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"title": "The Peninsula Museum of Art Searches for a New Home—Again",
"headTitle": "The Peninsula Museum of Art Searches for a New Home—Again | KQED",
"content": "\u003cp>It’s been a tumultuous few months for museums forced to close due to COVID-19, and the \u003ca href=\"https://www.peninsulamuseum.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Peninsula Museum of Art\u003c/a> (PMA) has not been spared its share of sudden changes. The humble fine arts museum is not only looking for a new home; it now has new co-executive directors committed to carrying on its core mission of spotlighting regional talent. \u003c/p>\n\u003cp>After the coronavirus pandemic forced the PMA to close to the public in March, the museum’s leadership team was faced with yet another shutdown of sorts: an eviction from their home of the past seven years. \u003c/p>\n\u003cp>Officially, July 5 was the PMA’s last day in Burlingame. At least, for now. \u003c/p>\n\u003cp>While the pandemic was not anticipated, the museum’s temporary closure was inevitable. The 18,000-square-foot Burlingame complex of galleries, classrooms and studios was \u003ca href=\"https://www.smdailyjournal.com/arts_and_entertainment/peninsula-museum-of-art-looking-for-home/article_501e2d3a-4162-11e9-b195-572b45090a19.html\" rel=\"noopener noreferrer\" target=\"_blank\">long ago slated for redevelopment\u003c/a>, though its recent eviction was abrupt.\u003c/p>\n\u003cp>Renting space rather than owning a building has always been part of the institution’s structure. “What’s unique about us is that we’re one of the few art museums not founded by a rich collector,” said Ruth Waters, the PMA’s founder and a working sculptor now in her 80s. Rather than rely on wealthy individuals, the nonprofit is sustained through foundation funding, donations and event and class fees, as well as nearly all-volunteer labor. (The only paid contractors are the website administrator and exhibition installer.) “We’re all worker bees from the art community,” Waters added. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Another less anticipated change was Waters’ decision to formally step down as executive director and board chair on June 23. Longtime board members Christina Chahal and Megan Kamrath now serve as the museum’s co-executive directors.\u003c/p>\n\u003cp>[pullquote size='medium' align='right' citation='Christina Chahal, co-director, Peninsula Museum of Art']“In a weird way, this eviction allows us to refocus on our core mission, which is identifying and elevating regional artists.”[/pullquote]Waters has always straddled the worlds of art-making and art administration. After graduating from Stanford in 1955 and starting a family, she founded the Twin Pines Art Center in Belmont in 1977. The Peninsula Museum of Art, which was established in Belmont in 2003 and moved to Burlingame in 2013, was created from the same blueprint: offering artists studio space to work as well as exhibit, and welcoming the public free of charge. The institution also filled a geographic niche, showcasing regional fine art south of San Francisco’s major museums and north of Stanford’s Cantor Arts Center.\u003c/p>\n\u003cp>For Kamrath and Chahal, their most crucial task is reimagining what their institution offers mid-peninsula arts patrons. “In a weird way, this eviction allows us to refocus on our core mission, which is identifying and elevating regional artists,” said Chahal. “This is an opportunity to look at our programming and ask, what has engaged the public the most? We’re using this time to reinvent and refocus on what best serves our local community and our fabulous regional artists.”\u003c/p>\n\u003cp>The PMA shuttered before the scheduled conclusion of an eclectic array of exhibitions, including Kamal Al Mansour’s \u003ci>\u003ca href=\"https://www.peninsulamuseum.org/exhibits/kamal-al-mansour-art-weapon\" rel=\"noopener noreferrer\" target=\"_blank\">Art is the Weapon\u003c/a>\u003c/i>, a showcase of the artist’s mixed-media assemblages, including large portraits of African American cultural icons like Maya Angelou and Fela Kuti.\u003c/p>\n\u003cfigure id=\"attachment_13884112\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/Museum-show_1200.jpg\" alt=\"\" width=\"1200\" height=\"817\" class=\"size-full wp-image-13884112\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Museum-show_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Museum-show_1200-800x545.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Museum-show_1200-1020x694.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Museum-show_1200-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Museum-show_1200-768x523.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">An exhibition at the Peninsula Museum of Art before it closed due to the coronavirus pandemic. \u003ccite>(Courtesy PMA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The new leaders’ other top priority is identifying a new physical home for the museum—ideally in San Mateo County, where the PMA is the only major fine arts museum. Even before the coronavirus, Chahal notes, snarled traffic between San Jose and San Francisco, as well as a more deliberate focus on supporting nearby arts and culture, has meant more peninsula residents were intentionally investing in local art offerings. \u003c/p>\n\u003cp>“This is now even more obvious in this pandemic, as people stay close to home and become much more focused on their hyperlocal area,” Chahal said. “And that’s the mission of the museum!”\u003c/p>\n\u003cp>The point is salient for Kamrath, who got involved with the PMA after moving to the Bay Area from Minnesota two years ago. Living close to the museum, she initially signed up to be a docent and got more deeply involved after working closely with others who shared her passion. “I’m an aspiring artist, and I wanted to find a community I could relate to,” she said.\u003c/p>\n\u003cp>Chahal, who grew up in the Bay Area with an artist mother, returned to the region the same year the PMA moved from Belmont to Burlingame. At nearby major institutions, she noted, visitors might enjoy a marvelous exhibition but never get to meet the artists—unless those visitors were also major donors.\u003c/p>\n\u003cp>[pullquote size='medium' align='right' citation='Ruth Waters, founder, Peninsula Museum of Art']“I’m concerned that this not just disappear.”[/pullquote]“It’s a rare museum where you can meet and talk to the artists whose work is on the wall,” she said of the PMA. “For artists who often work in solitude, to be able to show their work and have the public share the space and engage with them—it’s an amazing thing to be a part of.”\u003c/p>\n\u003cp>While they search for a new location, the museum’s permanent collection is in climate-controlled storage in an undisclosed location, though Chahal emphasizes that the word “permanent” should not be misunderstood as relating to size.\u003c/p>\n\u003cp>“The collection is really tiny,” she said, explaining that much of the museum’s holdings were generously gifted by artists who showed work at the PMA. “If it was all stacked up, it could fit in a dining room.”\u003c/p>\n\u003cp>While preserving the collection is key, other programs and offerings have been deemed nonessential. The museum’s library was liquidated; it grew from donations over the years, without an overarching curatorial vision. The temporary closure also means that for now, the artists working at the PMA were forced to relocate. So far, Waters and a dozen others have set up studios in San Carlos’ \u003ca href=\"https://www.artbias.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Art Bias\u003c/a>.\u003c/p>\n\u003cp>As the museum’s founder, Waters remains involved in supporting the museum’s next chapter. “My focus is looking for our next location,” she explained, noting she’s been actively searching for a new space for the past two years. “I’m concerned that this not just disappear.”