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She asked her recipients where those ads led them in the intervening years. \u003c/p>\n\u003cp>“I myself am seeking something similar—a home in the woods, so to speak,” Arzt wrote. “Were you able to find what you were looking for?”\u003c/p>\n\u003cp>Over the next three years, as she finished grad school and traveled to residencies across the U.S., Arzt sent out 800 of these letters, tracking down names and addresses through online databases. She got nearly 200 responses from people who placed ads between 1968 and 1976—men and women who were looking for affordable land, like-minded communards and, in one case, “fellow dome nuts.” \u003c/p>\n\u003cp>These collected correspondences are now gathered in a three-volume Risograph-printed set titled \u003ci>\u003ca href=\"http://www.backtothe.land/\" rel=\"noopener noreferrer\" target=\"_blank\">The Positions and Situations Project: Back-to-the-Land Letters\u003c/a>\u003c/i> (after the name of the classifieds section in \u003ci>Mother Earth News\u003c/i>). The entire project adds up to more than 600 pages of ads, letters (many handwritten, some embellished with photos) and interviews Arzt conducted with participants she visited in person.\u003c/p>\n\u003cfigure id=\"attachment_13871668\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/arzt_books-4_1200.jpg\" alt=\"\" width=\"1200\" height=\"490\" class=\"size-full wp-image-13871668\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/arzt_books-4_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/arzt_books-4_1200-160x65.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/arzt_books-4_1200-800x327.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/arzt_books-4_1200-768x314.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/arzt_books-4_1200-1020x417.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">All three volumes of ‘The Positions and Situations Project: Back-to-the-Land Letters.’ \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What emerges in this remarkable juxtaposition between past dreams and present circumstances is a story of a generation that wasn’t interested in settling for the status quo. In their attempts to escape consumerism, pollution, the Vietnam War and an untrustworthy American political system, these (mostly white, middle-class) 20-somethings learned how to farm, raise animals and build their own homes. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The 100-word ads in \u003ci>Mother Earth News\u003c/i> in particular paint compelling pictures of the writers and the futures they hope for. And even in the countercultural back-to-the-land movement, there were fads. “[The ads] gave me a pretty interesting picture of what was going on that year, or what was trendy,” Arzt says, “whether it was sailboat communes or open marriages or all the things that people were trying.”\u003c/p>\n\u003cp>For most of her project participants, their time living in cooperative rural environments was short. But to Arzt, all experiences were valid, and telling. “There are a lot of happy stories in here but there are also some dark stories too, which I think is an important part of that time,” she says. \u003c/p>\n\u003cp>Included in \u003ci>Positions and Situations\u003c/i> are tales of fractured group dynamics, mental illness, violence, and—in one case—the murder of a family, possibly connected to an ad they placed in \u003ci>Mother Earth News\u003c/i>. One woman relayed her experience of falling in with the cult Children of God (COG) and struggling to readjust to outside life. “Coming back home was a kind of culture shock in some ways, and there no one who could help me deal with it,” she wrote to Arzt.\u003c/p>\n\u003cfigure id=\"attachment_13871669\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/arzt_vol2_01_1200.jpg\" alt=\"\" width=\"1200\" height=\"811\" class=\"size-full wp-image-13871669\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/arzt_vol2_01_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/arzt_vol2_01_1200-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/arzt_vol2_01_1200-800x541.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/arzt_vol2_01_1200-768x519.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/arzt_vol2_01_1200-1020x689.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A spread from ‘Positions and Situations’ Vol. 2. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But in many cases, Arzt’s correspondences yielded encouragement, pleasant memories of youthful exploits and invitations to visit the letter-writers’ homes. One offered very specific, hard-won advice: “Don’t build a house without any plans or blueprint.” A significant number of her participants had completely forgotten about the ads they placed. Some received no responses to their classifieds except for Arzt’s letter—nearly 50 years later.\u003c/p>\n\u003cp>This wasn’t the case with Cathy Anderjack’s ad, placed in a 1975 issue of \u003ci>Mother Earth News\u003c/i> when she was 23; it garnered over 70 written responses. Anderjack, Arzt says, is one of the most meaningful connections she made through the project, in part because putting her desire for a different life into print changed the course of Anderjack’s life. “Seeking position on a farm (preferably sheep-type or with potential for sheep raising),” Anderjack’s ad reads. “Am honest and simple in my desire to live in harmony with nature.” \u003c/p>\n\u003cp>“I was really interested in the people who weren’t that typical, heteronormative typeset that fit in better to dominant society,” Arzt says, “but those people were harder to find. I was interested in single women who were kind of traveling around, because that’s what I was doing.”\u003c/p>\n\u003cp>“I did find some of them!” she adds. Anderjack was one.\u003c/p>\n\u003cp>As a result of her ad, Anderjack ended up leaving social work in Atlantic City to live in the Finger Lakes region of New York, where she worked on farms, raised sheep and eventually built her own home, in which she still lives.\u003c/p>\n\u003cfigure id=\"attachment_13871673\" class=\"wp-caption aligncenter\" style=\"max-width: 1333px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/107_Headlands-Center-for-the-Arts100219_AndriaLo_WEB.jpg\" alt=\"\" width=\"1333\" height=\"1333\" class=\"size-full wp-image-13871673\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/107_Headlands-Center-for-the-Arts100219_AndriaLo_WEB.jpg 1333w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/107_Headlands-Center-for-the-Arts100219_AndriaLo_WEB-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/107_Headlands-Center-for-the-Arts100219_AndriaLo_WEB-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/107_Headlands-Center-for-the-Arts100219_AndriaLo_WEB-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/107_Headlands-Center-for-the-Arts100219_AndriaLo_WEB-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/107_Headlands-Center-for-the-Arts100219_AndriaLo_WEB-1200x1200.jpg 1200w\" sizes=\"(max-width: 1333px) 100vw, 1333px\">\u003cfigcaption class=\"wp-caption-text\">Alex Arzt in her Headlands Center for the Arts studio, her Risograph printer behind her. \u003ccite>(Andria Lo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And did Arzt find her own home in the woods? Not exactly. She now lives in Oakland, but her studio is at the relatively remote Headlands Center for the Arts, up the road from the former Nike missile site and overlooking Rodeo Lagoon and Beach. Her current projects include inviting people in for \u003ca href=\"https://www.alexarzt.com/store/riso-school\" rel=\"noopener noreferrer\" target=\"_blank\">Risograph printing workshops\u003c/a>. Next year, she’ll give a \u003ca href=\"http://www.placetalks.online/\" rel=\"noopener noreferrer\" target=\"_blank\">Place Talk\u003c/a> at the Prelinger Library on a type of wild cabbage found around the nearby Point Bonita lighthouse. And she’s also working on a collaborative field guide for Salmon Creek Farm in Albion, California, where artist Fritz Haeg is reviving \u003ca href=\"https://www.nytimes.com/2016/03/20/t-magazine/design/fritz-haeg-salmon-creek-farm-commune.html\" rel=\"noopener noreferrer\" target=\"_blank\">the former commune\u003c/a> as an artist colony.\u003c/p>\n\u003cp>[aside postID='arts_11023798']\u003c/p>\n\u003cp>She has also, like many of the people she corresponded with for \u003ci>Positions and Situations\u003c/i>, grown her own community—albeit an urban, multi-city one. Along with artists Annie Albagli and Gabbi Ncube, she is one of the founders of \u003ca href=\"https://whiz.world/\" rel=\"noopener noreferrer\" target=\"_blank\">Whiz World\u003c/a>, a publication, collaborative network and “evolving art machine.” Participants adopt a “Whiz” persona (e.g. Queen Whiz, Ghost Whiz, Wize Whiz) for projects that manifest as zines, readings, gatherings and performances. \u003c/p>\n\u003cp>Arzt says the back-to-the-land movement will always hold her interest. “I think there’s still a lot to unpack from that time that we haven’t quite done a good job at yet. We’re still working through what it meant,” she says. \u003c/p>\n\u003cp>And she sees a similar tendency in her contemporaries. She points to POC land projects like \u003ca href=\"http://www.soulfirefarm.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Soul Fire Farm\u003c/a> and the media savvy efforts of \u003ca href=\"https://greenhorns.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Greenhorns\u003c/a> as exciting examples of something she’s not quite ready to call a movement.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>But she’s optimistic: “I think people are thinking more critically and deeply about what it means to live rurally.”\u003c/p>\n\n",
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"excerpt": "Alex Arzt's time-traveling letters reveal the lives of people who advertised in back-to-the-land magazines of the 60s and 70s.",
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"title": "What Happened to the Back-to-the-Landers? | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When \u003ca href=\"https://www.alexarzt.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Alex Arzt\u003c/a> started writing letters to the past, she was a bit adrift in time and space herself. \u003c/p>\n\u003cp>It was 2014, and Arzt was halfway through an MFA program. “I am a 26-year-old graduate student at Virginia Commonwealth University working on a project about the back-to-the-land movement of the 1960s and 70s,” her letters started. She addressed her missives to people who had once placed classified ads in alternative, instructional magazines geared toward rural life, magazines like \u003ci>Mother Earth News\u003c/i>, \u003ci>Country Women\u003c/i>, \u003ci>Alternatives Newsletter\u003c/i> and \u003ci>The Modern Utopian\u003c/i>. She asked her recipients where those ads led them in the intervening years. \u003c/p>\n\u003cp>“I myself am seeking something similar—a home in the woods, so to speak,” Arzt wrote. “Were you able to find what you were looking for?”\u003c/p>\n\u003cp>Over the next three years, as she finished grad school and traveled to residencies across the U.S., Arzt sent out 800 of these letters, tracking down names and addresses through online databases. She got nearly 200 responses from people who placed ads between 1968 and 1976—men and women who were looking for affordable land, like-minded communards and, in one case, “fellow dome nuts.” \u003c/p>\n\u003cp>These collected correspondences are now gathered in a three-volume Risograph-printed set titled \u003ci>\u003ca href=\"http://www.backtothe.land/\" rel=\"noopener noreferrer\" target=\"_blank\">The Positions and Situations Project: Back-to-the-Land Letters\u003c/a>\u003c/i> (after the name of the classifieds section in \u003ci>Mother Earth News\u003c/i>). The entire project adds up to more than 600 pages of ads, letters (many handwritten, some embellished with photos) and interviews Arzt conducted with participants she visited in person.\u003c/p>\n\u003cfigure id=\"attachment_13871668\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/arzt_books-4_1200.jpg\" alt=\"\" width=\"1200\" height=\"490\" class=\"size-full wp-image-13871668\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/arzt_books-4_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/arzt_books-4_1200-160x65.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/arzt_books-4_1200-800x327.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/arzt_books-4_1200-768x314.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/arzt_books-4_1200-1020x417.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">All three volumes of ‘The Positions and Situations Project: Back-to-the-Land Letters.’ \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What emerges in this remarkable juxtaposition between past dreams and present circumstances is a story of a generation that wasn’t interested in settling for the status quo. In their attempts to escape consumerism, pollution, the Vietnam War and an untrustworthy American political system, these (mostly white, middle-class) 20-somethings learned how to farm, raise animals and build their own homes. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The 100-word ads in \u003ci>Mother Earth News\u003c/i> in particular paint compelling pictures of the writers and the futures they hope for. And even in the countercultural back-to-the-land movement, there were fads. “[The ads] gave me a pretty interesting picture of what was going on that year, or what was trendy,” Arzt says, “whether it was sailboat communes or open marriages or all the things that people were trying.”\u003c/p>\n\u003cp>For most of her project participants, their time living in cooperative rural environments was short. But to Arzt, all experiences were valid, and telling. “There are a lot of happy stories in here but there are also some dark stories too, which I think is an important part of that time,” she says. \u003c/p>\n\u003cp>Included in \u003ci>Positions and Situations\u003c/i> are tales of fractured group dynamics, mental illness, violence, and—in one case—the murder of a family, possibly connected to an ad they placed in \u003ci>Mother Earth News\u003c/i>. One woman relayed her experience of falling in with the cult Children of God (COG) and struggling to readjust to outside life. “Coming back home was a kind of culture shock in some ways, and there no one who could help me deal with it,” she wrote to Arzt.\u003c/p>\n\u003cfigure id=\"attachment_13871669\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/arzt_vol2_01_1200.jpg\" alt=\"\" width=\"1200\" height=\"811\" class=\"size-full wp-image-13871669\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/arzt_vol2_01_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/arzt_vol2_01_1200-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/arzt_vol2_01_1200-800x541.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/arzt_vol2_01_1200-768x519.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/arzt_vol2_01_1200-1020x689.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A spread from ‘Positions and Situations’ Vol. 2. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But in many cases, Arzt’s correspondences yielded encouragement, pleasant memories of youthful exploits and invitations to visit the letter-writers’ homes. One offered very specific, hard-won advice: “Don’t build a house without any plans or blueprint.” A significant number of her participants had completely forgotten about the ads they placed. Some received no responses to their classifieds except for Arzt’s letter—nearly 50 years later.\u003c/p>\n\u003cp>This wasn’t the case with Cathy Anderjack’s ad, placed in a 1975 issue of \u003ci>Mother Earth News\u003c/i> when she was 23; it garnered over 70 written responses. Anderjack, Arzt says, is one of the most meaningful connections she made through the project, in part because putting her desire for a different life into print changed the course of Anderjack’s life. “Seeking position on a farm (preferably sheep-type or with potential for sheep raising),” Anderjack’s ad reads. “Am honest and simple in my desire to live in harmony with nature.” \u003c/p>\n\u003cp>“I was really interested in the people who weren’t that typical, heteronormative typeset that fit in better to dominant society,” Arzt says, “but those people were harder to find. I was interested in single women who were kind of traveling around, because that’s what I was doing.”\u003c/p>\n\u003cp>“I did find some of them!” she adds. Anderjack was one.\u003c/p>\n\u003cp>As a result of her ad, Anderjack ended up leaving social work in Atlantic City to live in the Finger Lakes region of New York, where she worked on farms, raised sheep and eventually built her own home, in which she still lives.\u003c/p>\n\u003cfigure id=\"attachment_13871673\" class=\"wp-caption aligncenter\" style=\"max-width: 1333px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/107_Headlands-Center-for-the-Arts100219_AndriaLo_WEB.jpg\" alt=\"\" width=\"1333\" height=\"1333\" class=\"size-full wp-image-13871673\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/107_Headlands-Center-for-the-Arts100219_AndriaLo_WEB.jpg 1333w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/107_Headlands-Center-for-the-Arts100219_AndriaLo_WEB-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/107_Headlands-Center-for-the-Arts100219_AndriaLo_WEB-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/107_Headlands-Center-for-the-Arts100219_AndriaLo_WEB-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/107_Headlands-Center-for-the-Arts100219_AndriaLo_WEB-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/107_Headlands-Center-for-the-Arts100219_AndriaLo_WEB-1200x1200.jpg 1200w\" sizes=\"(max-width: 1333px) 100vw, 1333px\">\u003cfigcaption class=\"wp-caption-text\">Alex Arzt in her Headlands Center for the Arts studio, her Risograph printer behind her. \u003ccite>(Andria Lo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And did Arzt find her own home in the woods? Not exactly. She now lives in Oakland, but her studio is at the relatively remote Headlands Center for the Arts, up the road from the former Nike missile site and overlooking Rodeo Lagoon and Beach. Her current projects include inviting people in for \u003ca href=\"https://www.alexarzt.com/store/riso-school\" rel=\"noopener noreferrer\" target=\"_blank\">Risograph printing workshops\u003c/a>. Next year, she’ll give a \u003ca href=\"http://www.placetalks.online/\" rel=\"noopener noreferrer\" target=\"_blank\">Place Talk\u003c/a> at the Prelinger Library on a type of wild cabbage found around the nearby Point Bonita lighthouse. And she’s also working on a collaborative field guide for Salmon Creek Farm in Albion, California, where artist Fritz Haeg is reviving \u003ca href=\"https://www.nytimes.com/2016/03/20/t-magazine/design/fritz-haeg-salmon-creek-farm-commune.html\" rel=\"noopener noreferrer\" target=\"_blank\">the former commune\u003c/a> as an artist colony.