative that I’m a part of the violence of this moment.”\u003c/p>\n\u003cfigure id=\"attachment_13881265\" class=\"wp-caption aligncenter\" style=\"max-width: 1868px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13881265\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Screen-Shot-2020-06-02-at-1.17.03-PM.png\" alt=\"Local artists Leila Weefur and Elena Gross, with the Heavy Breathing collective register their objections to SFMOMA.\" width=\"1868\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Screen-Shot-2020-06-02-at-1.17.03-PM.png 1868w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Screen-Shot-2020-06-02-at-1.17.03-PM-160x103.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Screen-Shot-2020-06-02-at-1.17.03-PM-800x514.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Screen-Shot-2020-06-02-at-1.17.03-PM-768x493.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Screen-Shot-2020-06-02-at-1.17.03-PM-1020x655.png 1020w\" sizes=\"auto, (max-width: 1868px) 100vw, 1868px\">\u003cfigcaption class=\"wp-caption-text\">Local artists Leila Weefur and Elena Gross, with the Heavy Breathing collective register their objections to SFMOMA.\u003c/figcaption>\u003c/figure>\n\u003cp>Other artists commissioned by the museum for online programming are registering their objections to SFMOMA’s treatment of Brandon. Local artist Leila Weefur and writer Elena Gross, with the Heavy Breathing collective, refused to continue with planned museum-sponsored programming unless SFMOMA posted their statement online, verbatim. \u003ca href=\"https://www.instagram.com/p/CA8YqBPljd7/\" target=\"_blank\" rel=\"noopener noreferrer\">The resulting post\u003c/a> features a black square with the centered phrase, “Uncensor Black Narratives,” an image Weefur created.\u003c/p>\n\u003cp>“SFMOMA’s apology fails to acknowledge that their act of censorship, in deleting and disabling comments on their May 30th post, is a silencing act that is complicit with and enables systemized violence against Black individuals,” the statement reads in part. “Heavy Breathing, Weefur and Gross support criticism of the museum’s initial media response to the protests.”\u003c/p>\n\u003cp>Brandon, who aims to find work as a curator, said SFMOMA’s reactions to her and others’ criticisms follow a crisis management approach familiar from her own time at the museum as a communications professional. “It’s always, how can we remain in conversation but not rock the boat? How can we not upset our donors and remain neutral? But museums aren’t neutral.”\u003c/p>\n\u003cp>SFMOMA, which has been closed since March 14, in late March \u003ca href=\"https://www.kqed.org/arts/13877653/sfmoma-to-lay-off-or-furlough-over-300-museum-staff\" target=\"_blank\" rel=\"noopener noreferrer\">announced\u003c/a> plans to lay off or furlough hundreds of workers. After receiving a $6.2 million federal loan, the museum committed to retaining workers through June 30. In April, staff launched a \u003ca href=\"https://www.change.org/p/san-francisco-museum-of-modern-art-open-letter-calling-on-sfmoma-to-retain-staff-during-covid-19-crisis?\" target=\"blank\" rel=\"noopener noreferrer\">petition\u003c/a> calling on leadership to forego pay, among other demands.\u003c/p>\n\u003cp>On the morning of June 4, SFMOMA posted \u003ca href=\"https://www.instagram.com/p/CBBIbYtlERX/\" rel=\"noopener noreferrer\" target=\"_blank\">a letter of apology\u003c/a> to Brandon from museum director Neal Benezra on its Instagram page. “Taylor was right,” Benezra’s letter says. “The decision to limit comments was not consistent with our values as a museum.” He apologizes for the “pain and anger” the museum’s decision to delete and disable comments has caused current and past black employees and SFMOMA’s community, writing, “I take full responsibility for the museum’s actions.” \u003c/p>\n\u003cfigure id=\"attachment_13881409\" class=\"wp-caption aligncenter\" style=\"max-width: 1627px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/SFMOMA_Apology_FINAL.png\" alt=\"\" width=\"1627\" height=\"1198\" class=\"size-full wp-image-13881409\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/SFMOMA_Apology_FINAL.png 1627w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/SFMOMA_Apology_FINAL-160x118.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/SFMOMA_Apology_FINAL-800x589.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/SFMOMA_Apology_FINAL-768x565.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/SFMOMA_Apology_FINAL-1020x751.png 1020w\" sizes=\"auto, (max-width: 1627px) 100vw, 1627px\">\u003cfigcaption class=\"wp-caption-text\">SFMOMA posted a letter of apology from museum director Neal Benezra to Taylor Brandon on June 4.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>This story has been updated to include Neal Benezra’s apology from June 4.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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},
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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