\u003c/p>\n\u003cp>Kamrath emphasizes that won’t happen; the museum is merely in hibernation. “The PMA does not have a physical location, but we are not permanently closed,” she said. “We have just transitioned to a virtual environment with the intention that we will find a place for artists to exhibit again.”\u003c/p>\n\u003cp>As co-directors, Kamrath and Chahal agree that the allure of the PMA has always been the ability to meet artists and create connections in real time. \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“The value of what is brought to the museum was always temporal,” Chahal said. “We build up and then take down—a lot like Burning Man.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s been a tumultuous few months for museums forced to close due to COVID-19, and the \u003ca href=\"https://www.peninsulamuseum.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Peninsula Museum of Art\u003c/a> (PMA) has not been spared its share of sudden changes. The humble fine arts museum is not only looking for a new home; it now has new co-executive directors committed to carrying on its core mission of spotlighting regional talent. \u003c/p>\n\u003cp>After the coronavirus pandemic forced the PMA to close to the public in March, the museum’s leadership team was faced with yet another shutdown of sorts: an eviction from their home of the past seven years. \u003c/p>\n\u003cp>Officially, July 5 was the PMA’s last day in Burlingame. At least, for now. \u003c/p>\n\u003cp>While the pandemic was not anticipated, the museum’s temporary closure was inevitable. The 18,000-square-foot Burlingame complex of galleries, classrooms and studios was \u003ca href=\"https://www.smdailyjournal.com/arts_and_entertainment/peninsula-museum-of-art-looking-for-home/article_501e2d3a-4162-11e9-b195-572b45090a19.html\" rel=\"noopener noreferrer\" target=\"_blank\">long ago slated for redevelopment\u003c/a>, though its recent eviction was abrupt.\u003c/p>\n\u003cp>Renting space rather than owning a building has always been part of the institution’s structure. “What’s unique about us is that we’re one of the few art museums not founded by a rich collector,” said Ruth Waters, the PMA’s founder and a working sculptor now in her 80s. Rather than rely on wealthy individuals, the nonprofit is sustained through foundation funding, donations and event and class fees, as well as nearly all-volunteer labor. (The only paid contractors are the website administrator and exhibition installer.) “We’re all worker bees from the art community,” Waters added. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Another less anticipated change was Waters’ decision to formally step down as executive director and board chair on June 23. Longtime board members Christina Chahal and Megan Kamrath now serve as the museum’s co-executive directors.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Waters has always straddled the worlds of art-making and art administration. After graduating from Stanford in 1955 and starting a family, she founded the Twin Pines Art Center in Belmont in 1977. The Peninsula Museum of Art, which was established in Belmont in 2003 and moved to Burlingame in 2013, was created from the same blueprint: offering artists studio space to work as well as exhibit, and welcoming the public free of charge. The institution also filled a geographic niche, showcasing regional fine art south of San Francisco’s major museums and north of Stanford’s Cantor Arts Center.\u003c/p>\n\u003cp>For Kamrath and Chahal, their most crucial task is reimagining what their institution offers mid-peninsula arts patrons. “In a weird way, this eviction allows us to refocus on our core mission, which is identifying and elevating regional artists,” said Chahal. “This is an opportunity to look at our programming and ask, what has engaged the public the most? We’re using this time to reinvent and refocus on what best serves our local community and our fabulous regional artists.”\u003c/p>\n\u003cp>The PMA shuttered before the scheduled conclusion of an eclectic array of exhibitions, including Kamal Al Mansour’s \u003ci>\u003ca href=\"https://www.peninsulamuseum.org/exhibits/kamal-al-mansour-art-weapon\" rel=\"noopener noreferrer\" target=\"_blank\">Art is the Weapon\u003c/a>\u003c/i>, a showcase of the artist’s mixed-media assemblages, including large portraits of African American cultural icons like Maya Angelou and Fela Kuti.\u003c/p>\n\u003cfigure id=\"attachment_13884112\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/Museum-show_1200.jpg\" alt=\"\" width=\"1200\" height=\"817\" class=\"size-full wp-image-13884112\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Museum-show_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Museum-show_1200-800x545.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Museum-show_1200-1020x694.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Museum-show_1200-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Museum-show_1200-768x523.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">An exhibition at the Peninsula Museum of Art before it closed due to the coronavirus pandemic. \u003ccite>(Courtesy PMA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The new leaders’ other top priority is identifying a new physical home for the museum—ideally in San Mateo County, where the PMA is the only major fine arts museum. Even before the coronavirus, Chahal notes, snarled traffic between San Jose and San Francisco, as well as a more deliberate focus on supporting nearby arts and culture, has meant more peninsula residents were intentionally investing in local art offerings. \u003c/p>\n\u003cp>“This is now even more obvious in this pandemic, as people stay close to home and become much more focused on their hyperlocal area,” Chahal said. “And that’s the mission of the museum!”\u003c/p>\n\u003cp>The point is salient for Kamrath, who got involved with the PMA after moving to the Bay Area from Minnesota two years ago. Living close to the museum, she initially signed up to be a docent and got more deeply involved after working closely with others who shared her passion. “I’m an aspiring artist, and I wanted to find a community I could relate to,” she said.\u003c/p>\n\u003cp>Chahal, who grew up in the Bay Area with an artist mother, returned to the region the same year the PMA moved from Belmont to Burlingame. At nearby major institutions, she noted, visitors might enjoy a marvelous exhibition but never get to meet the artists—unless those visitors were also major donors.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“It’s a rare museum where you can meet and talk to the artists whose work is on the wall,” she said of the PMA. “For artists who often work in solitude, to be able to show their work and have the public share the space and engage with them—it’s an amazing thing to be a part of.”\u003c/p>\n\u003cp>While they search for a new location, the museum’s permanent collection is in climate-controlled storage in an undisclosed location, though Chahal emphasizes that the word “permanent” should not be misunderstood as relating to size.\u003c/p>\n\u003cp>“The collection is really tiny,” she said, explaining that much of the museum’s holdings were generously gifted by artists who showed work at the PMA. “If it was all stacked up, it could fit in a dining room.”\u003c/p>\n\u003cp>While preserving the collection is key, other programs and offerings have been deemed nonessential. The museum’s library was liquidated; it grew from donations over the years, without an overarching curatorial vision. The temporary closure also means that for now, the artists working at the PMA were forced to relocate. So far, Waters and a dozen others have set up studios in San Carlos’ \u003ca href=\"https://www.artbias.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Art Bias\u003c/a>.\u003c/p>\n\u003cp>As the museum’s founder, Waters remains involved in supporting the museum’s next chapter. “My focus is looking for our next location,” she explained, noting she’s been actively searching for a new space for the past two years. “I’m concerned that this not just disappear.”\u003c/p>\n\u003cp>Kamrath emphasizes that won’t happen; the museum is merely in hibernation. “The PMA does not have a physical location, but we are not permanently closed,” she said. “We have just transitioned to a virtual environment with the intention that we will find a place for artists to exhibit again.”\u003c/p>\n\u003cp>As co-directors, Kamrath and Chahal agree that the allure of the PMA has always been the ability to meet artists and create connections in real time. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The value of what is brought to the museum was always temporal,” Chahal said. “We build up and then take down—a lot like Burning Man.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Students Suffer Whiplash as SFAI Decides to Offer Classes After All",