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>She has also, like many of the people she corresponded with for \u003ci>Positions and Situations\u003c/i>, grown her own community—albeit an urban, multi-city one. Along with artists Annie Albagli and Gabbi Ncube, she is one of the founders of \u003ca href=\"https://whiz.world/\" rel=\"noopener noreferrer\" target=\"_blank\">Whiz World\u003c/a>, a publication, collaborative network and “evolving art machine.” Participants adopt a “Whiz” persona (e.g. Queen Whiz, Ghost Whiz, Wize Whiz) for projects that manifest as zines, readings, gatherings and performances. \u003c/p>\n\u003cp>Arzt says the back-to-the-land movement will always hold her interest. “I think there’s still a lot to unpack from that time that we haven’t quite done a good job at yet. We’re still working through what it meant,” she says. \u003c/p>\n\u003cp>And she sees a similar tendency in her contemporaries. She points to POC land projects like \u003ca href=\"http://www.soulfirefarm.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Soul Fire Farm\u003c/a> and the media savvy efforts of \u003ca href=\"https://greenhorns.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Greenhorns\u003c/a> as exciting examples of something she’s not quite ready to call a movement.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But she’s optimistic: “I think people are thinking more critically and deeply about what it means to live rurally.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>How often do you wander through a museum and stop to wonder exactly how a particular object arrived on this pedestal, in this institution, at this time?\u003c/p>\n\u003cp>I’ll be the first to say: not that often. In a small but dense show at the Asian Art Museum, curator of Southeast Asian art Natasha Reichle presents two case studies in “how this got here,” both sourced from the bottom of the sea. \u003c/p>\n\u003cp>\u003ci>\u003ca href=\"http://www.asianart.org/exhibitions/lost-at-sea\" rel=\"noopener noreferrer\" target=\"_blank\">Lost at Sea: Art Recovered from Shipwrecks\u003c/a>\u003c/i> tells stories not just of antiquities auctions, marine archaeology and what happens to things when they sit underwater for hundreds of years, but of 19th-century colonial practices, 15th-century trade routes and international maritime law. \u003c/p>\n\u003cp>“Who is entitled to centuries-old artworks recovered from shipwrecks?” Reichle asks. “Should they even be excavated, or should vessels and their contents be left in situ for future generations?” A wall of visitor-annotated Post-its in the exhibition collects the varied responses to such questions.\u003c/p>\n\u003cp>\u003ci>Lost at Sea\u003c/i> doesn’t just provide intellectual pause, it’s also visually stunning. Among the formerly submerged artworks on display is a concretion—a solid mass of stoneware, shells, corroding iron and the remains of sea creatures that glommed together over nearly 600 years in the South China Sea. From the second shipwreck, a steamer that sunk off the coast of Somalia in 1877, the museum has two large-scale 12th-century stone reliefs from Central Vietnam. Removed from a ruined temple by a French colonial officer in the 19th century, the relics were on their way to France, and never quite arrived.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Provenance has long been a concern for collecting institutions, but it’s rarely discussed and presented in such transparent terms to the general public. \u003ci>Lost at Sea\u003c/i> lays bare the systems of privilege and access that facilitate the movement of historically significant objects around the world, making clear the complex social, political and economic forces that transport any object onto a museum’s pedestal. \u003ci>–Sarah Hotchkiss\u003c/i>\u003c/p>\n\n",
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"content": "\u003cp>Looking for things to do in the Bay Area this weekend? The Do List has you covered with concerts, festivals, exhibitions, plays, performances and more.\u003c/p>\n\u003cp>You can listen to this week’s episode with KQED’s Gabe Meline, Sarah Hotchkiss and Sam Lefebvre above, or read about our picks below.\u003c/p>\n\u003cp>\u003cstrong>Terry Fox, ‘The Labyrinth Scored for the Purrs of 11 Different Cats’\u003c/strong>: Here’s a fun one: \u003ca href=\"https://www.youtube.com/watch?v=iTSCVMxjXNg\" rel=\"noopener noreferrer\" target=\"_blank\">the sound of 11 cats purring\u003c/a>, layered together by artist Terry Fox, in an exhibition at BAMPFA. The sound of a cat purr is obviously a calming one, and Fox designed it to be listened to while walking a cathedral-style labyrinth in this 1977 piece, \u003cem>The Labyrinth Scored for the Purrs of 11 Different Cats\u003c/em>. The purr of each individual cat is meant to represent one of the 11 concentric rings of the labyrinth as you walk it—and friends, this is your last chance, because this totally one-of-a-kind experience ends this weekend, Dec. 15, at BAMPFA in downtown Berkeley. \u003ca href=\"https://bampfa.org/program/terry-fox-resonance\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—GM\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Art With Elders Holiday Sale\u003c/strong>: Here’s a slightly more conventional suggestion this week. It’s a one-day holiday art show and sale at Cushion Works, a Mission District project space… And maybe you’re thinking… Another holiday sale? But this one’s slightly different. All the work comes from the Art With Elders program, a really incredible nonprofit that provides art classes for Bay Area seniors in long-term care communities like Laguna Honda Hospital. And this is a specially curated display of that work. That’s Sunday, Dec. 15, at Cushion Works in San Francisco. \u003ca href=\"https://www.artwithelders.org/2019/12/cushion-works-holiday-show-and-sale/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—SH\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Hip-Hop at the Fine Art Museum\u003c/strong>: There’s an exhibit we’ve talked about previously on the Do List called \u003cem>Soul of a Nation\u003c/em>—a massive exhibition celebrating black artists and black power at the de Young. What’s new this weekend is what I’m 99% sure has never happened before there: a show by a hip-hop group at the museum. Saturday brings the Oakland group Souls of Mischief to the de Young, in both a live show and a screening of their documentary, \u003cem>‘Til Infinity\u003c/em>. A big bonus here is that museum admission is free that day for Bay Area residents, including admission to \u003cem>Soul of a Nation\u003c/em>. That’s Saturday, Dec. 14, at the de Young Museum in San Francisco. \u003ca href=\"https://deyoung.famsf.org/calendar/free-saturdays-musical-performance-souls-mischief-til-infinity-souls-mischief-film\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—GM\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>ABO Comix Release Party\u003c/strong>: ABO Comix publishes autobiographical comics by and for queer and transgender prisoners incarcerated around the country. The Oakland publisher is part of a movement centering prison abolition in the struggle for LGBTQ liberation, and considers part of that work to be diligently corresponding with queer prisoners and figuring out how to get them money for their artwork. In the past couple years, ABO has raised more than $10,000 for its artists. This weekend, ABO celebrates the release of its third anthology with a show featuring a local punk band called Anti Repression Music. That’s on Saturday, Dec. 14, at Classic Cars West in Oakland. \u003ca href=\"https://oaklandartmurmur.org/events/abo-comix-iii-release-party/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—SL\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>‘The Nutcracker’\u003c/strong>: I know, I know—you can see \u003cem>The Nutcracker\u003c/em> on approximately twelve billion stages this month. I’ve got two to recommend. The first is the big kahuna: the SF Ballet’s \u003cem>Nutcracker\u003c/em>. I finally saw this last year, and all I can say is believe the hype. It’s dazzling with a breathtaking set, top-tier dancing, you can’t go wrong. That runs at the War Memorial Opera House through Dec. 29. Details here. But then there’s a version of \u003cem>The Nutcracker\u003c/em> in Oakland that’s a little different. There’s no nutcracker. No mouse, even. It’s called \u003cem>KOLA: An Afro Diasporic Remix of the Nutcracker\u003c/em>. The lead character, Nzingha, travels through the African diaspora learning different dances, like Afro-Haitian, Afro-Cuban, jazz, hip-hop, break-dancing and more. That runs now through Dec. 22 at Castlemont High School in Oakland. \u003ca href=\"https://www.thepeoplesconservatory.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—GM\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Looking for things to do in the Bay Area this weekend? The Do List has you covered with concerts, festivals, exhibitions, plays, performances and more.\u003c/p>\n\u003cp>You can listen to this week’s episode with KQED’s Gabe Meline, Sarah Hotchkiss and Sam Lefebvre above, or read about our picks below.\u003c/p>\n\u003cp>\u003cstrong>Terry Fox, ‘The Labyrinth Scored for the Purrs of 11 Different Cats’\u003c/strong>: Here’s a fun one: \u003ca href=\"https://www.youtube.com/watch?v=iTSCVMxjXNg\" rel=\"noopener noreferrer\" target=\"_blank\">the sound of 11 cats purring\u003c/a>, layered together by artist Terry Fox, in an exhibition at BAMPFA. The sound of a cat purr is obviously a calming one, and Fox designed it to be listened to while walking a cathedral-style labyrinth in this 1977 piece, \u003cem>The Labyrinth Scored for the Purrs of 11 Different Cats\u003c/em>. The purr of each individual cat is meant to represent one of the 11 concentric rings of the labyrinth as you walk it—and friends, this is your last chance, because this totally one-of-a-kind experience ends this weekend, Dec. 15, at BAMPFA in downtown Berkeley. \u003ca href=\"https://bampfa.org/program/terry-fox-resonance\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—GM\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Art With Elders Holiday Sale\u003c/strong>: Here’s a slightly more conventional suggestion this week. It’s a one-day holiday art show and sale at Cushion Works, a Mission District project space… And maybe you’re thinking… Another holiday sale? But this one’s slightly different. All the work comes from the Art With Elders program, a really incredible nonprofit that provides art classes for Bay Area seniors in long-term care communities like Laguna Honda Hospital. And this is a specially curated display of that work. That’s Sunday, Dec. 15, at Cushion Works in San Francisco. \u003ca href=\"https://www.artwithelders.org/2019/12/cushion-works-holiday-show-and-sale/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—SH\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Hip-Hop at the Fine Art Museum\u003c/strong>: There’s an exhibit we’ve talked about previously on the Do List called \u003cem>Soul of a Nation\u003c/em>—a massive exhibition celebrating black artists and black power at the de Young. What’s new this weekend is what I’m 99% sure has never happened before there: a show by a hip-hop group at the museum. Saturday brings the Oakland group Souls of Mischief to the de Young, in both a live show and a screening of their documentary, \u003cem>‘Til Infinity\u003c/em>. A big bonus here is that museum admission is free that day for Bay Area residents, including admission to \u003cem>Soul of a Nation\u003c/em>. That’s Saturday, Dec. 14, at the de Young Museum in San Francisco. \u003ca href=\"https://deyoung.famsf.org/calendar/free-saturdays-musical-performance-souls-mischief-til-infinity-souls-mischief-film\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—GM\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>ABO Comix Release Party\u003c/strong>: ABO Comix publishes autobiographical comics by and for queer and transgender prisoners incarcerated around the country. The Oakland publisher is part of a movement centering prison abolition in the struggle for LGBTQ liberation, and considers part of that work to be diligently corresponding with queer prisoners and figuring out how to get them money for their artwork. In the past couple years, ABO has raised more than $10,000 for its artists. This weekend, ABO celebrates the release of its third anthology with a show featuring a local punk band called Anti Repression Music. That’s on Saturday, Dec. 14, at Classic Cars West in Oakland. \u003ca href=\"https://oaklandartmurmur.org/events/abo-comix-iii-release-party/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—SL\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>‘The Nutcracker’\u003c/strong>: I know, I know—you can see \u003cem>The Nutcracker\u003c/em> on approximately twelve billion stages this month. I’ve got two to recommend. The first is the big kahuna: the SF Ballet’s \u003cem>Nutcracker\u003c/em>. I finally saw this last year, and all I can say is believe the hype. It’s dazzling with a breathtaking set, top-tier dancing, you can’t go wrong. That runs at the War Memorial Opera House through Dec. 29. Details here. But then there’s a version of \u003cem>The Nutcracker\u003c/em> in Oakland that’s a little different. There’s no nutcracker. No mouse, even. It’s called \u003cem>KOLA: An Afro Diasporic Remix of the Nutcracker\u003c/em>. The lead character, Nzingha, travels through the African diaspora learning different dances, like Afro-Haitian, Afro-Cuban, jazz, hip-hop, break-dancing and more. That runs now through Dec. 22 at Castlemont High School in Oakland. \u003ca href=\"https://www.thepeoplesconservatory.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—GM\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>This a one-day holiday art show and sale at the Mission District project space Cushion Works isn’t your ordinary holiday art show and sale. And that’s because the artists are seasoned, if not professional. \u003c/p>\n\u003cp>All the work, selected by artist Vincent Fecteau and curator Jordan Stein, comes from the \u003ca href=\"https://www.artwithelders.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Art With Elders\u003c/a> program, a nonprofit that provides art classes for Bay Area seniors in long-term care communities like Laguna Honda Hospital. \u003c/p>\n\u003cp>The event promises to include work by (but not limited to): Jessie Brown, Margaret Dolores, Anthony Eng, Mama G, Tomiko Ishiwatari, Walter Jordan, David Mar, Ida Marksman, Stephen Mays, Jeffrey McFarland, Rita Pareino, Teresa Piccirillo and Margaret Rivers.\u003c/p>\n\u003cp>And if you need further encouragement, how about this tag line: “Unique holiday gifts, all priced to move.” \u003ci>–Sarah Hotchkiss\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"slug": "murray-bowles-legendary-bay-area-punk-photographer-dies-at-68",
"title": "Murray Bowles, Legendary Bay Area Punk Photographer, Dies at 68",
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"content": "\u003cp>Murray Bowles, the photographer who chronicled the characters, chaos and energy of the Bay Area’s punk scene for over three decades, died at his home in Sacramento on Sunday. He was 68.\u003c/p>\n\u003cp>Often seen in the middle of swirling crowds, one arm lifting his camera into the air, Bowles created tens of thousands of images that captured the close-up intensity of a punk show. Many of his photos became defining images, particularly in the East Bay punk scene, and his photos graced magazines, record artwork and film documentaries.\u003c/p>\n\u003cp>“One of the great rites of passage of being a teenage Berkeley punk rocker was finally getting into one of Murray’s pictures,” said close friend Anna Brown. “It meant that you were \u003cem>in\u003c/em>.”\u003c/p>\n\u003cfigure id=\"attachment_13232566\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-800x533.jpg\" alt=\"Billie Joe Armstrong (third from right) sings with Operation Ivy onstage at 924 Gilman, circa 1988.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13232566\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-520x347.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Billie Joe Armstrong (third from right) sings with Operation Ivy onstage at 924 Gilman, circa 1988. \u003ccite>(Photo: Murray Bowles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bowles photographed thousands of bands, including many at Berkeley punk club 924 Gilman during the 1980s and 1990s. Along with bands like Crucifix, Filth, Crimpshrine and Fang, some of Bowles’ most iconic early photos capture young bands that went on to become globally known, like Operation Ivy, Neurosis, and Green Day.\u003c/p>\n\u003cp>But Bowles preferred the warehouses and basements.\u003c/p>\n\u003cfigure id=\"attachment_13871168\" class=\"wp-caption alignright\" style=\"max-width: 1080px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/Richie.Murray.jpg\" alt=\"Murray Bowles depicted on the cover of Green Day's album 'Dookie.'\" width=\"1080\" height=\"1080\" class=\"size-full wp-image-13871168\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Richie.Murray.jpg 1080w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Richie.Murray-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Richie.Murray-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Richie.Murray-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Richie.Murray-1020x1020.jpg 1020w\" sizes=\"auto, (max-width: 1080px) 100vw, 1080px\">\u003cfigcaption class=\"wp-caption-text\">Murray Bowles depicted on the cover of Green Day’s album ‘Dookie.’ \u003ccite>(Richie Bucher)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“He was right in there with the gritty basement shows, with kids, just sweaty, wild and free,” Brown said. “And I think that one of the things that’s so great about Murrays’ pictures is that sort of joyfulness. Even if was the most violent, negative band, the pictures came across as really sweet.”\u003c/p>\n\u003cp>Bowles was such a ubiquitous presence at Bay Area punk shows that he was included by artist Richie Bucher \u003ca href=\"https://www.instagram.com/p/B51xw5phoJrsez1PWqTuOOzRAFGOnbtN0ESHKc0/\" rel=\"noopener noreferrer\" target=\"_blank\">on the cover\u003c/a> of Green Day’s 1994 breakthrough album \u003cem>Dookie\u003c/em>, in his signature point-and-shoot pose. \u003c/p>\n\u003cp>“For me, he’s the most important part of that drawing,” said Bucher, who initially wanted to include everyone in the Berkeley punk scene in the tableau, an impossible task. “I don’t know if I thought about it at the time, but I realize now that by putting him in there, I wasn’t leaving anybody out. Because everybody from our scene could connect to him.”\u003c/p>\n\u003cp>“Murray, you are a legend,” wrote Green Day’s Billie Joe Armstrong \u003ca href=\"https://www.instagram.com/p/B51rOYnHlA4/\" rel=\"noopener noreferrer\" target=\"_blank\">on Instagram\u003c/a> on Monday. “I remember seeing your photos up on the walls at Gilman the first time I ever went there. Amazing photographer, musician. The nicest man and a great friend to the punks. East Bay punk has a heavy heart today.”\u003c/p>\n\u003cp>\u003cstrong>\u003cem>[See a giant collection of Murray Bowles’ photos \u003ca href=\"https://www.facebook.com/profile.php?id=100005407748464&sk=media_set&set=a.211229612400629&type=3\" rel=\"noopener noreferrer\" target=\"_blank\">here\u003c/a>.]\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Questions about the future of Bowles’ archive have already been addressed. Brown said that, with Bowles, she’s planned for decades to publish a book of his photographs, a project she still hopes to see to fruition. Bowles selected all the images before he died, and helped with an outline for the book. \u003c/p>\n\u003cp>Corbett Redford, director of the documentary \u003cem>\u003ca href=\"https://www.kqed.org/arts/13239750/the-definitive-documentary-on-east-bay-punk-is-coming-pit-warning\" rel=\"noopener noreferrer\" target=\"_blank\">Turn It Around: The Story of East Bay Punk\u003c/a>\u003c/em>, said that having access to Bowles’ archive was a crucial component to the film. “He was so generous to give [his archive] to us. We would not have a documentary if it was not for him.”\u003c/p>\n\u003cfigure id=\"attachment_13871189\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/DavidHayes.Murray-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13871189\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/DavidHayes.Murray-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/DavidHayes.Murray-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/DavidHayes.Murray-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/DavidHayes.Murray-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/DavidHayes.Murray-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/DavidHayes.Murray.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Murray Bowles (R) with Very Small Records founder David Hayes. \u003ccite>(Courtesy Corbett Redford)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It was through the making of \u003cem>Turn It Around\u003c/em> that 25 years of Bowles’ photos were finally preserved. Redford tells the story of driving to Bowles’ San Jose home with fanzine editor Robert Eggplant and Tim Armstrong from the band Rancid. There, the three went through decades of old photos and negatives.\u003c/p>\n\u003cp>“It was all gathering dust in his closet—30,000 negatives that were pretty disorganized,” Redford said. The three loaded all of Bowles’ negatives into the trunk, and drove back to Oakland to be cleaned and digitized over time by Caoimhe Carty, the film’s online editor. \u003c/p>\n\u003cp>“When I was driving back, I had what I felt was the Tiffany Diamond in the trunk,” Redford said. “I kept thinking, ‘Please don’t get in an accident. If I do, the entire history is gone.’”\u003c/p>\n\u003cfigure id=\"attachment_13243294\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-800x533.jpg\" alt=\"Green Day with first drummer John Kiffmeyer at Gilman, circa 1990.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13243294\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-520x347.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Green Day with first drummer John Kiffmeyer at Gilman, circa 1990. \u003ccite>(Murray Bowles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bowles was raised in San Gabriel, California, and learned photography from his grandfather. Upon graduating from UC Berkeley in 1976, he found work as a computer programmer in San Jose, but an assignment to photograph a show for the fanzine \u003cem>Ripper\u003c/em> got him hooked on the action of punk. “I started bringing my camera to every show I went to,” he told \u003cem>Maximum RocknRoll\u003c/em> in \u003ca href=\"http://maximumrocknroll.com/murray-bowles/\" rel=\"noopener noreferrer\" target=\"_blank\">a 2009 interview\u003c/a>. “It was addictive.”\u003c/p>\n\u003cp>Bowles initially distributed his photos by bringing a box of them to shows and selling them for 15 cents each to cover development costs, eventually raising the price to a quarter. It became a tradition among punks to scrape together change and buy pictures of themselves at shows from the week prior. In 1987, \u003cem>Maximum RockNRoll\u003c/em> published a special issue dedicated to Bowles’ photography, titled \u003cem>If Life is a Bowl of Cherries, Why am I in the Pit?\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13871178\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/GBH.Bowles-800x596.jpg\" alt=\"A stagediver at a GBH show in the early 1980s. \" width=\"800\" height=\"596\" class=\"size-medium wp-image-13871178\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/GBH.Bowles.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/GBH.Bowles-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/GBH.Bowles-768x572.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A stagediver at a GBH show in the early 1980s, from ‘If Life is a Bowl of Cherries, Why am I in the Pit?’. \u003ccite>(Murray Bowles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Later, Bowles maintained an \u003ca href=\"https://www.instagram.com/murraybowles/?hl=en\" rel=\"noopener noreferrer\" target=\"_blank\">active Instagram account\u003c/a>, posting pictures from shows along with his other hobbies: food, beer, bicycling, nature. He also played the viola for several bands, as well as the Peninsula Symphony and the occasional theatre pit orchestra. He worked for Dell Computers until his retirement, when he moved to Sacramento.\u003c/p>\n\u003cp>There, Brown said, he continued to go to underground shows up until the end, always taking photos. “He really captured this side of punk that was not cliché,” Brown said. “He really got it.”\u003c/p>\n\u003cfigure id=\"attachment_13871203\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/MurrayViola-2.jpg\" alt=\"Murray Bowles, playing his viola.\" width=\"600\" height=\"400\" class=\"size-full wp-image-13871203\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/MurrayViola-2.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/MurrayViola-2-160x107.jpg 160w\" sizes=\"auto, (max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Murray Bowles, playing his viola. \u003ccite>(Courtesy Corbett Redford)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Matt Saincome, founder of the punk satire site The Hard Times, remembered Bowles for his commitment and tenacity.\u003c/p>\n\u003cp>“My friends and I, we threw a show at a barn in Clayton when I was 16,” Saincome said. “There were 12 people there, out in the middle of nowhere, up this mountain, it didn’t even have an address. Absolutely no one came. No popular bands. And all of a sudden, Murray popped up. It’s me and 12 of my friends, and then him… His dedication to punk went so far that he wasn’t just going to a couple venues here and there. He said, ‘I’m gonna drive up this mountain in Clayton, to a barn with cows and chickens.’”\u003c/p>\n\u003cfigure id=\"attachment_13871194\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/MurrayBowles.AnnaBrown-800x530.jpg\" alt=\"Murray Bowles at Sibley Park, in the East Bay hills.\" width=\"800\" height=\"530\" class=\"size-medium wp-image-13871194\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/MurrayBowles.AnnaBrown-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/MurrayBowles.AnnaBrown-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/MurrayBowles.AnnaBrown-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/MurrayBowles.AnnaBrown-1020x676.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/MurrayBowles.AnnaBrown-1200x796.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/MurrayBowles.AnnaBrown.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Murray Bowles at Sibley Park, in the East Bay hills. \u003ccite>(Anna Brown)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Saincome echoed the sentiment that Bowles chronicled people, music and moments that would otherwise be forgotten, with an eye for people’s humanity. “If you’re a Bay Area punk kid, you can go to \u003ca href=\"https://pbase.com/murraybowles/\" rel=\"noopener noreferrer\" target=\"_blank\">his website\u003c/a> and watch yourself grow up in real time through his photos,” Saincome said.\u003c/p>\n\u003cp>“Just the fact that it was him taking your picture—it made you feel legitimate, and valuable, and part of something,” said Bucher. “I had trouble feeling part of anything. But if Murray’s there, then it’s hard not to feel included.”\u003c/p>\n\u003cp>As Becca Bolo, a Gilman regular in the 1990s, put it, “Murray was an incredibly talented person who gave us the gift of seeing ourselves as the beautiful humans that we are.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Murray Bowles, the photographer who chronicled the characters, chaos and energy of the Bay Area’s punk scene for over three decades, died at his home in Sacramento on Sunday. He was 68.\u003c/p>\n\u003cp>Often seen in the middle of swirling crowds, one arm lifting his camera into the air, Bowles created tens of thousands of images that captured the close-up intensity of a punk show. Many of his photos became defining images, particularly in the East Bay punk scene, and his photos graced magazines, record artwork and film documentaries.\u003c/p>\n\u003cp>“One of the great rites of passage of being a teenage Berkeley punk rocker was finally getting into one of Murray’s pictures,” said close friend Anna Brown. “It meant that you were \u003cem>in\u003c/em>.”\u003c/p>\n\u003cfigure id=\"attachment_13232566\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-800x533.jpg\" alt=\"Billie Joe Armstrong (third from right) sings with Operation Ivy onstage at 924 Gilman, circa 1988.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13232566\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-520x347.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Billie Joe Armstrong (third from right) sings with Operation Ivy onstage at 924 Gilman, circa 1988. \u003ccite>(Photo: Murray Bowles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bowles photographed thousands of bands, including many at Berkeley punk club 924 Gilman during the 1980s and 1990s. Along with bands like Crucifix, Filth, Crimpshrine and Fang, some of Bowles’ most iconic early photos capture young bands that went on to become globally known, like Operation Ivy, Neurosis, and Green Day.\u003c/p>\n\u003cp>But Bowles preferred the warehouses and basements.\u003c/p>\n\u003cfigure id=\"attachment_13871168\" class=\"wp-caption alignright\" style=\"max-width: 1080px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/Richie.Murray.jpg\" alt=\"Murray Bowles depicted on the cover of Green Day's album 'Dookie.'\" width=\"1080\" height=\"1080\" class=\"size-full wp-image-13871168\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Richie.Murray.jpg 1080w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Richie.Murray-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Richie.Murray-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Richie.Murray-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Richie.Murray-1020x1020.jpg 1020w\" sizes=\"auto, (max-width: 1080px) 100vw, 1080px\">\u003cfigcaption class=\"wp-caption-text\">Murray Bowles depicted on the cover of Green Day’s album ‘Dookie.’ \u003ccite>(Richie Bucher)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“He was right in there with the gritty basement shows, with kids, just sweaty, wild and free,” Brown said. “And I think that one of the things that’s so great about Murrays’ pictures is that sort of joyfulness. Even if was the most violent, negative band, the pictures came across as really sweet.”\u003c/p>\n\u003cp>Bowles was such a ubiquitous presence at Bay Area punk shows that he was included by artist Richie Bucher \u003ca href=\"https://www.instagram.com/p/B51xw5phoJrsez1PWqTuOOzRAFGOnbtN0ESHKc0/\" rel=\"noopener noreferrer\" target=\"_blank\">on the cover\u003c/a> of Green Day’s 1994 breakthrough album \u003cem>Dookie\u003c/em>, in his signature point-and-shoot pose. \u003c/p>\n\u003cp>“For me, he’s the most important part of that drawing,” said Bucher, who initially wanted to include everyone in the Berkeley punk scene in the tableau, an impossible task. “I don’t know if I thought about it at the time, but I realize now that by putting him in there, I wasn’t leaving anybody out. Because everybody from our scene could connect to him.”\u003c/p>\n\u003cp>“Murray, you are a legend,” wrote Green Day’s Billie Joe Armstrong \u003ca href=\"https://www.instagram.com/p/B51rOYnHlA4/\" rel=\"noopener noreferrer\" target=\"_blank\">on Instagram\u003c/a> on Monday. “I remember seeing your photos up on the walls at Gilman the first time I ever went there. Amazing photographer, musician. The nicest man and a great friend to the punks. East Bay punk has a heavy heart today.”\u003c/p>\n\u003cp>\u003cstrong>\u003cem>[See a giant collection of Murray Bowles’ photos \u003ca href=\"https://www.facebook.com/profile.php?id=100005407748464&sk=media_set&set=a.211229612400629&type=3\" rel=\"noopener noreferrer\" target=\"_blank\">here\u003c/a>.]\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Questions about the future of Bowles’ archive have already been addressed. Brown said that, with Bowles, she’s planned for decades to publish a book of his photographs, a project she still hopes to see to fruition. Bowles selected all the images before he died, and helped with an outline for the book. \u003c/p>\n\u003cp>Corbett Redford, director of the documentary \u003cem>\u003ca href=\"https://www.kqed.org/arts/13239750/the-definitive-documentary-on-east-bay-punk-is-coming-pit-warning\" rel=\"noopener noreferrer\" target=\"_blank\">Turn It Around: The Story of East Bay Punk\u003c/a>\u003c/em>, said that having access to Bowles’ archive was a crucial component to the film. “He was so generous to give [his archive] to us. We would not have a documentary if it was not for him.”\u003c/p>\n\u003cfigure id=\"attachment_13871189\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/DavidHayes.Murray-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13871189\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/DavidHayes.Murray-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/DavidHayes.Murray-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/DavidHayes.Murray-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/DavidHayes.Murray-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/DavidHayes.Murray-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/DavidHayes.Murray.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Murray Bowles (R) with Very Small Records founder David Hayes. \u003ccite>(Courtesy Corbett Redford)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It was through the making of \u003cem>Turn It Around\u003c/em> that 25 years of Bowles’ photos were finally preserved. Redford tells the story of driving to Bowles’ San Jose home with fanzine editor Robert Eggplant and Tim Armstrong from the band Rancid. There, the three went through decades of old photos and negatives.\u003c/p>\n\u003cp>“It was all gathering dust in his closet—30,000 negatives that were pretty disorganized,” Redford said. The three loaded all of Bowles’ negatives into the trunk, and drove back to Oakland to be cleaned and digitized over time by Caoimhe Carty, the film’s online editor. \u003c/p>\n\u003cp>“When I was driving back, I had what I felt was the Tiffany Diamond in the trunk,” Redford said. “I kept thinking, ‘Please don’t get in an accident. If I do, the entire history is gone.’”\u003c/p>\n\u003cfigure id=\"attachment_13243294\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-800x533.jpg\" alt=\"Green Day with first drummer John Kiffmeyer at Gilman, circa 1990.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13243294\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-520x347.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Green Day with first drummer John Kiffmeyer at Gilman, circa 1990. \u003ccite>(Murray Bowles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bowles was raised in San Gabriel, California, and learned photography from his grandfather. Upon graduating from UC Berkeley in 1976, he found work as a computer programmer in San Jose, but an assignment to photograph a show for the fanzine \u003cem>Ripper\u003c/em> got him hooked on the action of punk. “I started bringing my camera to every show I went to,” he told \u003cem>Maximum RocknRoll\u003c/em> in \u003ca href=\"http://maximumrocknroll.com/murray-bowles/\" rel=\"noopener noreferrer\" target=\"_blank\">a 2009 interview\u003c/a>. “It was addictive.”\u003c/p>\n\u003cp>Bowles initially distributed his photos by bringing a box of them to shows and selling them for 15 cents each to cover development costs, eventually raising the price to a quarter. It became a tradition among punks to scrape together change and buy pictures of themselves at shows from the week prior. In 1987, \u003cem>Maximum RockNRoll\u003c/em> published a special issue dedicated to Bowles’ photography, titled \u003cem>If Life is a Bowl of Cherries, Why am I in the Pit?\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13871178\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/GBH.Bowles-800x596.jpg\" alt=\"A stagediver at a GBH show in the early 1980s. \" width=\"800\" height=\"596\" class=\"size-medium wp-image-13871178\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/GBH.Bowles.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/GBH.Bowles-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/GBH.Bowles-768x572.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A stagediver at a GBH show in the early 1980s, from ‘If Life is a Bowl of Cherries, Why am I in the Pit?’. \u003ccite>(Murray Bowles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Later, Bowles maintained an \u003ca href=\"https://www.instagram.com/murraybowles/?hl=en\" rel=\"noopener noreferrer\" target=\"_blank\">active Instagram account\u003c/a>, posting pictures from shows along with his other hobbies: food, beer, bicycling, nature. He also played the viola for several bands, as well as the Peninsula Symphony and the occasional theatre pit orchestra. He worked for Dell Computers until his retirement, when he moved to Sacramento.\u003c/p>\n\u003cp>There, Brown said, he continued to go to underground shows up until the end, always taking photos. “He really captured this side of punk that was not cliché,” Brown said. “He really got it.”\u003c/p>\n\u003cfigure id=\"attachment_13871203\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/MurrayViola-2.jpg\" alt=\"Murray Bowles, playing his viola.\" width=\"600\" height=\"400\" class=\"size-full wp-image-13871203\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/MurrayViola-2.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/MurrayViola-2-160x107.jpg 160w\" sizes=\"auto, (max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Murray Bowles, playing his viola. \u003ccite>(Courtesy Corbett Redford)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Matt Saincome, founder of the punk satire site The Hard Times, remembered Bowles for his commitment and tenacity.\u003c/p>\n\u003cp>“My friends and I, we threw a show at a barn in Clayton when I was 16,” Saincome said. “There were 12 people there, out in the middle of nowhere, up this mountain, it didn’t even have an address. Absolutely no one came. No popular bands. And all of a sudden, Murray popped up. It’s me and 12 of my friends, and then him… His dedication to punk went so far that he wasn’t just going to a couple venues here and there. He said, ‘I’m gonna drive up this mountain in Clayton, to a barn with cows and chickens.’”\u003c/p>\n\u003cfigure id=\"attachment_13871194\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/MurrayBowles.AnnaBrown-800x530.jpg\" alt=\"Murray Bowles at Sibley Park, in the East Bay hills.\" width=\"800\" height=\"530\" class=\"size-medium wp-image-13871194\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/MurrayBowles.AnnaBrown-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/MurrayBowles.AnnaBrown-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/MurrayBowles.AnnaBrown-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/MurrayBowles.AnnaBrown-1020x676.