"headTitle": "Students Suffer Whiplash as SFAI Decides to Offer Classes After All | KQED",
"content": "\u003cp>The San Francisco Art Institute has never been a dull place, and this is especially true as it struggles with financial solvency. \u003c/p>\n\u003cp>In a reversal of a previously announced suspension of regular courses and all degree programs, the 150-year-old school \u003ca href=\"https://sfai.edu/uploads/about-sfai/SFAI-Reinstates-Degree-Programs_Press-Release_22July2020.pdf\" rel=\"noopener noreferrer\" target=\"_blank\">declared Wednesday\u003c/a> it would reinstate its degree programs for the upcoming academic year. SFAI has resolved contract disputes with the school’s faculty union, and will keep all 15 tenured faculty employed through the spring 2021 semester regardless of whether or not enough students return to hold classes.[aside postID='arts_13878509']\u003c/p>\n\u003cp>In order to do so, the announcement continues, the school will need to raise an additional $4.5 million. In a statement, Board Chair Pam Rorke Levy said SFAI has received an “outpouring of support” since their late \u003ca href=\"https://www.kqed.org/arts/13877340/san-francisco-art-institute-to-close-at-end-of-spring-semester\" rel=\"noopener noreferrer\" target=\"_blank\">March announcement\u003c/a> of financial troubles, raising over $4 million in recent months—three times their normal annual fundraising efforts, according to Levy. \u003c/p>\n\u003cp>$1.5 million of that comes from gifts shifted from the school’s endowment to its general operating fund with the permission of the donors. While board members were involved in negotiating these shifts, sources close to the board expressed skepticism to KQED about the trustees’ ability to raise an additional $4.5 million.\u003c/p>\n\u003cp>The school is now engaged in a process of courting back 79 undergraduate and graduate students who would be eligible to complete their degrees by the end of the spring 2021 semester. Tenured faculty have been sending emails to those students at the administration’s request.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We can’t apologize enough for what you’ve been through,” reads one email forwarded to the \u003ci>\u003ca href=\"https://datebook.sfchronicle.com/art-exhibits/sf-art-institute-reaches-deal-to-bring-students-back-after-sending-them-away-but-will-they-return\" rel=\"noopener noreferrer\" target=\"_blank\">San Francisco Chronicle\u003c/a>\u003c/i>. “As an initial inquiry, might (and I stress might) you consider returning to SFAI to complete your degree with us should classes be extended throughout the 2020/21 academic year.”\u003c/p>\n\u003cp>Just four months ago, these same students were told to pursue placement at other schools. Many have already transferred to California College of the Arts or put their academic careers on hold, unable to afford a move during a pandemic or unenthused about other institutions. \u003c/p>\n\u003cp>Part of the incentive to return to SFAI, the school hopes, is a tuition cut of 50% for both undergraduates and graduates. But as \u003ca href=\"https://missionlocal.org/2020/07/bank-moves-to-foreclose-on-san-francisco-art-institute/\" rel=\"noopener noreferrer\" target=\"_blank\">Mission Local reported\u003c/a> last week, the school is also facing foreclosure on its Chestnut Street campus, which serves as collateral on a $19 million loan from Boston Private & Trust Company. \u003c/p>\n\u003cfigure id=\"attachment_13878519\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/12_SFAI-Vernissage-2018_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13878519\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/12_SFAI-Vernissage-2018_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/12_SFAI-Vernissage-2018_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/12_SFAI-Vernissage-2018_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/12_SFAI-Vernissage-2018_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/12_SFAI-Vernissage-2018_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">The 2018 MFA exhibition at SFAI’s Fort Mason campus. \u003ccite>(Courtesy of SFAI)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Yet SFAI says this issue will be resolved by the end of the summer. Classes for the fall semester would begin in late August; the courses offered would depend on who enrolls and what degree programs they’re completing. All fall classes would take place remotely, though SFAI hopes by the spring, the city’s health restrictions would allow in-person classes to resume. There are no current plans to rehire any of SFAI’s 69 laid-off adjunct faculty, who once taught 75% of the institution’s instructional hours. \u003c/p>\n\u003cp>But it may be too late to regain the trust of the school’s now-scattered students. In interviews with a half-dozen SFAI students over the past four months, all expressed frustration and heartbreak. Some characterized what seemed (then) to be the end of their time at SFAI as “a rollercoaster” at best, “an abusive relationship” at worst.\u003c/p>\n\u003cp>[aside postID='arts_13877340']For many students, committing to art school—and specifically to SFAI—was a leap of faith, which the institution subsequently invalidated through its own announcements and reversals. Kavena Hambira, an MFA film student who began his studies at SFAI only in January of this year, left behind a job and life in Namibia to pursue documentary filmmaking. Touring various programs, SFAI alone met all his needs, and in the few weeks he enjoyed in-person classes and critiques before the campuses shut down due to the coronavirus, he felt he had made the right decision. \u003c/p>\n\u003cp>After so recently joining the SFAI student body, the school’s insistence he suddenly transfer elsewhere put into question his entire career path. “For years I’ve been conditioned to suppress my artistic side,” Hambira explained in April. “And when I finally emerged from that conditioning and take that plunge, this is the fear your loved ones have for you … that you won’t make any money.”\u003c/p>\n\u003cp>Oscar Lopez, an MFA painting student originally from Mexico City, shared Hambira’s sentiments. Lopez also attended SFAI as an undergrad, and said the school helped him find his voice as an artist. “You are in that time in life that you find a thing you want to do and you’re doing it with all your soul because you really want to do it—and it’s just taken away,” he said in April of the school’s apparent closure. “My future that I tried to make here in America as an immigrant and a Latino is getting destroyed by someone else’s decisions.”\u003c/p>\n\u003cp>For Hambira and Lopez, the challenge of transferring into another graduate program partway through their studies was further complicated by the fact that they had both received scholarships from SFAI. How could they enroll in another school without the guarantee of comparable financial aid?\u003c/p>\n\u003cp>SFAI has approached Lopez about returning to the MFA program, but he says he needs the school to make its plan—and what they’re offering him—abundantly clear before he can make a decision. “Honesty and communication is not the forte,” he says.