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/MurrayBowles.AnnaBrown-1200x796.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/MurrayBowles.AnnaBrown.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Murray Bowles at Sibley Park, in the East Bay hills. \u003ccite>(Anna Brown)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Saincome echoed the sentiment that Bowles chronicled people, music and moments that would otherwise be forgotten, with an eye for people’s humanity. “If you’re a Bay Area punk kid, you can go to \u003ca href=\"https://pbase.com/murraybowles/\" rel=\"noopener noreferrer\" target=\"_blank\">his website\u003c/a> and watch yourself grow up in real time through his photos,” Saincome said.\u003c/p>\n\u003cp>“Just the fact that it was him taking your picture—it made you feel legitimate, and valuable, and part of something,” said Bucher. “I had trouble feeling part of anything. But if Murray’s there, then it’s hard not to feel included.”\u003c/p>\n\u003cp>As Becca Bolo, a Gilman regular in the 1990s, put it, “Murray was an incredibly talented person who gave us the gift of seeing ourselves as the beautiful humans that we are.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The \u003ca href=\"https://www.asharaekundayogallery.com/about\">Ashara Ekundayo Gallery\u003c/a> in Oakland is a space where black womxn artists are celebrated. Every piece ever shown was made by someone who identifies as such. Unfortunately, after nearly seven years of operating in two different locations, the gallery will be closing its doors on December 13th. But before it closes, Ekundayo is putting on one last exhibition, “Adjust Yo Eyes for This Darkness.”\u003c/p>\n\u003cp>As artwork was unboxed and the walls were repainted for the final show, I talked to Ekundayo about why she’s stepping away from the role of gallery owner.\u003c/p>\n\u003cp>She told me that change is something that’s in the air in Oakland; You can literally hear the sound of the constant construction bleed through her gallery walls.\u003c/p>\n\u003cp>But, through talking to her, I realized change is a bit more nuanced. In the midst of displacement and construction, people are still pursuing dreams, falling in love, and seeking major life changes. In Ashara’s case, she wants to \u003ca href=\"https://artistasfirstrespondercom.godaddysites.com/\">write a book\u003c/a> about how artists use their work as a first response to oppressive situations. After all, that’s how she used the gallery space.\u003c/p>\n\u003cp>And she isn’t totally stepping away from using art in a physical space to combat social issues, she has some big plans in the works.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>So, although she’s closing the gallery, it’s not a “sad goodbye” thing. No, the sentiment is more of a “congratulations for all you’ve achieved, and we’re looking forward to the next step.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The \u003ca href=\"https://www.asharaekundayogallery.com/about\">Ashara Ekundayo Gallery\u003c/a> in Oakland is a space where black womxn artists are celebrated. Every piece ever shown was made by someone who identifies as such. Unfortunately, after nearly seven years of operating in two different locations, the gallery will be closing its doors on December 13th. But before it closes, Ekundayo is putting on one last exhibition, “Adjust Yo Eyes for This Darkness.”\u003c/p>\n\u003cp>As artwork was unboxed and the walls were repainted for the final show, I talked to Ekundayo about why she’s stepping away from the role of gallery owner.\u003c/p>\n\u003cp>She told me that change is something that’s in the air in Oakland; You can literally hear the sound of the constant construction bleed through her gallery walls.\u003c/p>\n\u003cp>But, through talking to her, I realized change is a bit more nuanced. In the midst of displacement and construction, people are still pursuing dreams, falling in love, and seeking major life changes. In Ashara’s case, she wants to \u003ca href=\"https://artistasfirstrespondercom.godaddysites.com/\">write a book\u003c/a> about how artists use their work as a first response to oppressive situations. After all, that’s how she used the gallery space.\u003c/p>\n\u003cp>And she isn’t totally stepping away from using art in a physical space to combat social issues, she has some big plans in the works.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "The Do List: Local Gifts, a Nia Wilson Film, Angel Olsen and Other Picks for Dec. 5-12",
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"content": "\u003cp>Looking for things to do in the Bay Area this weekend? The Do List has you covered with concerts, festivals, exhibitions, plays, performances and more.\u003c/p>\n\u003cp>You can listen to this week’s episode with KQED’s Gabe Meline and Sam Lefebvre above, or read about our picks below.\u003c/p>\n\u003cp>\u003cstrong>Michael Feinstein\u003c/strong>: I don’t wanna say it… you don’t wanna admit it… but the holidays are here. And along with it come holiday concerts. It’s my personal opinion that if you’re gonna do a holiday concert, you should go all the way into syrupy sentimentalism, and after seeing him earlier this year, I can say that Michael Feinstein is the master of it. A constantly beaming smile, between-song stories about home and mother, it’s the whole nostalgic package. There’s a reason he’s among the best in the cabaret field. Michael Feinstein’s holiday show runs Thursday through Sunday, Dec. 5-8, in the elegant confines of Feinstein’s at the Nikko Hotel in San Francisco. \u003ca href=\"https://www.feinsteinssf.com/event/5f0c1805eed4142b59212366151094c7\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—GM\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Angel Olsen\u003c/strong>: The other night I was at this sort of avant-drag theater performance in downtown Oakland, when one of the artists performed “\u003ca href=\"https://www.youtube.com/watch?v=6uaN60k0-zY\" rel=\"noopener noreferrer\" target=\"_blank\">Lark\u003c/a>” by the songwriter Angel Olsen. It’s the opening song on her most recent album, \u003cem>All Mirrors\u003c/em>, and it really impressed on me just how instantly classic her work is—that in the midst of these ’90s rock anthems and expected torch songs, a drag queen does a two-month old ballad by Angel Olsen. She performs Saturday, Dec. 7, at the Fox Theater. \u003ca href=\"http://thefoxoakland.com/events/angel-olsen\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—SL\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Ashara Ekandayo Gallery Closing Reception\u003c/strong>: Nia Wilson, the 18-year-old woman who was murdered at MacArthur BART station a year and a half ago, had a lot of friends, a bright future, and with her cousins, a rap group, Girlz N the Hood. This week, there’s a short video screening and multimedia performance of \u003cem>Nia Wilson Station\u003c/em>, a project that examines the dangers that black women face in public spaces. It’s part of the final First Friday reception for Ashara Ekandayo Gallery, which is closing after two years with a show called \u003cem>Adjust Yo Eyes for This Darkness\u003c/em>. The reception and screening is Friday, Dec. 6, from 6pm–9pm, at Ashara Ekandayo Gallery in Oakland. \u003ca href=\"https://www.asharaekundayogallery.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—GM\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Local Gift Ideas\u003c/strong>: On Friday, Dec. 6, Oakland arts nonprofit \u003cstrong>Creative Growth\u003c/strong> holds their annual holiday studio sale. Creative Growth has played a critical role in promoting artwork by people with disabilities for decades, and this is a longstanding event where you can buy original works at affordable prices. It’s decorated the homes of some of my more stylish friends. \u003ca href=\"https://creativegrowth.org/exhibitions/holiday-studio-sale-2019\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>. On Saturday, Dec. 7, the \u003cstrong>East Bay Alternative Book & Zine Fest\u003c/strong> gets underway at Omni Commons in Oakland—the tenth annual installment of a crucial self-publishing summit. \u003ca href=\"https://omnicommons.org/calendar/events/10th-annual-east-bay-alternative-book-zine-fest/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>. And finally, on Sunday, Dec. 8, \u003cstrong>SFMOMA\u003c/strong> presents a small press book bazaar with community partners including Colpa Press and the Black Aesthetic. This event coincides with the opening of a new exhibition, \u003cem>Printed Publics: Contemporary Art and Design Publishing in the Bay Area\u003c/em>, and admission to the entire museum is free all day. \u003ca href=\"https://www.sfmoma.org/event/small-press-book-bazaar/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—SL\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Storm Large\u003c/strong>: Many people know this wonderful pop vocalist as a singer in the lounge- and classical-influenced ensemble Pink Martini. As for her own solo concerts… they can get \u003ca href=\"https://www.youtube.com/watch?v=0kWpsB8x2Xs\" rel=\"noopener noreferrer\" target=\"_blank\">a little raucous\u003c/a>. Large brings her show “Holiday Ordeal” to the Hammer Theatre Center in San Jose on Saturday, Dec. 7; there’s an early show for the family, and a late show for adults that’s more risqué. Details here. And next weekend, coming full circle on this week’s picks, she’ll be at Feinstein’s in San Francisco; \u003ca href=\"https://www.feinsteinssf.com/event/fd576714964c8312665bd2f560da54d5\" rel=\"noopener noreferrer\" target=\"_blank\">details here\u003c/a>.\u003cem>—GM\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Looking for things to do in the Bay Area this weekend? The Do List has you covered with concerts, festivals, exhibitions, plays, performances and more.\u003c/p>\n\u003cp>You can listen to this week’s episode with KQED’s Gabe Meline and Sam Lefebvre above, or read about our picks below.\u003c/p>\n\u003cp>\u003cstrong>Michael Feinstein\u003c/strong>: I don’t wanna say it… you don’t wanna admit it… but the holidays are here. And along with it come holiday concerts. It’s my personal opinion that if you’re gonna do a holiday concert, you should go all the way into syrupy sentimentalism, and after seeing him earlier this year, I can say that Michael Feinstein is the master of it. A constantly beaming smile, between-song stories about home and mother, it’s the whole nostalgic package. There’s a reason he’s among the best in the cabaret field. Michael Feinstein’s holiday show runs Thursday through Sunday, Dec. 5-8, in the elegant confines of Feinstein’s at the Nikko Hotel in San Francisco. \u003ca href=\"https://www.feinsteinssf.com/event/5f0c1805eed4142b59212366151094c7\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—GM\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Angel Olsen\u003c/strong>: The other night I was at this sort of avant-drag theater performance in downtown Oakland, when one of the artists performed “\u003ca href=\"https://www.youtube.com/watch?v=6uaN60k0-zY\" rel=\"noopener noreferrer\" target=\"_blank\">Lark\u003c/a>” by the songwriter Angel Olsen. It’s the opening song on her most recent album, \u003cem>All Mirrors\u003c/em>, and it really impressed on me just how instantly classic her work is—that in the midst of these ’90s rock anthems and expected torch songs, a drag queen does a two-month old ballad by Angel Olsen. She performs Saturday, Dec. 7, at the Fox Theater. \u003ca href=\"http://thefoxoakland.com/events/angel-olsen\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—SL\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Ashara Ekandayo Gallery Closing Reception\u003c/strong>: Nia Wilson, the 18-year-old woman who was murdered at MacArthur BART station a year and a half ago, had a lot of friends, a bright future, and with her cousins, a rap group, Girlz N the Hood. This week, there’s a short video screening and multimedia performance of \u003cem>Nia Wilson Station\u003c/em>, a project that examines the dangers that black women face in public spaces. It’s part of the final First Friday reception for Ashara Ekandayo Gallery, which is closing after two years with a show called \u003cem>Adjust Yo Eyes for This Darkness\u003c/em>. The reception and screening is Friday, Dec. 6, from 6pm–9pm, at Ashara Ekandayo Gallery in Oakland. \u003ca href=\"https://www.asharaekundayogallery.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—GM\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Local Gift Ideas\u003c/strong>: On Friday, Dec. 6, Oakland arts nonprofit \u003cstrong>Creative Growth\u003c/strong> holds their annual holiday studio sale. Creative Growth has played a critical role in promoting artwork by people with disabilities for decades, and this is a longstanding event where you can buy original works at affordable prices. It’s decorated the homes of some of my more stylish friends. \u003ca href=\"https://creativegrowth.org/exhibitions/holiday-studio-sale-2019\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>. On Saturday, Dec. 7, the \u003cstrong>East Bay Alternative Book & Zine Fest\u003c/strong> gets underway at Omni Commons in Oakland—the tenth annual installment of a crucial self-publishing summit. \u003ca href=\"https://omnicommons.org/calendar/events/10th-annual-east-bay-alternative-book-zine-fest/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>. And finally, on Sunday, Dec. 8, \u003cstrong>SFMOMA\u003c/strong> presents a small press book bazaar with community partners including Colpa Press and the Black Aesthetic. This event coincides with the opening of a new exhibition, \u003cem>Printed Publics: Contemporary Art and Design Publishing in the Bay Area\u003c/em>, and admission to the entire museum is free all day. \u003ca href=\"https://www.sfmoma.org/event/small-press-book-bazaar/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—SL\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Storm Large\u003c/strong>: Many people know this wonderful pop vocalist as a singer in the lounge- and classical-influenced ensemble Pink Martini. As for her own solo concerts… they can get \u003ca href=\"https://www.youtube.com/watch?v=0kWpsB8x2Xs\" rel=\"noopener noreferrer\" target=\"_blank\">a little raucous\u003c/a>. Large brings her show “Holiday Ordeal” to the Hammer Theatre Center in San Jose on Saturday, Dec. 7; there’s an early show for the family, and a late show for adults that’s more risqué. Details here. And next weekend, coming full circle on this week’s picks, she’ll be at Feinstein’s in San Francisco; \u003ca href=\"https://www.feinsteinssf.com/event/fd576714964c8312665bd2f560da54d5\" rel=\"noopener noreferrer\" target=\"_blank\">details here\u003c/a>.\u003cem>—GM\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "the-black-community-a-target-for-the-tobacco-industry-since-slavery",
"title": "The Black Community: A Target for the Tobacco Industry Since Slavery",
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"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">H\u003c/span>ave you ever looked at the Center for Disease Control’s \u003ca href=\"https://www.cdc.gov/tobacco/disparities/african-americans/index.htm\">web page\u003c/a> that highlights the tobacco industry’s impact on African Americans? It’s horrifying.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>According to the data, black folks say they want to quit smoking more than other demographic, but fail more often. We are more readily exposed to second hand smoke than other groups. And we live in communities where smoking advertisements disproportionately saturate the market—especially ads for menthols.\u003c/p>\n\u003cp>And in big bold letters, in the middle of the page, it says, “Tobacco use is a major contributor to the three leading causes of death among African Americans—heart disease, cancer, and stroke.”\u003c/p>\n\u003cp>Yeah, the numbers are up to date. And at the same time, this issue isn’t anything new. It’s been like this for ages. Some might say it’s been like this since our ancestors were enslaved on the tobacco farms in the Carolinas.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I’m looking at it from slavery to vaping,” says Tracy Brown, lead artist and curator of the \u003ca href=\"https://www.eventbrite.com/e/same-game-different-smokers-exhibition-registration-79486629649\">\u003cem>Same Game Different Smokers\u003c/em>\u003c/a>, an exhibition sponsored by The African American Tobacco Contol Leadership Council (AATCLC) and the African American Center at the San Francisco Library, which is running at the San Francisco Main Library from Dec. 7 through the first week of February.\u003c/p>\n\u003cfigure id=\"attachment_13870551\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870551\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/Screen-Shot-2019-12-02-at-10.45.10-AM-800x555.png\" alt=\"Jim Crow meets Newport\" width=\"800\" height=\"555\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Screen-Shot-2019-12-02-at-10.45.10-AM-800x555.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Screen-Shot-2019-12-02-at-10.45.10-AM-160x111.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Screen-Shot-2019-12-02-at-10.45.10-AM-768x532.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Screen-Shot-2019-12-02-at-10.45.10-AM.png 952w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jim Crow meets Newport. \u003ccite>(Tracy Brown)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span>n exhibition about the tobacco industry preying on African Americans isn’t new—there have been many others. But many of them look at the 1950s and ’60s, according to Brown. “I make the case that the tobacco industry has been targeting the black community since the 1600s,” she says.\u003c/p>\n\u003cp>Brown uses archival images, depictions of black people from the last decade as well as from the last century. She compares the posture of people in the photos, combines that with data collected from industry documents, and shows it all as evidence why 45,000 African Americans die from smoking every year.\u003c/p>\n\u003cp>But Brown, who works with the\u003ca href=\"https://www.savingblacklives.org/\" target=\"_blank\" rel=\"noopener noreferrer\"> African American Tobacco Control Leadership Council\u003c/a>, says San Francisco’s recent passage of legislation \u003ca href=\"https://www.kqed.org/news/11784856/san-francisco-voters-uphold-ban-on-e-cigarette-sales-rejecting-juul-funded-proposition-c\" target=\"_blank\" rel=\"noopener noreferrer\">banning the sale of e-cigarettes\u003c/a> is a glimmer of hope, and may be a sign that Big Tobacco is losing control.\u003c/p>\n\u003cp>[audio src=\"https://www.kqed.org/.stream/anon/radio/RDnews/2020/01/WattTobaccoExhibit.mp3\" Image=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/download-1.jpg \" Title=\"A New Exhibition Sheds Light on How Big Tobacco Targeted Generations of Black Americans\"]\u003c/p>\n\u003cp>\u003cstrong>\u003cem>KQED’s \u003ca href=\"https://www.kqed.org/author/bwatt\">Brian Watt\u003c/a> visited \u003c/em>\u003ca href=\"http://sfpl.org/?pg=1041223901\" target=\"_blank\" rel=\"noopener noreferrer\">Same Game Different Smokers\u003c/a>\u003cem>, an exhibition at the San Francisco Public Library that sheds light on how big tobacco companies have historically preyed on African American communities. Tap play above to listen to the segment. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>She adds it’s unfortunate that change has been spawned by headline after headline of vaping deaths, largely in white communities. But maybe it’ll open the conversation to smoking’s impacts, past and preset, on the black community.\u003c/p>\n\u003cp>“We know that menthol products have been used to target the black community,” says Brown. “The makers of Newport, for example.”\u003c/p>\n\u003cp>According to the CDC, “Over 7 out of 10 African American youth ages 12-17 years who smoke use menthol cigarettes.”\u003c/p>\n\u003cp>I asked the dumb question that needed to be asked: why do black folks like menthol?\u003c/p>\n\u003cp>Brown says, “We tend to lean toward menthol, not because of a natural inclination, but what happens with menthol when you smoke it. It sweetens the taste of tobacco, cools down and numbs your mouth and throat. The kids like menthol and mint flavors.”\u003c/p>\n\u003cp>But the black community isn’t unique in liking menthol products, says Brown. “What’s unique is the tobacco industry using \u003cem>JET\u003c/em> magazine and \u003cem>Ebony\u003c/em>, and attaching them to images of us that are very attractive.”\u003c/p>\n\u003cfigure id=\"attachment_13870723\" class=\"wp-caption alignright\" style=\"max-width: 193px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-13870723\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/download.jpg\" alt=\"Tracy Brown\" width=\"193\" height=\"494\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/download.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/download-160x410.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/download-469x1200.jpg 469w\" sizes=\"(max-width: 193px) 100vw, 193px\">\u003cfigcaption class=\"wp-caption-text\">Tracy Brown. \u003ccite>(Tracy Brown)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There was a time when I smoked menthols as a teen. But during that short stint, on one fateful day, I put a partially lit Newport into my pants pocket while rushing to jump the 58 bus in downtown Oakland. Yup, that’s all it took for me to kick the habit.\u003c/p>\n\u003cp>Some people aren’t as lucky to feel the pain of smoking so acutely. For most of my friends, at this age, it’s habitual. But at one time, I recall them telling me it was about a feeling, or just about access, or simply an aesthetic thing.\u003c/p>\n\u003cp>Brown says that aesthetic—that attractive image, which the big tobacco companies successfully sold—was strategic. But it goes beyond advertising. “They sponsored events, they work with black leaders… the tobacco industry has been very cunning in getting support of the black community,” says Brown.\u003c/p>\n\u003cp>There are reportedly \u003ca href=\"https://www.tobaccofreekids.org/assets/factsheets/0208.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">documents that show \u003c/a> that show tobacco companies, like Phillip Morris, have been “engaged” with the NAACP the National Urban League and The United Negro College Fund since the 1950s.\u003c/p>\n\u003cp>Prior to doing any research, Brown already presumed the people who run the industry were “shiesty.” Digging into old reports and data confirmed that assumption, and talking to people about firsthand experiences brought further revelations about the size of the tobacco industry’s target on the black community.\u003c/p>\n\u003cp>“One guy told me his mom would leave a lit cigarette in each room so she’d have something to smoke as she walked thru the house,” says Brown.\u003c/p>\n\u003cp>She’s been impacted by smoking on a personal level, too. She’s lost six close family members from tobacco. “One of my favorite aunts died this year,” she says, “and she was a chain smoker.”\u003c/p>\n\u003cp>She told me her aunt’s name was Victoria—Aunt Vicky—who loved gardening and watching movies, “and she could talk mess with the best of them,” said Brown, who used to visit her all the time in Florida.\u003c/p>\n\u003cp>Brown says she has family roots down there, as well as Mississippi and South Carolina. She’s traced her lineage, and has found the family that enslaved her paternal grandfather’s side. “My great-great-great grandfather was able to buy the land.”\u003c/p>\n\u003cp>Of course, it was “40 acres and a mule,” supposedly granted to formerly enslaved folks by the \u003ca href=\"https://www.georgiaencyclopedia.org/articles/history-archaeology/shermans-field-order-no-15\" target=\"_blank\" rel=\"noopener noreferrer\">Freedman’s Bureau\u003c/a>. And, of course, it was agricultural land in South Carolina—where they most likely grew tobacco.\u003c/p>\n\u003cfigure id=\"attachment_13870956\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870956\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/Newport-800x528.jpg\" alt=\"Newport and Kool cigarette ads.\" width=\"800\" height=\"528\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Newport-800x528.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Newport-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Newport-768x507.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Newport-1020x674.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Newport-1200x793.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Newport.jpg 1337w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Newport and Kool cigarette ads.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">B\u003c/span>ut Brown, a proud San Francisco native, says San Francisco is doing something significant with its e-cigarette ban, hence her desire to hold the opening here. Ultimately, she wants to spread the word, bring the exhibit to other cities, get the FDA to step to the plate, and see something happen on a federal level.\u003c/p>\n\u003cp>At the same time, Brown isn’t waiting on elected officials. She wants families to be proactive, too. And she’s extending an invitation to all school districts to take a school trip or tell the friends and family about the exhibition. “I’ve talked to every child in my life about these products,” she says.\u003c/p>\n\u003cp>It’s a drastic shift from when I was a kid. Just a few decades ago, smoking was everywhere. Joe Camel was a cool-ass smoking cartoon. The fly guys all smoked in movies. There were billboards and bus benches. Not to mention ads in the corner stores—and there were stores on every corner. Hell, one of the coldest lines of all time is Richie Rich’s: “\u003ca href=\"https://www.youtube.com/watch?v=CiZ3XtGtmQs\" target=\"_blank\" rel=\"noopener noreferrer\">Where you from? Oakland, smokin’!\u003c/a>”\u003c/p>\n\u003cp>Of course, Rich was talking about smoking marijuana. But even that usually came rolled in tobacco.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Same Game Different Smokers’ runs Dec. 7–Feb. 6 at the Main Branch of the San Francisco Public Library. The opening reception on Dec. 7 includes a presentation from \u003ca href=\"https://www.facebook.com/pages/category/Community-Organization/Ohlone-Sisters-2025939511008221/\" target=\"_blank\" rel=\"nofollow noopener noreferrer\">The Ohlone Sisters, \u003c/a>a performance by \u003ca href=\"https://www.actaonline.org/profile/omnira-institute/\" target=\"_blank\" rel=\"nofollow noopener noreferrer\">Awon Ohun Omnira (Voices of Freedom) \u003c/a>and a mural by \u003ca href=\"http://www.aerosoulart.com/\" target=\"_blank\" rel=\"nofollow noopener noreferrer\">Aerosoul Arts\u003c/a> called “Emancipate Yourself From Menthol Slavery.” \u003ca href=\"https://sfpl.org/index.php?pg=1041223901\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">H\u003c/span>ave you ever looked at the Center for Disease Control’s \u003ca href=\"https://www.cdc.gov/tobacco/disparities/african-americans/index.htm\">web page\u003c/a> that highlights the tobacco industry’s impact on African Americans? It’s horrifying.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>According to the data, black folks say they want to quit smoking more than other demographic, but fail more often. We are more readily exposed to second hand smoke than other groups. And we live in communities where smoking advertisements disproportionately saturate the market—especially ads for menthols.\u003c/p>\n\u003cp>And in big bold letters, in the middle of the page, it says, “Tobacco use is a major contributor to the three leading causes of death among African Americans—heart disease, cancer, and stroke.”\u003c/p>\n\u003cp>Yeah, the numbers are up to date. And at the same time, this issue isn’t anything new. It’s been like this for ages. Some might say it’s been like this since our ancestors were enslaved on the tobacco farms in the Carolinas.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I’m looking at it from slavery to vaping,” says Tracy Brown, lead artist and curator of the \u003ca href=\"https://www.eventbrite.com/e/same-game-different-smokers-exhibition-registration-79486629649\">\u003cem>Same Game Different Smokers\u003c/em>\u003c/a>, an exhibition sponsored by The African American Tobacco Contol Leadership Council (AATCLC) and the African American Center at the San Francisco Library, which is running at the San Francisco Main Library from Dec. 7 through the first week of February.\u003c/p>\n\u003cfigure id=\"attachment_13870551\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870551\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/Screen-Shot-2019-12-02-at-10.45.10-AM-800x555.png\" alt=\"Jim Crow meets Newport\" width=\"800\" height=\"555\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Screen-Shot-2019-12-02-at-10.45.10-AM-800x555.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Screen-Shot-2019-12-02-at-10.45.10-AM-160x111.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Screen-Shot-2019-12-02-at-10.45.10-AM-768x532.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Screen-Shot-2019-12-02-at-10.45.10-AM.png 952w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jim Crow meets Newport. \u003ccite>(Tracy Brown)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span>n exhibition about the tobacco industry preying on African Americans isn’t new—there have been many others. But many of them look at the 1950s and ’60s, according to Brown. “I make the case that the tobacco industry has been targeting the black community since the 1600s,” she says.\u003c/p>\n\u003cp>Brown uses archival images, depictions of black people from the last decade as well as from the last century. She compares the posture of people in the photos, combines that with data collected from industry documents, and shows it all as evidence why 45,000 African Americans die from smoking every year.\u003c/p>\n\u003cp>But Brown, who works with the\u003ca href=\"https://www.savingblacklives.org/\" target=\"_blank\" rel=\"noopener noreferrer\"> African American Tobacco Control Leadership Council\u003c/a>, says San Francisco’s recent passage of legislation \u003ca href=\"https://www.kqed.org/news/11784856/san-francisco-voters-uphold-ban-on-e-cigarette-sales-rejecting-juul-funded-proposition-c\" target=\"_blank\" rel=\"noopener noreferrer\">banning the sale of e-cigarettes\u003c/a> is a glimmer of hope, and may be a sign that Big Tobacco is losing control.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>KQED’s \u003ca href=\"https://www.kqed.org/author/bwatt\">Brian Watt\u003c/a> visited \u003c/em>\u003ca href=\"http://sfpl.org/?pg=1041223901\" target=\"_blank\" rel=\"noopener noreferrer\">Same Game Different Smokers\u003c/a>\u003cem>, an exhibition at the San Francisco Public Library that sheds light on how big tobacco companies have historically preyed on African American communities. Tap play above to listen to the segment. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>She adds it’s unfortunate that change has been spawned by headline after headline of vaping deaths, largely in white communities. But maybe it’ll open the conversation to smoking’s impacts, past and preset, on the black community.\u003c/p>\n\u003cp>“We know that menthol products have been used to target the black community,” says Brown. “The makers of Newport, for example.”\u003c/p>\n\u003cp>According to the CDC, “Over 7 out of 10 African American youth ages 12-17 years who smoke use menthol cigarettes.”\u003c/p>\n\u003cp>I asked the dumb question that needed to be asked: why do black folks like menthol?\u003c/p>\n\u003cp>Brown says, “We tend to lean toward menthol, not because of a natural inclination, but what happens with menthol when you smoke it. It sweetens the taste of tobacco, cools down and numbs your mouth and throat. The kids like menthol and mint flavors.”\u003c/p>\n\u003cp>But the black community isn’t unique in liking menthol products, says Brown. “What’s unique is the tobacco industry using \u003cem>JET\u003c/em> magazine and \u003cem>Ebony\u003c/em>, and attaching them to images of us that are very attractive.”\u003c/p>\n\u003cfigure id=\"attachment_13870723\" class=\"wp-caption alignright\" style=\"max-width: 193px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-13870723\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/download.jpg\" alt=\"Tracy Brown\" width=\"193\" height=\"494\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/download.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/download-160x410.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/download-469x1200.jpg 469w\" sizes=\"(max-width: 193px) 100vw, 193px\">\u003cfigcaption class=\"wp-caption-text\">Tracy Brown. \u003ccite>(Tracy Brown)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There was a time when I smoked menthols as a teen. But during that short stint, on one fateful day, I put a partially lit Newport into my pants pocket while rushing to jump the 58 bus in downtown Oakland. Yup, that’s all it took for me to kick the habit.\u003c/p>\n\u003cp>Some people aren’t as lucky to feel the pain of smoking so acutely. For most of my friends, at this age, it’s habitual. But at one time, I recall them telling me it was about a feeling, or just about access, or simply an aesthetic thing.\u003c/p>\n\u003cp>Brown says that aesthetic—that attractive image, which the big tobacco companies successfully sold—was strategic. But it goes beyond advertising. “They sponsored events, they work with black leaders… the tobacco industry has been very cunning in getting support of the black community,” says Brown.\u003c/p>\n\u003cp>There are reportedly \u003ca href=\"https://www.tobaccofreekids.org/assets/factsheets/0208.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">documents that show \u003c/a> that show tobacco companies, like Phillip Morris, have been “engaged” with the NAACP the National Urban League and The United Negro College Fund since the 1950s.\u003c/p>\n\u003cp>Prior to doing any research, Brown already presumed the people who run the industry were “shiesty.” Digging into old reports and data confirmed that assumption, and talking to people about firsthand experiences brought further revelations about the size of the tobacco industry’s target on the black community.\u003c/p>\n\u003cp>“One guy told me his mom would leave a lit cigarette in each room so she’d have something to smoke as she walked thru the house,” says Brown.\u003c/p>\n\u003cp>She’s been impacted by smoking on a personal level, too. She’s lost six close family members from tobacco. “One of my favorite aunts died this year,” she says, “and she was a chain smoker.”\u003c/p>\n\u003cp>She told me her aunt’s name was Victoria—Aunt Vicky—who loved gardening and watching movies, “and she could talk mess with the best of them,” said Brown, who used to visit her all the time in Florida.\u003c/p>\n\u003cp>Brown says she has family roots down there, as well as Mississippi and South Carolina. She’s traced her lineage, and has found the family that enslaved her paternal grandfather’s side. “My great-great-great grandfather was able to buy the land.”\u003c/p>\n\u003cp>Of course, it was “40 acres and a mule,” supposedly granted to formerly enslaved folks by the \u003ca href=\"https://www.georgiaencyclopedia.org/articles/history-archaeology/shermans-field-order-no-15\" target=\"_blank\" rel=\"noopener noreferrer\">Freedman’s Bureau\u003c/a>. And, of course, it was agricultural land in South Carolina—where they most likely grew tobacco.\u003c/p>\n\u003cfigure id=\"attachment_13870956\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870956\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/Newport-800x528.jpg\" alt=\"Newport and Kool cigarette ads.\" width=\"800\" height=\"528\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Newport-800x528.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Newport-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Newport-768x507.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Newport-1020x674.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Newport-1200x793.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Newport.jpg 1337w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Newport and Kool cigarette ads.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">B\u003c/span>ut Brown, a proud San Francisco native, says San Francisco is doing something significant with its e-cigarette ban, hence her desire to hold the opening here. Ultimately, she wants to spread the word, bring the exhibit to other cities, get the FDA to step to the plate, and see something happen on a federal level.\u003c/p>\n\u003cp>At the same time, Brown isn’t waiting on elected officials. She wants families to be proactive, too. And she’s extending an invitation to all school districts to take a school trip or tell the friends and family about the exhibition. “I’ve talked to every child in my life about these products,” she says.\u003c/p>\n\u003cp>It’s a drastic shift from when I was a kid. Just a few decades ago, smoking was everywhere. Joe Camel was a cool-ass smoking cartoon. The fly guys all smoked in movies. There were billboards and bus benches. Not to mention ads in the corner stores—and there were stores on every corner. Hell, one of the coldest lines of all time is Richie Rich’s: “\u003ca href=\"https://www.youtube.com/watch?v=CiZ3XtGtmQs\" target=\"_blank\" rel=\"noopener noreferrer\">Where you from? Oakland, smokin’!\u003c/a>”\u003c/p>\n\u003cp>Of course, Rich was talking about smoking marijuana. But even that usually came rolled in tobacco.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Same Game Different Smokers’ runs Dec. 7–Feb. 6 at the Main Branch of the San Francisco Public Library. The opening reception on Dec. 7 includes a presentation from \u003ca href=\"https://www.facebook.com/pages/category/Community-Organization/Ohlone-Sisters-2025939511008221/\" target=\"_blank\" rel=\"nofollow noopener noreferrer\">The Ohlone Sisters, \u003c/a>a performance by \u003ca href=\"https://www.actaonline.org/profile/omnira-institute/\" target=\"_blank\" rel=\"nofollow noopener noreferrer\">Awon Ohun Omnira (Voices of Freedom) \u003c/a>and a mural by \u003ca href=\"http://www.aerosoulart.com/\" target=\"_blank\" rel=\"nofollow noopener noreferrer\">Aerosoul Arts\u003c/a> called “Emancipate Yourself From Menthol Slavery.” \u003ca href=\"https://sfpl.org/index.php?pg=1041223901\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Oakland's ABO Comix Publishes, Advocates for LGBTQ Prisoners",
"headTitle": "Oakland’s ABO Comix Publishes, Advocates for LGBTQ Prisoners | KQED",
"content": "\u003cp>The comic publisher ABO Comix faces unique obstacles: Its authors communicate by mail, but they’re prohibited from earning a meaningful income, so they struggle to afford postage, let alone art supplies. Also, government censors read every letter, sometimes refusing deliveries. Yet the Oakland publisher supports dozens of incarcerated queer and transgender artists nationwide, distributing collections of their autobiographical work to other LGBTQ prisoners. [aside postID=arts_13863810]\u003c/p>\n\u003cp>The perfect-bound collections are resources for and reflections of their primary audience: E.L. Tedana offers tips for the cell-bound illustrator, while Sirbrian Spease’s series \u003cem>Homo Thug’s Swagger\u003c/em> explores queer cliques and relationships behind bars. Jamie Diaz stylishly deflects pejoratives for trans women while her swooshing coif provokes the ire of prison officials. One strip of Kinoko’s camp \u003cem>Mami Mamasita and the Booyah Girlz\u003c/em> shows the prison yard as a stage, watchtowers shining spotlights, and H. Lee draws someone mailing themselves to a pen pal.\u003c/p>\n\u003cp>ABO’s existence is a reminder that LGBTQ people are incarcerated at twice the rate of the general population in the United States, according to the 2015 U.S. Transgender Survey, and the comics describe the medical neglect, sexual predation and violence they often face inside. The latest collection is dedicated to Joseph Oguntodu, a contributor who was killed in prison weeks before his parole in March after complaining in letters to ABO about racist, homophobic bullying.\u003c/p>\n\u003cp>“I want the queer community to be united,” reads a quote from one of Oguntodu’s many letters to ABO beneath his smiling portrait. “I love each of you. Don’t forget to do something kind.”\u003c/p>\n\u003cfigure id=\"attachment_13870953\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870953\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/ABO-1-800x545.jpg\" alt=\"Artwork by ABO contributors Metro (L) and Kinoko (R).\" width=\"800\" height=\"545\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/ABO-1-800x545.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/ABO-1-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/ABO-1-768x523.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/ABO-1-1020x694.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/ABO-1-1200x817.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/ABO-1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artwork by ABO contributors Metro (L) and Kinoko (R). \u003ccite>(Courtesy ABO Comix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Casper Cendre, 29, who moved to Oakland from San Diego in 2015, co-founded \u003ca href=\"http://www.abocomix.com/\">ABO Comix\u003c/a> with Io Ascarium and Woof (who’ve both since stepped back from day-to-day operations). They launched the publisher with a call for submissions through the prison abolitionist organizations Black and Pink and Critical Resistance in 2017. “We thought it’d be a one-off collection,” Cendre recalled. “And then the P.O. box was just flooded.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>ABO has since paid incarcerated artists roughly $15,000 for contributions to standalone collections and three anthologies. The growing nonprofit, sponsored by the Queer Cultural Center, was recently awarded a California Arts Council grant to develop prison-based graphic-novel curriculum. It’s also received more than 1,200 pieces of mail from prisoners. On Saturday, Dec. 14, ABO celebrates the \u003ca href=\"http://www.abocomix.com/store/p38/abo3.html\">third anthology\u003c/a>’s release at Classic Cars West with a set by punk band Anti-Repression Music, which collaborates with incarcerated writers.\u003c/p>\n\u003cp>ABO is part of a larger movement centering prison abolition, the belief that the prison-industrial complex must be dismantled instead of reformed, in the struggle for queer and transgender liberation in light of the way LGBTQ people are disproportionately policed and incarcerated. \u003ca href=\"https://www.blackandpink.org/\">Black and Pink\u003c/a>, one of the national organizations that inspired ABO, boasts more than 10,000 members “on the inside,” and describes its mission as to “abolish the criminal punishment system.”\u003c/p>\n\u003cp>Popular media such as \u003cem>Orange is the New Black\u003c/em> have also buoyed trans prisoner visibility. Rachel Kushner set much of her abolition-inflected 2018 novel \u003cem>The Mars Room\u003c/em> in a California women’s prison, and included a trans-masculine character named Conan. Early in the book, while discussing muscle cars, Conan passingly references how the prison system invalidates his gender identity. “If I was a dude I’d be like I am right now,” he says. “‘Cept not locked up.”\u003c/p>\n\u003cfigure id=\"attachment_13870934\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870934\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/By-Casper-Cendre-Courtesy-ABO-800x450.jpg\" alt=\"ABO Comix has received more than 1,200 pieces of mail from LGBTQ prisoners since 2017.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/By-Casper-Cendre-Courtesy-ABO-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/By-Casper-Cendre-Courtesy-ABO-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/By-Casper-Cendre-Courtesy-ABO-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/By-Casper-Cendre-Courtesy-ABO-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/By-Casper-Cendre-Courtesy-ABO-1200x674.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/By-Casper-Cendre-Courtesy-ABO.jpg 1829w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">ABO Comix has received more than 1,200 pieces of mail from LGBTQ prisoners since 2017. \u003ccite>(Casper Cendre/Courtesy ABO Comix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The movement is deeply rooted in the Bay Area: The Oakland-headquartered \u003ca href=\"http://criticalresistance.org/\">Critical Resistance\u003c/a> popularized the phrase “prison-industrial complex,” and local writers Eric A. Stanley and Nat Smith co-edited \u003cem>Captive Genders\u003c/em>, an influential collection of essays on trans-embodiment and incarceration published by AK Press in 2015. One strategy these activists promote in order to mitigate state violence against LGBTQ prisoners is writing letters.\u003c/p>\n\u003cp>Many ABO artists are serving life sentences; often they’ve been incarcerated for decades, and their ties to outside kin are broken. “So mostly we form friendships, send birthday and holiday cards, or reference photos for their art,” Cendre said. “Basic human needs.” In prison, word of reliable pen pals travels, and ABO’s contributor clusters have spread from Texas and California to throughout the country.\u003c/p>\n\u003cp>Because ABO’s main audience is prisoners—it sends publications free upon request, and earns money when people buy them online on prisoners’ behalf—the publisher self-censors content, such as nudity, to accommodate prison guidelines. Yet facilities in states such as Kentucky and Nebraska still reject mailings for “inciting violence” or “overt sexuality”—examples, according to Cendre, of how prison administrators perceive any challenge to gender normativity as a threat.\u003c/p>\n\u003cfigure id=\"attachment_13870952\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870952\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/ABO.Casper-800x691.jpg\" alt=\"Casper Cendre co-founded ABO Comix in 2017.\" width=\"800\" height=\"691\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/ABO.Casper-800x691.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/ABO.Casper-160x138.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/ABO.Casper-768x664.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/ABO.Casper-1020x881.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/ABO.Casper-1200x1037.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/ABO.Casper.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Casper Cendre co-founded ABO Comix in 2017. \u003ccite>(Illustration: Sabine Teyssonneyre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>ABO also plays the role of advocate. For example, when Cendre learned a pen pal suffered a stroke while isolation, through word from another prisoner, ABO volunteers inundated the facility with phone calls. (According to Black and Pink, queer prisoners are more likely to experience solitary confinement.) “Only then, days after the stroke, did he get any medical care,” Cendre said. Pressure from the outside, according to Cendre, can be more effective than from within because corrections officials tend to consider prisoner complaints illegitimate.\u003c/p>\n\u003cp>The publisher received more submissions for its first anthology than it could publish, but Cendre and other volunteers responded to every letter, often returning detailed feedback on the artwork. Sirbrian Spease, author of the \u003cem>Homo Thug’s Swagger\u003c/em> strip, sent his first-ever drawings, and then dozens more over the course of a year. His crude outlines developed into intricate shading and perspective, and facial expressions subtle enough to convey the kind of joy found in hell.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>ABO itself is often cast in the comic depictions of queer life in prison, referenced in speech bubbles and drawings of outgoing mail (or, in one strip, as the brand name of toiletries). \u003cem>Me and My Jelly Roll\u003c/em>, Jamie Diaz’s contribution to the third anthology about her “extreme hairstyle,” seems to be written with the confidence that, through ABO Comix, the author’s grievance will reach the outside world: “I want people to know what is going on in here with girls like us.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The comic publisher ABO Comix faces unique obstacles: Its authors communicate by mail, but they’re prohibited from earning a meaningful income, so they struggle to afford postage, let alone art supplies. Also, government censors read every letter, sometimes refusing deliveries. Yet the Oakland publisher supports dozens of incarcerated queer and transgender artists nationwide, distributing collections of their autobiographical work to other LGBTQ prisoners. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The perfect-bound collections are resources for and reflections of their primary audience: E.L. Tedana offers tips for the cell-bound illustrator, while Sirbrian Spease’s series \u003cem>Homo Thug’s Swagger\u003c/em> explores queer cliques and relationships behind bars. Jamie Diaz stylishly deflects pejoratives for trans women while her swooshing coif provokes the ire of prison officials. One strip of Kinoko’s camp \u003cem>Mami Mamasita and the Booyah Girlz\u003c/em> shows the prison yard as a stage, watchtowers shining spotlights, and H. Lee draws someone mailing themselves to a pen pal.\u003c/p>\n\u003cp>ABO’s existence is a reminder that LGBTQ people are incarcerated at twice the rate of the general population in the United States, according to the 2015 U.S. Transgender Survey, and the comics describe the medical neglect, sexual predation and violence they often face inside. The latest collection is dedicated to Joseph Oguntodu, a contributor who was killed in prison weeks before his parole in March after complaining in letters to ABO about racist, homophobic bullying.\u003c/p>\n\u003cp>“I want the queer community to be united,” reads a quote from one of Oguntodu’s many letters to ABO beneath his smiling portrait. “I love each of you. Don’t forget to do something kind.”\u003c/p>\n\u003cfigure id=\"attachment_13870953\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870953\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/ABO-1-800x545.jpg\" alt=\"Artwork by ABO contributors Metro (L) and Kinoko (R).\" width=\"800\" height=\"545\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/ABO-1-800x545.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/ABO-1-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/ABO-1-768x523.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/ABO-1-1020x694.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/ABO-1-1200x817.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/ABO-1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artwork by ABO contributors Metro (L) and Kinoko (R). \u003ccite>(Courtesy ABO Comix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Casper Cendre, 29, who moved to Oakland from San Diego in 2015, co-founded \u003ca href=\"http://www.abocomix.com/\">ABO Comix\u003c/a> with Io Ascarium and Woof (who’ve both since stepped back from day-to-day operations). They launched the publisher with a call for submissions through the prison abolitionist organizations Black and Pink and Critical Resistance in 2017. “We thought it’d be a one-off collection,” Cendre recalled. “And then the P.O. box was just flooded.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>ABO has since paid incarcerated artists roughly $15,000 for contributions to standalone collections and three anthologies. The growing nonprofit, sponsored by the Queer Cultural Center, was recently awarded a California Arts Council grant to develop prison-based graphic-novel curriculum. It’s also received more than 1,200 pieces of mail from prisoners. On Saturday, Dec. 14, ABO celebrates the \u003ca href=\"http://www.abocomix.com/store/p38/abo3.html\">third anthology\u003c/a>’s release at Classic Cars West with a set by punk band Anti-Repression Music, which collaborates with incarcerated writers.\u003c/p>\n\u003cp>ABO is part of a larger movement centering prison abolition, the belief that the prison-industrial complex must be dismantled instead of reformed, in the struggle for queer and transgender liberation in light of the way LGBTQ people are disproportionately policed and incarcerated. \u003ca href=\"https://www.blackandpink.org/\">Black and Pink\u003c/a>, one of the national organizations that inspired ABO, boasts more than 10,000 members “on the inside,” and describes its mission as to “abolish the criminal punishment system.”\u003c/p>\n\u003cp>Popular media such as \u003cem>Orange is the New Black\u003c/em> have also buoyed trans prisoner visibility. Rachel Kushner set much of her abolition-inflected 2018 novel \u003cem>The Mars Room\u003c/em> in a California women’s prison, and included a trans-masculine character named Conan. Early in the book, while discussing muscle cars, Conan passingly references how the prison system invalidates his gender identity. “If I was a dude I’d be like I am right now,” he says. “‘Cept not locked up.”\u003c/p>\n\u003cfigure id=\"attachment_13870934\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870934\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/By-Casper-Cendre-Courtesy-ABO-800x450.jpg\" alt=\"ABO Comix has received more than 1,200 pieces of mail from LGBTQ prisoners since 2017.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/By-Casper-Cendre-Courtesy-ABO-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/By-Casper-Cendre-Courtesy-ABO-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/By-Casper-Cendre-Courtesy-ABO-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/By-Casper-Cendre-Courtesy-ABO-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/By-Casper-Cendre-Courtesy-ABO-1200x674.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/By-Casper-Cendre-Courtesy-ABO.jpg 1829w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">ABO Comix has received more than 1,200 pieces of mail from LGBTQ prisoners since 2017. \u003ccite>(Casper Cendre/Courtesy ABO Comix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The movement is deeply rooted in the Bay Area: The Oakland-headquartered \u003ca href=\"http://criticalresistance.org/\">Critical Resistance\u003c/a> popularized the phrase “prison-industrial complex,” and local writers Eric A. Stanley and Nat Smith co-edited \u003cem>Captive Genders\u003c/em>, an influential collection of essays on trans-embodiment and incarceration published by AK Press in 2015. One strategy these activists promote in order to mitigate state violence against LGBTQ prisoners is writing letters.\u003c/p>\n\u003cp>Many ABO artists are serving life sentences; often they’ve been incarcerated for decades, and their ties to outside kin are broken. “So mostly we form friendships, send birthday and holiday cards, or reference photos for their art,” Cendre said. “Basic human needs.” In prison, word of reliable pen pals travels, and ABO’s contributor clusters have spread from Texas and California to throughout the country.\u003c/p>\n\u003cp>Because ABO’s main audience is prisoners—it sends publications free upon request, and earns money when people buy them online on prisoners’ behalf—the publisher self-censors content, such as nudity, to accommodate prison guidelines. Yet facilities in states such as Kentucky and Nebraska still reject mailings for “inciting violence” or “overt sexuality”—examples, according to Cendre, of how prison administrators perceive any challenge to gender normativity as a threat.\u003c/p>\n\u003cfigure id=\"attachment_13870952\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870952\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/ABO.Casper-800x691.jpg\" alt=\"Casper Cendre co-founded ABO Comix in 2017.\" width=\"800\" height=\"691\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/ABO.Casper-800x691.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/ABO.Casper-160x138.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/ABO.Casper-768x664.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/ABO.Casper-1020x881.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/ABO.Casper-1200x1037.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/ABO.Casper.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Casper Cendre co-founded ABO Comix in 2017. \u003ccite>(Illustration: Sabine Teyssonneyre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>ABO also plays the role of advocate. For example, when Cendre learned a pen pal suffered a stroke while isolation, through word from another prisoner, ABO volunteers inundated the facility with phone calls. (According to Black and Pink, queer prisoners are more likely to experience solitary confinement.) “Only then, days after the stroke, did he get any medical care,” Cendre said. Pressure from the outside, according to Cendre, can be more effective than from within because corrections officials tend to consider prisoner complaints illegitimate.\u003c/p>\n\u003cp>The publisher received more submissions for its first anthology than it could publish, but Cendre and other volunteers responded to every letter, often returning detailed feedback on the artwork. Sirbrian Spease, author of the \u003cem>Homo Thug’s Swagger\u003c/em> strip, sent his first-ever drawings, and then dozens more over the course of a year. His crude outlines developed into intricate shading and perspective, and facial expressions subtle enough to convey the kind of joy found in hell.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>ABO itself is often cast in the comic depictions of queer life in prison, referenced in speech bubbles and drawings of outgoing mail (or, in one strip, as the brand name of toiletries). \u003cem>Me and My Jelly Roll\u003c/em>, Jamie Diaz’s contribution to the third anthology about her “extreme hairstyle,” seems to be written with the confidence that, through ABO Comix, the author’s grievance will reach the outside world: “I want people to know what is going on in here with girls like us.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Steep Prices, Absent SFMOMA Signaled an SF Art Exodus",