\u003c/p>\n\u003cp>For now, Hambira is taking summer classes at SFAI remotely and weighing his options between two different local grad programs—the re-enrollment offer from SFAI doesn’t match up with the three semesters he has left to complete his degree. He has also joined the new Committee to Re-Imagine SFAI, a volunteer group of students, alumni, staff, faculty and board members that will \u003ca href=\"https://mcusercontent.com/474fab67307e81a3e3e175e37/files/985c6e1d-4265-4715-bb06-eb0d253b49b5/Committee_to_Re_Imagine_SFAI.pdf\" rel=\"noopener noreferrer\" target=\"_blank\">make a proposal\u003c/a> to the board of trustees about their vision for the institution’s future.\u003c/p>\n\u003cp>Whether or not SFAI will have the ability to implement that reimagined future depends on its financial sustainability, its structure (a merger still isn’t out of the question) and its ability to attract a new cohort of students given its track record.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>After everything the school has put its students, staff and faculty through in recent months, Hambira’s words from April ring true once again: “You need to think about the ethics of this decision and how ethical it is to just rip the hearts out of people’s chests like that.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The San Francisco Art Institute has never been a dull place, and this is especially true as it struggles with financial solvency. \u003c/p>\n\u003cp>In a reversal of a previously announced suspension of regular courses and all degree programs, the 150-year-old school \u003ca href=\"https://sfai.edu/uploads/about-sfai/SFAI-Reinstates-Degree-Programs_Press-Release_22July2020.pdf\" rel=\"noopener noreferrer\" target=\"_blank\">declared Wednesday\u003c/a> it would reinstate its degree programs for the upcoming academic year. SFAI has resolved contract disputes with the school’s faculty union, and will keep all 15 tenured faculty employed through the spring 2021 semester regardless of whether or not enough students return to hold classes.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In order to do so, the announcement continues, the school will need to raise an additional $4.5 million. In a statement, Board Chair Pam Rorke Levy said SFAI has received an “outpouring of support” since their late \u003ca href=\"https://www.kqed.org/arts/13877340/san-francisco-art-institute-to-close-at-end-of-spring-semester\" rel=\"noopener noreferrer\" target=\"_blank\">March announcement\u003c/a> of financial troubles, raising over $4 million in recent months—three times their normal annual fundraising efforts, according to Levy. \u003c/p>\n\u003cp>$1.5 million of that comes from gifts shifted from the school’s endowment to its general operating fund with the permission of the donors. While board members were involved in negotiating these shifts, sources close to the board expressed skepticism to KQED about the trustees’ ability to raise an additional $4.5 million.\u003c/p>\n\u003cp>The school is now engaged in a process of courting back 79 undergraduate and graduate students who would be eligible to complete their degrees by the end of the spring 2021 semester. Tenured faculty have been sending emails to those students at the administration’s request.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We can’t apologize enough for what you’ve been through,” reads one email forwarded to the \u003ci>\u003ca href=\"https://datebook.sfchronicle.com/art-exhibits/sf-art-institute-reaches-deal-to-bring-students-back-after-sending-them-away-but-will-they-return\" rel=\"noopener noreferrer\" target=\"_blank\">San Francisco Chronicle\u003c/a>\u003c/i>. “As an initial inquiry, might (and I stress might) you consider returning to SFAI to complete your degree with us should classes be extended throughout the 2020/21 academic year.”\u003c/p>\n\u003cp>Just four months ago, these same students were told to pursue placement at other schools. Many have already transferred to California College of the Arts or put their academic careers on hold, unable to afford a move during a pandemic or unenthused about other institutions. \u003c/p>\n\u003cp>Part of the incentive to return to SFAI, the school hopes, is a tuition cut of 50% for both undergraduates and graduates. But as \u003ca href=\"https://missionlocal.org/2020/07/bank-moves-to-foreclose-on-san-francisco-art-institute/\" rel=\"noopener noreferrer\" target=\"_blank\">Mission Local reported\u003c/a> last week, the school is also facing foreclosure on its Chestnut Street campus, which serves as collateral on a $19 million loan from Boston Private & Trust Company. \u003c/p>\n\u003cfigure id=\"attachment_13878519\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/12_SFAI-Vernissage-2018_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13878519\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/12_SFAI-Vernissage-2018_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/12_SFAI-Vernissage-2018_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/12_SFAI-Vernissage-2018_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/12_SFAI-Vernissage-2018_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/12_SFAI-Vernissage-2018_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">The 2018 MFA exhibition at SFAI’s Fort Mason campus. \u003ccite>(Courtesy of SFAI)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Yet SFAI says this issue will be resolved by the end of the summer. Classes for the fall semester would begin in late August; the courses offered would depend on who enrolls and what degree programs they’re completing. All fall classes would take place remotely, though SFAI hopes by the spring, the city’s health restrictions would allow in-person classes to resume. There are no current plans to rehire any of SFAI’s 69 laid-off adjunct faculty, who once taught 75% of the institution’s instructional hours. \u003c/p>\n\u003cp>But it may be too late to regain the trust of the school’s now-scattered students. In interviews with a half-dozen SFAI students over the past four months, all expressed frustration and heartbreak. Some characterized what seemed (then) to be the end of their time at SFAI as “a rollercoaster” at best, “an abusive relationship” at worst.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>For many students, committing to art school—and specifically to SFAI—was a leap of faith, which the institution subsequently invalidated through its own announcements and reversals. Kavena Hambira, an MFA film student who began his studies at SFAI only in January of this year, left behind a job and life in Namibia to pursue documentary filmmaking. Touring various programs, SFAI alone met all his needs, and in the few weeks he enjoyed in-person classes and critiques before the campuses shut down due to the coronavirus, he felt he had made the right decision. \u003c/p>\n\u003cp>After so recently joining the SFAI student body, the school’s insistence he suddenly transfer elsewhere put into question his entire career path. “For years I’ve been conditioned to suppress my artistic side,” Hambira explained in April. “And when I finally emerged from that conditioning and take that plunge, this is the fear your loved ones have for you … that you won’t make any money.”\u003c/p>\n\u003cp>Oscar Lopez, an MFA painting student originally from Mexico City, shared Hambira’s sentiments. Lopez also attended SFAI as an undergrad, and said the school helped him find his voice as an artist. “You are in that time in life that you find a thing you want to do and you’re doing it with all your soul because you really want to do it—and it’s just taken away,” he said in April of the school’s apparent closure. “My future that I tried to make here in America as an immigrant and a Latino is getting destroyed by someone else’s decisions.”\u003c/p>\n\u003cp>For Hambira and Lopez, the challenge of transferring into another graduate program partway through their studies was further complicated by the fact that they had both received scholarships from SFAI. How could they enroll in another school without the guarantee of comparable financial aid?