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"content": "\u003cp>Looking back on the nearly three years the San Francisco Museum of Modern Art was closed for construction, what Catharine Clark remembers most is the psychic burden on gallery owners like herself. \u003c/p>\n\u003cp>“I think there was this sense that there was nothing to come to San Francisco for,” she says, “given that the ‘symbol’ of contemporary art was not open, galleries were closing, and artists were leaving the city. And that was a perception outside of the city, but it was something that we also internalized.”\u003c/p>\n\u003cp>While the city’s largest art museum shut its doors to add 100,000 square feet of exhibition space, the San Francisco gallery scene went through a period of wild instability, shifting from one reliable Union Square hub to several disparate destinations. It suffered, as Clark points out, an identity crisis of sorts. Between 2013 and 2016, galleries throughout the city abandoned traditional structures, rebranded as project spaces, closed and (only sometimes) reopened.\u003c/p>\n\u003cp>The past decade has been a markedly volatile one in the Bay Area visual arts scene, with artists leaving in droves for more affordable and roomier cities. Galleries joined the exodus, moving operations into homes, online or, in one case, Bozeman, Montana. Amid skyrocketing commercial rents, an aging collector base and \u003ca href=\"https://www.kqed.org/arts/13804930/no-filter-necessary-in-sfs-instagram-ready-color-factory\" target=\"_blank\" rel=\"noopener noreferrer\">shifting audience priorities\u003c/a> in the Instagram age, the three-year absence of SFMOMA gave galleries ample time to reflect on a question they’re still asking: Is it time for a new model?\u003c/p>\n\u003cfigure id=\"attachment_13870619\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-13870619\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/2.-Sn%C3%B8hetta-expansion-of-the-new-SFMOMA-2016-photo-%C2%A9-Henrik-Kam-courtesy-SFMOMA-e1575322557631.jpg\" alt=\"Snøhetta expansion of the new SFMOMA, 2016.\" width=\"1920\" height=\"1345\">\u003cfigcaption class=\"wp-caption-text\">The Snøhetta expansion of SFMOMA in 2016. \u003ccite>(Henrik Kam; courtesy SFMOMA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 2013, \u003ca href=\"https://cclarkgallery.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Catharine Clark Gallery\u003c/a> occupied a prime location on Minna Street: a street-level space with a roll-up door facing SFMOMA. And while the street wouldn’t be closed during the museum’s expansion project, she knew construction would be disruptive. She also faced an imminent rent hike, so Clark began looking for a new location.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“There were already starting to be murmurs that the art world was about to collapse in San Francisco under this impossibility of renewing leases,” Clark remembers. “In most cases, it wasn’t that leases weren’t being offered, it’s just that they just weren’t being offered at prices galleries could afford.”\u003c/p>\n\u003cp>Eventually, Clark found a raw Potrero Hill space, the zoning of which saved her from competing with tech companies searching for office space. Now she wonders if another move is on the horizon. “When my lease is up here I don’t know what’s going to happen next,” she says. After four locations and 29 years, the gallery has grown, ushering its artists from emerging to mid-career status. If she were starting out today, Clark says, she’d never be able to follow a similar path.\u003c/p>\n\u003cp>What this ultimately means, she says, is that younger, less established artists aren’t getting as many opportunities to show their work—price points have to be high enough to cover a gallery’s rent.\u003c/p>\n\u003cp>Commercial galleries of all levels are a crucial part of a healthy arts ecosystem, along with collectors who buy locally and invest in the trajectory of an artist’s career. Galleries willing to take a gamble on emerging artists provide them with the stepping stones between scrappy project spaces and museum shows. These galleries contextualize an artist’s work, provide opportunities for formal presentations and open their doors for viewing hours that extend beyond the length of a casual studio visit. And, most importantly, galleries can make artists money (usually, 50 percent of every sale).\u003c/p>\n\u003cfigure id=\"attachment_13870622\" class=\"wp-caption aligncenter\" style=\"max-width: 801px\">\u003cimg class=\"size-full wp-image-13870622\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/Inaugural-Opening-Catharine-Clark-Gallery-on-Minna-St.jpg\" alt='People gathered outside the gallery on MInna Street, a banner reads \"GRNAD OPENING\" over the roll-up door.' width=\"801\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/Inaugural-Opening-Catharine-Clark-Gallery-on-Minna-St.jpg 801w, https://ww2.kqed.org/app/uploads/sites/2/2019/12/Inaugural-Opening-Catharine-Clark-Gallery-on-Minna-St-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/2/2019/12/Inaugural-Opening-Catharine-Clark-Gallery-on-Minna-St-800x599.jpg 800w, https://ww2.kqed.org/app/uploads/sites/2/2019/12/Inaugural-Opening-Catharine-Clark-Gallery-on-Minna-St-768x575.jpg 768w\" sizes=\"(max-width: 801px) 100vw, 801px\">\u003cfigcaption class=\"wp-caption-text\">The inaugural opening of Catharine Clark Gallery at 150 Minna Street in 2007. \u003ccite>(Courtesy of Catharine Clark Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While SFMOMA’s doors were closed, the museum vehemently resisted hibernation. Its permanent collection popped up in shows organized with fellow Bay Area institutions; the museum’s semi-biennial (the SECA Award) took place in four different locations—all of them non-art spaces. SFMOMA even staged a large-scale group show in the sleepy South Bay city of Los Gatos. All of this was part of a coordinated effort called \u003ci>On the Go\u003c/i>, which maintained the museum’s momentum and public presence while demonstrating a previously unknown agility.\u003c/p>\n\u003cp>Amid evictions and extreme rent hikes, it’s not surprising that many San Francisco galleries followed SFMOMA’s lead.\u003c/p>\n\u003cp>\u003ca href=\"https://www.guerrerogallery.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Guerrero Gallery\u003c/a>, faced with a new lease in 2013 that would double the rent on its Mission District location, opted instead to stage pop-up exhibitions in Oakland, San Francisco, Los Angeles and even owner Andres Guerrero’s home. Running lean and getting lucky, Guerrero says, he was able to accumulate enough capital over those three years to open a new space in 2016.\u003c/p>\n\u003cp>\u003ca href=\"https://renabranstengallery.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Rena Bransten Gallery\u003c/a>, evicted in 2014 after 27 years in its Geary Street building (the tech company MuleSoft, now owned by Salesforce, wanted to expand its square footage), opened a project space on Market Street, proclaiming a shift to “site-specific installations and explorations of non-traditional exhibition models.”\u003c/p>\n\u003cp>Now located in \u003ca href=\"http://minnesotastreetproject.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Minnesota Street Project\u003c/a>, the compound of 13 galleries, artist studios and art storage founded in 2016, the gallery has returned to a more traditional model and schedule. Director Trish Bransten says they took from their experience on Market Street a greater appreciation of pushing artists to adapt to a new space and think beyond what Bransten calls “an object-driven format.”\u003c/p>\n\u003cfigure id=\"attachment_13870623\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg class=\"wp-image-13870623 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/2019_08-LIND-Fog-of-Conspiracy_WEB-01.jpg\" alt=\"\" width=\"2000\" height=\"1335\" srcset=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/2019_08-LIND-Fog-of-Conspiracy_WEB-01.jpg 2000w, https://ww2.kqed.org/app/uploads/sites/2/2019/12/2019_08-LIND-Fog-of-Conspiracy_WEB-01-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/2/2019/12/2019_08-LIND-Fog-of-Conspiracy_WEB-01-800x534.jpg 800w, https://ww2.kqed.org/app/uploads/sites/2/2019/12/2019_08-LIND-Fog-of-Conspiracy_WEB-01-768x513.jpg 768w, https://ww2.kqed.org/app/uploads/sites/2/2019/12/2019_08-LIND-Fog-of-Conspiracy_WEB-01-1020x681.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/2/2019/12/2019_08-LIND-Fog-of-Conspiracy_WEB-01-1200x801.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/2/2019/12/2019_08-LIND-Fog-of-Conspiracy_WEB-01-1920x1282.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The installation view of Gregory Lind's final exhibition at 49 Geary in 2019, 'Fog of Conspiracy.' \u003ccite>(Courtesy of Gregory Lind Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As galleries scrambled for space, the conversations among artists centered around news of recent Ellis Act evictions, impending moves to Los Angeles and whose studio was turning into condos. Somewhat belatedly, the San Francisco Arts Commission issued \u003ca href=\"https://www.kqed.org/arts/10960748/survey-confirms-market-forces-pushing-artists-out-of-san-francisco\" target=\"_blank\" rel=\"noopener noreferrer\">a survey of Bay Area artists\u003c/a> in 2015, finding over 70 percent of the nearly 600 respondents had been or were being displaced from their workplace, home or both. In partial response to this, in January 2019, the city identified four priority areas the newly established \u003ca href=\"https://sfgov.org/arts/sites/default/files/030419_CSAP_Plan__0.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">Arts Impact Endowment\u003c/a> will support—just 10 percent is earmarked for individual artist support, and none for establishing either affordable artist housing or studio space.\u003c/p>\n\u003cp>When \u003ca href=\"http://gregorylindgallery.com/index.php\" target=\"_blank\" rel=\"noopener noreferrer\">Gregory Lind\u003c/a> closed his 20-year-old gallery in August of this year, the decision wasn’t about rent, but about changing demographics and behaviors in the art-viewing public—indicative, perhaps, of larger population shifts in the Bay Area. As Lind explains it, while older collectors withdrew from purchasing art and visiting galleries, younger generations seemed to lean towards impersonal, faster interactions rather than wandering through a carefully staged exhibition.\u003c/p>\n\u003cp>“I don’t want to generalize, because there are always exceptions,” he prefaces, “but the overall feeling was less interesting conversations, more sales online and, of course, the necessity to do even more art fairs. ... I didn’t feel like I wanted another five-year lease to continue this and be disappointed that people were more interested in Instagram than coming to the gallery.”\u003c/p>\n\u003cp>For those who believe in primary interactions with artwork, in placement and curation—and face-to-face conversations about all of the above—it remains to be seen how an industry that requires space will continue to adapt in this unaffordable city. Without special protections from local government, or new Minnesota Street Project-style spaces emerging, rent remains an overarching concern. In June 2019, commercial real estate in San Francisco averaged a \u003ca href=\"https://www.sfchronicle.com/business/article/SF-office-rents-soar-to-fresh-record-amid-supply-14070073.php#\" target=\"_blank\" rel=\"noopener noreferrer\">record high\u003c/a> of over $84 per square foot.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“I’ve thought about this over the years as I’ve watched the slow decline of the art scene in the Bay Area,” says \u003ca href=\"https://etaletc.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Et al.\u003c/a> gallery co-director Aaron Harbour, who opened his first space in Chinatown in 2013. “The only monster is the rent, the price of real estate. Everything else is survivable.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Looking back on the nearly three years the San Francisco Museum of Modern Art was closed for construction, what Catharine Clark remembers most is the psychic burden on gallery owners like herself. \u003c/p>\n\u003cp>“I think there was this sense that there was nothing to come to San Francisco for,” she says, “given that the ‘symbol’ of contemporary art was not open, galleries were closing, and artists were leaving the city. And that was a perception outside of the city, but it was something that we also internalized.”\u003c/p>\n\u003cp>While the city’s largest art museum shut its doors to add 100,000 square feet of exhibition space, the San Francisco gallery scene went through a period of wild instability, shifting from one reliable Union Square hub to several disparate destinations. It suffered, as Clark points out, an identity crisis of sorts. Between 2013 and 2016, galleries throughout the city abandoned traditional structures, rebranded as project spaces, closed and (only sometimes) reopened.\u003c/p>\n\u003cp>The past decade has been a markedly volatile one in the Bay Area visual arts scene, with artists leaving in droves for more affordable and roomier cities. Galleries joined the exodus, moving operations into homes, online or, in one case, Bozeman, Montana. Amid skyrocketing commercial rents, an aging collector base and \u003ca href=\"https://www.kqed.org/arts/13804930/no-filter-necessary-in-sfs-instagram-ready-color-factory\" target=\"_blank\" rel=\"noopener noreferrer\">shifting audience priorities\u003c/a> in the Instagram age, the three-year absence of SFMOMA gave galleries ample time to reflect on a question they’re still asking: Is it time for a new model?\u003c/p>\n\u003cfigure id=\"attachment_13870619\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-13870619\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/2.-Sn%C3%B8hetta-expansion-of-the-new-SFMOMA-2016-photo-%C2%A9-Henrik-Kam-courtesy-SFMOMA-e1575322557631.jpg\" alt=\"Snøhetta expansion of the new SFMOMA, 2016.\" width=\"1920\" height=\"1345\">\u003cfigcaption class=\"wp-caption-text\">The Snøhetta expansion of SFMOMA in 2016. \u003ccite>(Henrik Kam; courtesy SFMOMA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 2013, \u003ca href=\"https://cclarkgallery.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Catharine Clark Gallery\u003c/a> occupied a prime location on Minna Street: a street-level space with a roll-up door facing SFMOMA. And while the street wouldn’t be closed during the museum’s expansion project, she knew construction would be disruptive. She also faced an imminent rent hike, so Clark began looking for a new location.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“There were already starting to be murmurs that the art world was about to collapse in San Francisco under this impossibility of renewing leases,” Clark remembers. “In most cases, it wasn’t that leases weren’t being offered, it’s just that they just weren’t being offered at prices galleries could afford.”\u003c/p>\n\u003cp>Eventually, Clark found a raw Potrero Hill space, the zoning of which saved her from competing with tech companies searching for office space. Now she wonders if another move is on the horizon. “When my lease is up here I don’t know what’s going to happen next,” she says. After four locations and 29 years, the gallery has grown, ushering its artists from emerging to mid-career status. If she were starting out today, Clark says, she’d never be able to follow a similar path.\u003c/p>\n\u003cp>What this ultimately means, she says, is that younger, less established artists aren’t getting as many opportunities to show their work—price points have to be high enough to cover a gallery’s rent.\u003c/p>\n\u003cp>Commercial galleries of all levels are a crucial part of a healthy arts ecosystem, along with collectors who buy locally and invest in the trajectory of an artist’s career. Galleries willing to take a gamble on emerging artists provide them with the stepping stones between scrappy project spaces and museum shows. These galleries contextualize an artist’s work, provide opportunities for formal presentations and open their doors for viewing hours that extend beyond the length of a casual studio visit. And, most importantly, galleries can make artists money (usually, 50 percent of every sale).\u003c/p>\n\u003cfigure id=\"attachment_13870622\" class=\"wp-caption aligncenter\" style=\"max-width: 801px\">\u003cimg class=\"size-full wp-image-13870622\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/Inaugural-Opening-Catharine-Clark-Gallery-on-Minna-St.jpg\" alt='People gathered outside the gallery on MInna Street, a banner reads \"GRNAD OPENING\" over the roll-up door.' width=\"801\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/Inaugural-Opening-Catharine-Clark-Gallery-on-Minna-St.jpg 801w, https://ww2.kqed.org/app/uploads/sites/2/2019/12/Inaugural-Opening-Catharine-Clark-Gallery-on-Minna-St-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/2/2019/12/Inaugural-Opening-Catharine-Clark-Gallery-on-Minna-St-800x599.jpg 800w, https://ww2.kqed.org/app/uploads/sites/2/2019/12/Inaugural-Opening-Catharine-Clark-Gallery-on-Minna-St-768x575.jpg 768w\" sizes=\"(max-width: 801px) 100vw, 801px\">\u003cfigcaption class=\"wp-caption-text\">The inaugural opening of Catharine Clark Gallery at 150 Minna Street in 2007. \u003ccite>(Courtesy of Catharine Clark Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While SFMOMA’s doors were closed, the museum vehemently resisted hibernation. Its permanent collection popped up in shows organized with fellow Bay Area institutions; the museum’s semi-biennial (the SECA Award) took place in four different locations—all of them non-art spaces. SFMOMA even staged a large-scale group show in the sleepy South Bay city of Los Gatos. All of this was part of a coordinated effort called \u003ci>On the Go\u003c/i>, which maintained the museum’s momentum and public presence while demonstrating a previously unknown agility.\u003c/p>\n\u003cp>Amid evictions and extreme rent hikes, it’s not surprising that many San Francisco galleries followed SFMOMA’s lead.\u003c/p>\n\u003cp>\u003ca href=\"https://www.guerrerogallery.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Guerrero Gallery\u003c/a>, faced with a new lease in 2013 that would double the rent on its Mission District location, opted instead to stage pop-up exhibitions in Oakland, San Francisco, Los Angeles and even owner Andres Guerrero’s home. Running lean and getting lucky, Guerrero says, he was able to accumulate enough capital over those three years to open a new space in 2016.\u003c/p>\n\u003cp>\u003ca href=\"https://renabranstengallery.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Rena Bransten Gallery\u003c/a>, evicted in 2014 after 27 years in its Geary Street building (the tech company MuleSoft, now owned by Salesforce, wanted to expand its square footage), opened a project space on Market Street, proclaiming a shift to “site-specific installations and explorations of non-traditional exhibition models.”\u003c/p>\n\u003cp>Now located in \u003ca href=\"http://minnesotastreetproject.