\u003c/p>\n\u003cp>SFAI has approached Lopez about returning to the MFA program, but he says he needs the school to make its plan—and what they’re offering him—abundantly clear before he can make a decision. “Honesty and communication is not the forte,” he says.\u003c/p>\n\u003cp>For now, Hambira is taking summer classes at SFAI remotely and weighing his options between two different local grad programs—the re-enrollment offer from SFAI doesn’t match up with the three semesters he has left to complete his degree. He has also joined the new Committee to Re-Imagine SFAI, a volunteer group of students, alumni, staff, faculty and board members that will \u003ca href=\"https://mcusercontent.com/474fab67307e81a3e3e175e37/files/985c6e1d-4265-4715-bb06-eb0d253b49b5/Committee_to_Re_Imagine_SFAI.pdf\" rel=\"noopener noreferrer\" target=\"_blank\">make a proposal\u003c/a> to the board of trustees about their vision for the institution’s future.\u003c/p>\n\u003cp>Whether or not SFAI will have the ability to implement that reimagined future depends on its financial sustainability, its structure (a merger still isn’t out of the question) and its ability to attract a new cohort of students given its track record.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After everything the school has put its students, staff and faculty through in recent months, Hambira’s words from April ring true once again: “You need to think about the ethics of this decision and how ethical it is to just rip the hearts out of people’s chests like that.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>San Francisco’s \u003ca href=\"https://ybca.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Yerba Buena Center for the Arts\u003c/a> (YBCA) is the latest in a wave of major local arts organizations forced to make sweeping cuts as a result of the COVID-19 pandemic.\u003c/p>\n\u003cp>Chief Executive Officer Deborah Cullinan said she had to let go 27 of her 71 employees, roughly one third of YBCA’s staff, on Tuesday. She said most of the layoffs are for full-time positions, with a few part-timers in the mix, and the majority of the losses are in the event-production field.\u003c/p>\n\u003cp>“The positions that we are losing are those associated with being able to open our spaces and produce meetings and conferences and performances,” Cullinan said in an interview with KQED.\u003c/p>\n\u003cp>Dependent on live event ticket sales, space rentals and grants, YBCA lost $3.5 million in gross revenue this past fiscal year, and anticipates almost twice as much of a shortfall in the coming year.\u003c/p>\n\u003cp>The organization had been able to keep up with payroll expenses over the past three months with the aid of a PPP loan of around $1.5 million. Cullinan said those funds have now run out.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Each laid-off employee will receive up to 12 weeks of severance pay based on tenure, and three months of health insurance, said Cullinan, who added that she spoke with each laid-off employee individually.\u003c/p>\n\u003cp>The remaining 44 employees will see salary cuts of 5%–12%, with the highest reductions at the top level of the organization.\u003c/p>\n\u003cp>“As an organization that cares deeply about its employees, we held off on making these changes as long as our finances would allow,” Cullinan said. “We also carefully considered equity in all of our decision making.”\u003c/p>\n\u003cp>Cullinan said a few staffers with skills that are currently in demand—like technical production and project management—have been given the chance to step into new positions.\u003c/p>\n\u003cp>Cullinan described the new organizational structure as a group of “pods.” “We have a pod of people that will be working primarily on strategy and revenue. We have a pod focused on program and public engagement. Then we have a pod working around marketing, communication and technology. And our operations pod is sort of the wrap-around,” Cullinan said.\u003c/p>\n\u003cp>The re-organization has led to a slight increase in the number of employees from underrepresented backgrounds, at least in terms of ethnicity.\u003c/p>\n\u003cp>Before the cuts were announced, 43.6% of YBCA staffers self-identified as Black, Indigenous and people of color (BIPOC). Now, 47% of the remaining staff identify as BIPOC.\u003c/p>\n\u003cp>“This announcement reveals the impossible choices YBCA and other organizations are facing,” said Emiko Ono, performing arts program director for the \u003ca href=\"https://hewlett.org/\" target=\"_blank\" rel=\"noopener noreferrer\">William and Flora Hewlett Foundation\u003c/a>, one of YBCA’s funders. The foundation made a $390,000 grant to support YBCA’s performing arts programming in March.\u003c/p>\n\u003cp>YBCA’s announcement follows large job cuts at other prominent San Francisco cultural institutions, including the \u003ca href=\"https://www.kqed.org/coronavirusliveupdates/arts/13881318/sfmoma-announces-layoffs-and-reduced-schedules-for-55-employees\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Museum of Modern Art\u003c/a>, the \u003ca href=\"https://www.kqed.org/arts/13877959/hundreds-of-exploratorium-workers-face-layoffs-salary-reductions-in-sf\" target=\"_blank\" rel=\"noopener noreferrer\">Exploratorium\u003c/a>, the \u003ca href=\"https://datebook.sfchronicle.com/entertainment/sf-arts-groups-face-48-million-loss-in-coronavirus-shutdown-study-says\" target=\"_blank\" rel=\"noopener noreferrer\">American Conservatory Theater\u003c/a> and the \u003ca href=\"https://www.kqed.org/arts/13882075/de-young-legion-of-honor-announce-layoffs-and-furloughs-for-47-staff\" target=\"_blank\" rel=\"noopener noreferrer\">Fine Arts Museums of San Francisco\u003c/a>.\u003c/p>\n\u003cp>Cullinan said going forward, YBCA plans to focus more deeply on public art, digital programming and linking artists with financial relief and career opportunities.\u003c/p>\n\u003cp>Key programs include a collaboration with the community-based film nonprofit \u003ca href=\"https://sfurbanfilmfest.com/\" target=\"_blank\" rel=\"noopener noreferrer\">SF Urban Film Fest\u003c/a> to reignite YBCA’s screen offerings and the \u003ca href=\"https://ybca.org/artist-power-center/\" target=\"_blank\" rel=\"noopener noreferrer\">Artist Power Center\u003c/a>, a platform the center launched in May focused on connecting artists with resources and opportunities. YBCA is also hoping to continue and expand existing initiatives like \u003ca href=\"https://ybca.org/culture-bank/\" target=\"_blank\" rel=\"noopener noreferrer\">CultureBank\u003c/a>, a collaboration with artists in West Oakland, and \u003ca href=\"https://ybca.org/ybca-100/\" target=\"_blank\" rel=\"noopener noreferrer\">YBCA 100\u003c/a>, aimed at bringing together creative “fellows” to help instigate social change.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“What we are focused on is creating more opportunities for more artists to be deeply involved at YBCA,” Cullinan said. “We want to work deeply and over time on game-changing projects.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Francisco’s \u003ca href=\"https://ybca.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Yerba Buena Center for the Arts\u003c/a> (YBCA) is the latest in a wave of major local arts organizations forced to make sweeping cuts as a result of the COVID-19 pandemic.\u003c/p>\n\u003cp>Chief Executive Officer Deborah Cullinan said she had to let go 27 of her 71 employees, roughly one third of YBCA’s staff, on Tuesday. She said most of the layoffs are for full-time positions, with a few part-timers in the mix, and the majority of the losses are in the event-production field.\u003c/p>\n\u003cp>“The positions that we are losing are those associated with being able to open our spaces and produce meetings and conferences and performances,” Cullinan said in an interview with KQED.\u003c/p>\n\u003cp>Dependent on live event ticket sales, space rentals and grants, YBCA lost $3.5 million in gross revenue this past fiscal year, and anticipates almost twice as much of a shortfall in the coming year.\u003c/p>\n\u003cp>The organization had been able to keep up with payroll expenses over the past three months with the aid of a PPP loan of around $1.5 million. Cullinan said those funds have now run out.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Each laid-off employee will receive up to 12 weeks of severance pay based on tenure, and three months of health insurance, said Cullinan, who added that she spoke with each laid-off employee individually.\u003c/p>\n\u003cp>The remaining 44 employees will see salary cuts of 5%–12%, with the highest reductions at the top level of the organization.\u003c/p>\n\u003cp>“As an organization that cares deeply about its employees, we held off on making these changes as long as our finances would allow,” Cullinan said. “We also carefully considered equity in all of our decision making.”\u003c/p>\n\u003cp>Cullinan said a few staffers with skills that are currently in demand—like technical production and project management—have been given the chance to step into new positions.\u003c/p>\n\u003cp>Cullinan described the new organizational structure as a group of “pods.” “We have a pod of people that will be working primarily on strategy and revenue. We have a pod focused on program and public engagement. Then we have a pod working around marketing, communication and technology. And our operations pod is sort of the wrap-around,” Cullinan said.\u003c/p>\n\u003cp>The re-organization has led to a slight increase in the number of employees from underrepresented backgrounds, at least in terms of ethnicity.\u003c/p>\n\u003cp>Before the cuts were announced, 43.6% of YBCA staffers self-identified as Black, Indigenous and people of color (BIPOC). Now, 47% of the remaining staff identify as BIPOC.\u003c/p>\n\u003cp>“This announcement reveals the impossible choices YBCA and other organizations are facing,” said Emiko Ono, performing arts program director for the \u003ca href=\"https://hewlett.org/\" target=\"_blank\" rel=\"noopener noreferrer\">William and Flora Hewlett Foundation\u003c/a>, one of YBCA’s funders. The foundation made a $390,000 grant to support YBCA’s performing arts programming in March.\u003c/p>\n\u003cp>YBCA’s announcement follows large job cuts at other prominent San Francisco cultural institutions, including the \u003ca href=\"https://www.kqed.org/coronavirusliveupdates/arts/13881318/sfmoma-announces-layoffs-and-reduced-schedules-for-55-employees\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Museum of Modern Art\u003c/a>, the \u003ca href=\"https://www.kqed.org/arts/13877959/hundreds-of-exploratorium-workers-face-layoffs-salary-reductions-in-sf\" target=\"_blank\" rel=\"noopener noreferrer\">Exploratorium\u003c/a>, the \u003ca href=\"https://datebook.sfchronicle.com/entertainment/sf-arts-groups-face-48-million-loss-in-coronavirus-shutdown-study-says\" target=\"_blank\" rel=\"noopener noreferrer\">American Conservatory Theater\u003c/a> and the \u003ca href=\"https://www.kqed.org/arts/13882075/de-young-legion-of-honor-announce-layoffs-and-furloughs-for-47-staff\" target=\"_blank\" rel=\"noopener noreferrer\">Fine Arts Museums of San Francisco\u003c/a>.\u003c/p>\n\u003cp>Cullinan said going forward, YBCA plans to focus more deeply on public art, digital programming and linking artists with financial relief and career opportunities.\u003c/p>\n\u003cp>Key programs include a collaboration with the community-based film nonprofit \u003ca href=\"https://sfurbanfilmfest.com/\" target=\"_blank\" rel=\"noopener noreferrer\">SF Urban Film Fest\u003c/a> to reignite YBCA’s screen offerings and the \u003ca href=\"https://ybca.org/artist-power-center/\" target=\"_blank\" rel=\"noopener noreferrer\">Artist Power Center\u003c/a>, a platform the center launched in May focused on connecting artists with resources and opportunities. YBCA is also hoping to continue and expand existing initiatives like \u003ca href=\"https://ybca.org/culture-bank/\" target=\"_blank\" rel=\"noopener noreferrer\">CultureBank\u003c/a>, a collaboration with artists in West Oakland, and \u003ca href=\"https://ybca.org/ybca-100/\" target=\"_blank\" rel=\"noopener noreferrer\">YBCA 100\u003c/a>, aimed at bringing together creative “fellows” to help instigate social change.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“What we are focused on is creating more opportunities for more artists to be deeply involved at YBCA,” Cullinan said. “We want to work deeply and over time on game-changing projects.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>DeAndre Drake, an artist from Oakland who works under the name \u003ca href=\"https://airballin.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Airballin\u003c/a>, recently airbrushed a casket with images of victims of police brutality. And for lack of a better word, it’s beautiful.\u003c/p>\n\u003cp>The casket is vibrant. Next to the names and faces with which we’ve come to be familiar, Drake has painted images of people who took notable political stands: Muhammad Ali, Colin Kaepernick and Assata Shakur. There’s also a police line’s yellow tape, an American flag, a Confederate flag, the 14th Amendment, a baby in the crosshairs of a rifle’s scope and JFK’s famous words: “We must never forget that art is not a form of propaganda, it is a form of truth.”\u003c/p>\n\u003cp>Drake reveals the casket to the public on Saturday, July 18, as part of the pop-up art show \u003cem>\u003ca href=\"https://www.instagram.com/p/CCjeLLvMcD5/\" target=\"_blank\" rel=\"noopener noreferrer\">My Skin Is Not A Crime\u003c/a>\u003c/em> at the Joyce Gordon Gallery in Oakland.\u003c/p>\n\u003cp>Drake’s casket comes during an ongoing series of actions this summer in response to the issue of police brutality. I’ve seen people jogging in solidarity, sitting in honor of those killed and even skateboarding down Twin Peaks while toting signs that read “Black Lives Matter.”\u003c/p>\n\u003cp>But this show of solidarity is a bit more morbid, and blunt. It’s also a new level of artwork for Drake.\u003c/p>\n\u003cfigure id=\"attachment_13883356\" class=\"wp-caption alignnone\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13883356 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/IMG_2445-scaled-e1594788064343-800x1067.jpeg\" alt='The \"My Skin Is Not a Crime\" airbrushed casket' width=\"600\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/IMG_2445-scaled-e1594788064343-800x1067.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/IMG_2445-scaled-e1594788064343-1020x1360.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/IMG_2445-scaled-e1594788064343-160x213.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/IMG_2445-scaled-e1594788064343-768x1024.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/IMG_2445-scaled-e1594788064343-1152x1536.jpeg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/IMG_2445-scaled-e1594788064343-1536x2048.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/IMG_2445-scaled-e1594788064343.jpeg 1920w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">The ‘My Skin Is Not a Crime’ airbrushed casket, created by DeAndre Drake.\u003c/figcaption>\u003c/figure>\n\u003cp>Last year, he airbrushed backpacks as a part of a giveaway for school kids in Oakland. He once used an Indy car as a canvas for a paint job inspired by Pink Floyd’s \u003cem>The Wall\u003c/em>. In December of 2018, \u003ca href=\"https://www.kqed.org/arts/13847457/the-delicate-art-of-adulting-during-the-holidays\" target=\"_blank\" rel=\"noopener noreferrer\">I watched\u003c/a> as he and his daughter painted nude models at a warehouse in West Oakland.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>So why suddenly make a political statement with a casket?\u003c/p>\n\u003cp>“The most touching part of George Floyd’s story was the quote from his daughter,” says Drake over the phone. “’My daddy changed the world.’”\u003c/p>\n\u003cp>Drake wants his own daughter to be able to look at him and say the same words—not just because he painted a casket, but because he used his art to bring awareness. “It’s not guaranteed to change the world, but it’s my attempt,” he says.\u003c/p>\n\u003cp>And he’s not alone in his effort, the community has already shown support.\u003c/p>\n\u003cp>Drake says that after paying for the casket in full, he told the business, \u003ca href=\"https://titancasket.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Titan Casket\u003c/a>, about his plans. They immediately refunded him 25% of the total.\u003c/p>\n\u003cp>When he ran behind on finishing the project, he got backup from another artist, \u003ca href=\"https://www.instagram.com/richairbrush/\" target=\"_blank\" rel=\"noopener noreferrer\">Rich Diltz\u003c/a>, who came down from the Sacramento area to support the endeavor.\u003c/p>\n\u003cp>The Joyce Gordon Gallery is hosting the casket and, on Saturday, holding a \u003ca href=\"https://www.instagram.com/p/CCjeLLvMcD5/\" target=\"_blank\" rel=\"noopener noreferrer\">memorial\u003c/a> dedicated to those who’ve lost their lives to police violence. Cephus X Johnson (aka “Uncle Bobby”), the uncle of Oscar Grant and a police accountability activist, is scheduled to speak.\u003c/p>\n\u003cp>And the casket itself will have a mock funeral procession, with a real hearse donated by Thompson Funeral home. That procession will be flanked by a group of bikers, convening at the \u003ca href=\"https://www.google.com/maps/place/Jamba+Rockridge+Shopping+Center/@37.8333862,-122.2517,17z/data=!3m1!4b1!4m5!3m4!1s0x80857defaf03e58f:0x849cfd6826678a94!8m2!3d37.833382!4d-122.249506\" target=\"_blank\" rel=\"noopener noreferrer\">Rockridge Jamba Juice\u003c/a> at 12:45pm and leaving at 1:45pm. The bikers are scheduled to meet up with the hearse at the \u003ca href=\"https://www.google.com/maps/place/Lucky/@37.7996682,-122.255534,17z/data=!3m1!4b1!4m12!1m6!3m5!1s0x808f8739eddd00d3:0x5dd486b4c19fb65c!2sLucky!8m2!3d37.799664!4d-122.25334!3m4!1s0x808f8739eddd00d3:0x5dd486b4c19fb65c!8m2!3d37.799664!4d-122.25334\" target=\"_blank\" rel=\"noopener noreferrer\">Lucky’s on E. 18th\u003c/a> around 2:15pm, and then ride the southern rim of Lake Merritt all the way to the Joyce Gordon Gallery on 14th Street.\u003c/p>\n\u003cp>The memorial event runs from 3pm to 7pm, and afterward, the casket will be on display in the gallery for a short period.\u003c/p>\n\u003cfigure id=\"attachment_13883558\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13883558\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/Airballin.Casket.Above_-1020x1360.jpg\" alt=\"Sandra Bland, the 14th Amendment, an enslaved young man, Trayvon Martin and Nia Wilson all grace the casket created by DeAndre Drake. \" width=\"640\" height=\"853\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Airballin.Casket.Above_-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Airballin.Casket.Above_-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Airballin.Casket.Above_-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Airballin.Casket.Above_-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Airballin.Casket.Above_-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Airballin.Casket.Above_-1536x2048.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Airballin.Casket.Above_.jpg 1920w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Sandra Bland, the 14th Amendment, an enslaved young man, Trayvon Martin and Nia Wilson all grace the casket created by DeAndre Drake. \u003ccite>(Airballin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Drake says there are three larger goals for his piece of art. First, he’d love for the casket to go on a tour of museums and galleries around the United States, once they’ve reopened to the public. He’d eventually like it to be at the Oakland Musuem of California for some time. And lastly, he wants to auction the casket and donate the money to local organizations who provide frontline services for the African American community.\u003c/p>\n\u003cp>These are ambitious goals, but Drake isn’t easily intimidated—he’s already overcome a lot in his career as an artist.\u003c/p>\n\u003cp>This coming fall he’s set to release a documentary called \u003cem>Pen to Pencil\u003c/em>, which chronicles how he picked up the craft while incarcerated, and always saw his artwork as a way to make money.\u003c/p>\n\u003cp>“I’ve never done political work in my art career,” says Drake. “I’ve always done art as a business, from day one. And I was told early on in my business career, ‘Never mix your politics with your business.'”\u003c/p>\n\u003cp>That’s why he kept his personal feelings out of his art for so long; to reach a larger audience and not ruffle any feathers while doing so. But now he has no hesitation about using his art to make statements, even if that means losing some clients. “The business I would possibly be losing now isn’t the business I want anyways,” he says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>While it’s honorable for any artist, especially an “artistic hustler,” to fight for change, I’d argue that in the mere fact he’s created this eye-catching work, the change has already been created, and the world slightly altered. If for no one else, then for a little girl out there who can say, “My daddy did that.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>DeAndre Drake, an artist from Oakland who works under the name \u003ca href=\"https://airballin.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Airballin\u003c/a>, recently airbrushed a casket with images of victims of police brutality. And for lack of a better word, it’s beautiful.\u003c/p>\n\u003cp>The casket is vibrant. Next to the names and faces with which we’ve come to be familiar, Drake has painted images of people who took notable political stands: Muhammad Ali, Colin Kaepernick and Assata Shakur. There’s also a police line’s yellow tape, an American flag, a Confederate flag, the 14th Amendment, a baby in the crosshairs of a rifle’s scope and JFK’s famous words: “We must never forget that art is not a form of propaganda, it is a form of truth.”\u003c/p>\n\u003cp>Drake reveals the casket to the public on Saturday, July 18, as part of the pop-up art show \u003cem>\u003ca href=\"https://www.instagram.com/p/CCjeLLvMcD5/\" target=\"_blank\" rel=\"noopener noreferrer\">My Skin Is Not A Crime\u003c/a>\u003c/em> at the Joyce Gordon Gallery in Oakland.\u003c/p>\n\u003cp>Drake’s casket comes during an ongoing series of actions this summer in response to the issue of police brutality. I’ve seen people jogging in solidarity, sitting in honor of those killed and even skateboarding down Twin Peaks while toting signs that read “Black Lives Matter.”\u003c/p>\n\u003cp>But this show of solidarity is a bit more morbid, and blunt. It’s also a new level of artwork for Drake.\u003c/p>\n\u003cfigure id=\"attachment_13883356\" class=\"wp-caption alignnone\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13883356 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/IMG_2445-scaled-e1594788064343-800x1067.jpeg\" alt='The \"My Skin Is Not a Crime\" airbrushed casket' width=\"600\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/IMG_2445-scaled-e1594788064343-800x1067.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/IMG_2445-scaled-e1594788064343-1020x1360.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/IMG_2445-scaled-e1594788064343-160x213.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/IMG_2445-scaled-e1594788064343-768x1024.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/IMG_2445-scaled-e1594788064343-1152x1536.jpeg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/IMG_2445-scaled-e1594788064343-1536x2048.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/IMG_2445-scaled-e1594788064343.jpeg 1920w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">The ‘My Skin Is Not a Crime’ airbrushed casket, created by DeAndre Drake.\u003c/figcaption>\u003c/figure>\n\u003cp>Last year, he airbrushed backpacks as a part of a giveaway for school kids in Oakland. He once used an Indy car as a canvas for a paint job inspired by Pink Floyd’s \u003cem>The Wall\u003c/em>. In December of 2018, \u003ca href=\"https://www.kqed.org/arts/13847457/the-delicate-art-of-adulting-during-the-holidays\" target=\"_blank\" rel=\"noopener noreferrer\">I watched\u003c/a> as he and his daughter painted nude models at a warehouse in West Oakland.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>So why suddenly make a political statement with a casket?\u003c/p>\n\u003cp>“The most touching part of George Floyd’s story was the quote from his daughter,” says Drake over the phone. “’My daddy changed the world.’”\u003c/p>\n\u003cp>Drake wants his own daughter to be able to look at him and say the same words—not just because he painted a casket, but because he used his art to bring awareness. “It’s not guaranteed to change the world, but it’s my attempt,” he says.\u003c/p>\n\u003cp>And he’s not alone in his effort, the community has already shown support.\u003c/p>\n\u003cp>Drake says that after paying for the casket in full, he told the business, \u003ca href=\"https://titancasket.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Titan Casket\u003c/a>, about his plans. They immediately refunded him 25% of the total.\u003c/p>\n\u003cp>When he ran behind on finishing the project, he got backup from another artist, \u003ca href=\"https://www.instagram.com/richairbrush/\" target=\"_blank\" rel=\"noopener noreferrer\">Rich Diltz\u003c/a>, who came down from the Sacramento area to support the endeavor.\u003c/p>\n\u003cp>The Joyce Gordon Gallery is hosting the casket and, on Saturday, holding a \u003ca href=\"https://www.instagram.com/p/CCjeLLvMcD5/\" target=\"_blank\" rel=\"noopener noreferrer\">memorial\u003c/a> dedicated to those who’ve lost their lives to police violence. Cephus X Johnson (aka “Uncle Bobby”), the uncle of Oscar Grant and a police accountability activist, is scheduled to speak.\u003c/p>\n\u003cp>And the casket itself will have a mock funeral procession, with a real hearse donated by Thompson Funeral home. That procession will be flanked by a group of bikers, convening at the \u003ca href=\"https://www.google.com/maps/place/Jamba+Rockridge+Shopping+Center/@37.8333862,-122.2517,17z/data=!3m1!4b1!4m5!3m4!1s0x80857defaf03e58f:0x849cfd6826678a94!8m2!3d37.833382!4d-122.249506\" target=\"_blank\" rel=\"noopener noreferrer\">Rockridge Jamba Juice\u003c/a> at 12:45pm and leaving at 1:45pm. The bikers are scheduled to meet up with the hearse at the \u003ca href=\"https://www.google.com/maps/place/Lucky/@37.7996682,-122.255534,17z/data=!3m1!4b1!4m12!1m6!3m5!1s0x808f8739eddd00d3:0x5dd486b4c19fb65c!2sLucky!8m2!3d37.799664!4d-122.25334!3m4!1s0x808f8739eddd00d3:0x5dd486b4c19fb65c!8m2!3d37.799664!4d-122.25334\" target=\"_blank\" rel=\"noopener noreferrer\">Lucky’s on E. 18th\u003c/a> around 2:15pm, and then ride the southern rim of Lake Merritt all the way to the Joyce Gordon Gallery on 14th Street.\u003c/p>\n\u003cp>The memorial event runs from 3pm to 7pm, and afterward, the casket will be on display in the gallery for a short period.\u003c/p>\n\u003cfigure id=\"attachment_13883558\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13883558\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/Airballin.Casket.Above_-1020x1360.jpg\" alt=\"Sandra Bland, the 14th Amendment, an enslaved young man, Trayvon Martin and Nia Wilson all grace the casket created by DeAndre Drake. \" width=\"640\" height=\"853\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Airballin.Casket.Above_-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Airballin.Casket.Above_-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Airballin.Casket.Above_-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Airballin.Casket.Above_-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Airballin.Casket.Above_-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Airballin.Casket.Above_-1536x2048.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Airballin.Casket.Above_.jpg 1920w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Sandra Bland, the 14th Amendment, an enslaved young man, Trayvon Martin and Nia Wilson all grace the casket created by DeAndre Drake. \u003ccite>(Airballin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Drake says there are three larger goals for his piece of art. First, he’d love for the casket to go on a tour of museums and galleries around the United States, once they’ve reopened to the public. He’d eventually like it to be at the Oakland Musuem of California for some time. And lastly, he wants to auction the casket and donate the money to local organizations who provide frontline services for the African American community.\u003c/p>\n\u003cp>These are ambitious goals, but Drake isn’t easily intimidated—he’s already overcome a lot in his career as an artist.\u003c/p>\n\u003cp>This coming fall he’s set to release a documentary called \u003cem>Pen to Pencil\u003c/em>, which chronicles how he picked up the craft while incarcerated, and always saw his artwork as a way to make money.\u003c/p>\n\u003cp>“I’ve never done political work in my art career,” says Drake. “I’ve always done art as a business, from day one. And I was told early on in my business career, ‘Never mix your politics with your business.'”\u003c/p>\n\u003cp>That’s why he kept his personal feelings out of his art for so long; to reach a larger audience and not ruffle any feathers while doing so. But now he has no hesitation about using his art to make statements, even if that means losing some clients. “The business I would possibly be losing now isn’t the business I want anyways,” he says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>While it’s honorable for any artist, especially an “artistic hustler,” to fight for change, I’d argue that in the mere fact he’s created this eye-catching work, the change has already been created, and the world slightly altered. If for no one else, then for a little girl out there who can say, “My daddy did that.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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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>\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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"title": "Julie Rodrigues Widholm Appointed New Director of BAMPFA",
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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>\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. \u003c/p>\u003c/div>",
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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": "\u003cdiv class=\"post-body\">\u003cp>\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\u003c/div>\u003c/p>",
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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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"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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"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
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},
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"id": "baycurious",
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"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
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},
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},
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"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"order": 8
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"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"order": 1
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"order": 9
},
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"meta": {
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"source": "WNYC"
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
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"source": "NPR"
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"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"hyphenacion": {
"id": "hyphenacion",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
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