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Minnesota Street Project\u003c/a>, the compound of 13 galleries, artist studios and art storage founded in 2016, the gallery has returned to a more traditional model and schedule. Director Trish Bransten says they took from their experience on Market Street a greater appreciation of pushing artists to adapt to a new space and think beyond what Bransten calls “an object-driven format.”\u003c/p>\n\u003cfigure id=\"attachment_13870623\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg class=\"wp-image-13870623 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/2019_08-LIND-Fog-of-Conspiracy_WEB-01.jpg\" alt=\"\" width=\"2000\" height=\"1335\" srcset=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/2019_08-LIND-Fog-of-Conspiracy_WEB-01.jpg 2000w, https://ww2.kqed.org/app/uploads/sites/2/2019/12/2019_08-LIND-Fog-of-Conspiracy_WEB-01-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/2/2019/12/2019_08-LIND-Fog-of-Conspiracy_WEB-01-800x534.jpg 800w, https://ww2.kqed.org/app/uploads/sites/2/2019/12/2019_08-LIND-Fog-of-Conspiracy_WEB-01-768x513.jpg 768w, https://ww2.kqed.org/app/uploads/sites/2/2019/12/2019_08-LIND-Fog-of-Conspiracy_WEB-01-1020x681.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/2/2019/12/2019_08-LIND-Fog-of-Conspiracy_WEB-01-1200x801.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/2/2019/12/2019_08-LIND-Fog-of-Conspiracy_WEB-01-1920x1282.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The installation view of Gregory Lind's final exhibition at 49 Geary in 2019, 'Fog of Conspiracy.' \u003ccite>(Courtesy of Gregory Lind Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As galleries scrambled for space, the conversations among artists centered around news of recent Ellis Act evictions, impending moves to Los Angeles and whose studio was turning into condos. Somewhat belatedly, the San Francisco Arts Commission issued \u003ca href=\"https://www.kqed.org/arts/10960748/survey-confirms-market-forces-pushing-artists-out-of-san-francisco\" target=\"_blank\" rel=\"noopener noreferrer\">a survey of Bay Area artists\u003c/a> in 2015, finding over 70 percent of the nearly 600 respondents had been or were being displaced from their workplace, home or both. In partial response to this, in January 2019, the city identified four priority areas the newly established \u003ca href=\"https://sfgov.org/arts/sites/default/files/030419_CSAP_Plan__0.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">Arts Impact Endowment\u003c/a> will support—just 10 percent is earmarked for individual artist support, and none for establishing either affordable artist housing or studio space.\u003c/p>\n\u003cp>When \u003ca href=\"http://gregorylindgallery.com/index.php\" target=\"_blank\" rel=\"noopener noreferrer\">Gregory Lind\u003c/a> closed his 20-year-old gallery in August of this year, the decision wasn’t about rent, but about changing demographics and behaviors in the art-viewing public—indicative, perhaps, of larger population shifts in the Bay Area. As Lind explains it, while older collectors withdrew from purchasing art and visiting galleries, younger generations seemed to lean towards impersonal, faster interactions rather than wandering through a carefully staged exhibition.\u003c/p>\n\u003cp>“I don’t want to generalize, because there are always exceptions,” he prefaces, “but the overall feeling was less interesting conversations, more sales online and, of course, the necessity to do even more art fairs. ... I didn’t feel like I wanted another five-year lease to continue this and be disappointed that people were more interested in Instagram than coming to the gallery.”\u003c/p>\n\u003cp>For those who believe in primary interactions with artwork, in placement and curation—and face-to-face conversations about all of the above—it remains to be seen how an industry that requires space will continue to adapt in this unaffordable city. Without special protections from local government, or new Minnesota Street Project-style spaces emerging, rent remains an overarching concern. In June 2019, commercial real estate in San Francisco averaged a \u003ca href=\"https://www.sfchronicle.com/business/article/SF-office-rents-soar-to-fresh-record-amid-supply-14070073.php#\" target=\"_blank\" rel=\"noopener noreferrer\">record high\u003c/a> of over $84 per square foot.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I’ve thought about this over the years as I’ve watched the slow decline of the art scene in the Bay Area,” says \u003ca href=\"https://etaletc.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Et al.\u003c/a> gallery co-director Aaron Harbour, who opened his first space in Chinatown in 2013. “The only monster is the rent, the price of real estate. Everything else is survivable.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "museum-stores-are-secretly-the-best-places-to-buy-gifts-heres-why",
"title": "Museum Stores Are Secretly the Best Places to Buy Gifts—Here’s Why",
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"headTitle": "Museum Stores Are Secretly the Best Places to Buy Gifts—Here’s Why | KQED",
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"content": "\u003cp>Does the thought of finding well-designed, locally relevant and thoughtful gifts for your loved ones fill you with dread? Never fear: the anxiety of lackluster gift-giving can be eradicated by real experts in the world, people who’ve already done the hard work of finding all that good stuff.\u003c/p>\n\u003cp>They are the managers, retail directors, buyers and distinguished employees of Bay Area museum stores… and they’re here to help. We asked representatives from five Bay Area arts institutions for their personal gift recommendations; all you have to worry about now is wrapping.\u003c/p>\n\u003ch2>Ceramics and Food to Fill Them\u003c/h2>\n\u003cp>\u003cb>\u003ca href=\"https://www.thecjm.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Contemporary Jewish Museum\u003c/a>\u003c/b>\u003c/p>\n\u003cfigure id=\"attachment_13870654\" class=\"wp-caption aligncenter\" style=\"max-width: 972px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/NorishZine_crop.jpg\" alt=\"A cooking zine in a wooden box sits to the right of a glass vase of flowers on a white counter.\" width=\"972\" height=\"816\" class=\"size-full wp-image-13870654\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/NorishZine_crop.jpg 972w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/NorishZine_crop-160x134.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/NorishZine_crop-800x672.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/NorishZine_crop-768x645.jpg 768w\" sizes=\"(max-width: 972px) 100vw, 972px\">\u003cfigcaption class=\"wp-caption-text\">‘Nourish Co. All Day: A Mini Cookbook’ \u003ccite>(Courtesy of Nourish Co.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gravity Goldberg, director of public programs and visitor experience at the Contemporary Jewish Museum, had an especially hard time picking just one item. \u003c/p>\n\u003cp>“This fall we’ve been having a series of ceramic pop-ups in conjunction with our \u003ca href=\"https://www.kqed.org/arts/13867880/at-the-cjm-20-years-of-annabeth-rosens-earthen-humor\" rel=\"noopener noreferrer\" target=\"_blank\">Annabeth Rosen exhibition\u003c/a>, so we’ve been working each month with a different, mostly local ceramics artist,” Goldberg says. She’s fallen in love with a number of items, like \u003ca href=\"https://www.sarahkersten.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Sarah Kersten\u003c/a>’s fermentation jar and \u003ca href=\"https://www.cestbonclay.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Cassie Brown\u003c/a>’s Bauhaus-esque take on a black vase. \u003c/p>\n\u003cp>But for a lower price point, Goldberg recommends a \u003ca href=\"https://nourish-co.com/shop/nourish-co-all-day\" rel=\"noopener noreferrer\" target=\"_blank\">mini-cookbook zine\u003c/a> by Nourish Co. ($15), a lifestyle brand run by San Francisco-based Kristin Eriko Posner, who is Japanese American and Jewish. \u003c/p>\n\u003cp>“It’s full of recipes that are Japanese-Jewish. She does a Jewish donburi, it’s fun! It’s a cute little Hanukkah stocking stuffer,” Goldberg says.\u003c/p>\n\u003ch2>Gifts for Hosting and Cooking\u003c/h2>\n\u003cp>\u003cb>\u003ca href=\"http://www.asianart.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Asian Art Museum\u003c/a>\u003c/b>\u003c/p>\n\u003cfigure id=\"attachment_13870657\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/umeboshi_crop.jpg\" alt=\"Japanese salty plums in two jars and on a plate with chopsticks.\" width=\"1000\" height=\"608\" class=\"size-full wp-image-13870657\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/umeboshi_crop.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/umeboshi_crop-160x97.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/umeboshi_crop-800x486.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/umeboshi_crop-768x467.jpg 768w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">Umeboshi savory plum pickles by Yumé Boshi. \u003ccite>(Courtesy of Yumé Boshi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With the exhibition schedule a bit different from years past, as the Asian Art Museum undergoes a \u003ca href=\"https://www.kqed.org/arts/13809355/asian-art-museum-moves-toward-90-million-transformation\" rel=\"noopener noreferrer\" target=\"_blank\">major expansion project\u003c/a>, Director of Retail Françoise Sengens decided the organizing principle of this year’s winter display would be—quite simply—food. \u003c/p>\n\u003cp>“Whatever your holidays are, there is always a big meal that people share with family and friends. So I investigated artisans and small companies, mostly Asian American, in San Francisco and the Bay Area,” she says. “We decided to bring in a lot of products, gourmet food and gifts for hosting and cooking.”\u003c/p>\n\u003cp>The centerpiece of the store is a display of \u003ca href=\"https://www.jadechocolates.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Jade Chocolates\u003c/a> ($7.95–$34.95), a San Francisco-based company that makes artisan chocolates blended with teas, spices and tropical fruits—all flavors from Asia and the Pacific Islands. \u003c/p>\n\u003cp>But Sengens also recommends a range of tasty treats made by Oakland-based food company \u003ca href=\"https://yumeboshiplum.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Yumé Boshi\u003c/a> ($19.95–$22.95). Their small-batch Japanese preserves are made using traditional methods, and simple, locally sourced ingredients. Look for their plum syrup (great in cocktails), jars of Japanese salty plums and a mandarinquat and ume plum marmalade.\u003c/p>\n\u003ch2>‘Black is Beautiful’ in Past and Present Publications\u003c/h2>\n\u003cp>\u003cb>\u003ca href=\"https://www.moadsf.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Museum of the African Diaspora\u003c/a>\u003c/b>\u003c/p>\n\u003cfigure id=\"attachment_13870642\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/Black-Is-Beautiful_Umber_1600.jpg\" alt=\"A book cover and a magazine cover.\" width=\"1600\" height=\"700\" class=\"size-full wp-image-13870642\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Black-Is-Beautiful_Umber_1600.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Black-Is-Beautiful_Umber_1600-160x70.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Black-Is-Beautiful_Umber_1600-800x350.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Black-Is-Beautiful_Umber_1600-768x336.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Black-Is-Beautiful_Umber_1600-1020x446.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Black-Is-Beautiful_Umber_1600-1200x525.jpg 1200w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">‘Black is Beautiful’ exhibition catalog and the “Sound Issue” of ‘Umber Magazine.’ \u003ccite>(Courtesy of MoAD)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When the Museum of the African Diaspora opens \u003ci>\u003ca href=\"https://www.moadsf.org/exhibition/black-is-beautiful-the-photography-of-kwame-brathwaite/\" rel=\"noopener noreferrer\" target=\"_blank\">Black is Beautiful\u003c/a>\u003c/i> on Dec. 4, an exhibition of Kwame Brathewaite’s photography, Visitor Experience Manager Nia McAllister thinks you’re going to want to bring part of the show home with you. \u003c/p>\n\u003cp>This key figure in the second Harlem Renaissance co-founded the African Jazz Arts Society Studios and Grandassa Models, a modeling agency for black women. His powerful images of black men and women with natural hair and clothes celebrating their African roots illustrated the movement that gives the show its name. A catalog ($40) featuring all of the above can be found in MoAD’s small but mighty museum store.\u003c/p>\n\u003cp>If you’re looking for something a bit more rooted in Bay Area artistic production, McAllister has that covered too. “Something we try to feature in the bookstore at MoAD is local black artists and black creatives,” she says, suggesting an Oakland-based publication called \u003ci>\u003ca href=\"https://www.kqed.org/arts/13861253/rightnowish-mike-nicholls-and-umber-magazine\" rel=\"noopener noreferrer\" target=\"_blank\">Umber Magazine\u003c/a>\u003c/i>. \u003c/p>\n\u003cp>“It’s collectively owned by three people of color and it features the visual arts and culture of black and brown people,” McAllister explains. The museum stocks both the magazine’s luxurious “Sound Issue” ($25) and their latest zine, an eight-page large-format publication \u003ci>Umber\u003c/i> describes as “a visual tactile mixtape” ($10).\u003c/p>\n\u003ch2>An Introduction to Electronic Music\n\u003ch2>\n\u003c/h2>\u003c/h2>\u003cp>\u003cb>\u003ca href=\"https://www.sfmoma.org/\" rel=\"noopener noreferrer\" target=\"_blank\">San Francisco Museum of Modern Art\u003c/a>\u003c/b>\u003c/p>\n\u003cfigure id=\"attachment_13870651\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/Blipblox2_1000x_crop.jpg\" alt=\"A white plastic device covered in blue, red and green knobs and levers.\" width=\"1000\" height=\"644\" class=\"size-full wp-image-13870651\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Blipblox2_1000x_crop.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Blipblox2_1000x_crop-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Blipblox2_1000x_crop-800x515.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Blipblox2_1000x_crop-768x495.jpg 768w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">Blipblox, “a real synth made for kids,” by Playtime Engineering. \u003ccite>(Courtesy of SFMOMA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Camille Verboort, a buyer for the San Francisco Museum of Modern Art store, spotted her recommendation earlier this year at a toy fair. “I saw this product, and it stopped me in my tracks,” she remembers. The \u003ca href=\"https://museumstore.sfmoma.org/blipbox-410000382189.html\" rel=\"noopener noreferrer\" target=\"_blank\">Blipblox\u003c/a> ($189) is a synthesizer for children ages three and up, a technically complicated but easy-to-use instrument that kids can experiment with and grow into, eventually plugging into computers to create their own recorded music. \u003c/p>\n\u003cp>Made by the Potrero Hill-based company Playtime Engineering, Verboort saw in the Blipblox not just a fun and educational product, but something that expanded on the museum’s holdings, specifically Brian Eno’s ambient music installations. “Part of my job is to bring in products that relate to our collection and the exhibitions we have, to further educate people about the artists we feature in the museum,” Verboort explains.\u003c/p>\n\u003cp>The Blipblox, along with a selection of other noise-making art-related toys, are available in SFMOMA’s store in what Verboort calls “the family jam band” section. \u003c/p>\n\u003ch2>Colors and Concoctions\u003c/h2>\n\u003cp>\u003cb>\u003ca href=\"https://creativegrowth.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Creative Growth Art Center\u003c/a>\u003c/b>\u003c/p>\n\u003cfigure id=\"attachment_13870647\" class=\"wp-caption aligncenter\" style=\"max-width: 1271px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/Creative_Growth_Coloring_Book_GlassesComp.jpg\" alt=\"A coloring book cover and four tall clear glasses with intricate black line drawings on them.\" width=\"1271\" height=\"426\" class=\"size-full wp-image-13870647\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Creative_Growth_Coloring_Book_GlassesComp.jpg 1271w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Creative_Growth_Coloring_Book_GlassesComp-160x54.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Creative_Growth_Coloring_Book_GlassesComp-800x268.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Creative_Growth_Coloring_Book_GlassesComp-768x257.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Creative_Growth_Coloring_Book_GlassesComp-1020x342.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Creative_Growth_Coloring_Book_GlassesComp-1200x402.jpg 1200w\" sizes=\"(max-width: 1271px) 100vw, 1271px\">\u003cfigcaption class=\"wp-caption-text\">A Creative Growth coloring book and Dinah Simpson’s detailed highball glasses. \u003ccite>(Courtesy of Creative Growth)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Creative Growth, a nonprofit founded in 1974, provides artists with disabilities professional studio space, exhibitions and representation. And because they work with over 150 artists, Megan Mirro, the organization’s communications and partnerships associate, has a recommendation that showcases the range of practices they support—and invites participation. The \u003ca href=\"http://creative-growth.shoplightspeed.com/creative-growth-coloring-book.html\" rel=\"noopener noreferrer\" target=\"_blank\">Creative Growth coloring book\u003c/a> ($15) is collection of black-and-white drawings by 39 studio artists, primed and ready for colorful collaboration.\u003c/p>\n\u003cp>For someone more interested in mixing drinks than watercolors, Mirro recommends a set of \u003ca href=\"http://creative-growth.shoplightspeed.com/dinah-shapiro-totem-glasses-set.html\" rel=\"noopener noreferrer\" target=\"_blank\">four highball glasses\u003c/a> featuring designs by artist Dinah Shapiro ($40). “We chose to design a glass with her because she’s an artist who concocts a lot of her own drink combinations here in the studio,” Mirro explains. “She likes to mix iced tea with yogurts and other types of juices.” \u003c/p>\n\u003cp>The four glasses are a retrospective of sorts—each one comes from a different period of work in the studio, where Shapiro has been making art since 1983.\u003c/p>\n\u003cp>If you’d like to see far more work from the artists at Creative Growth, stop by their \u003ca href=\"https://creativegrowth.org/exhibitions/holiday-studio-sale-2019\" rel=\"noopener noreferrer\" target=\"_blank\">holiday studio sale\u003c/a> Dec. 6, 2019–Jan. 17, 2020, where a wide variety of textiles, paintings, drawings and ceramics are available for purchase. “It’s one of the best introductions to our space,” Mirro says. “You can find artwork from the ’70s when we started, or a brand new, hot-off-the-kiln ceramics piece.” \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Does the thought of finding well-designed, locally relevant and thoughtful gifts for your loved ones fill you with dread? Never fear: the anxiety of lackluster gift-giving can be eradicated by real experts in the world, people who’ve already done the hard work of finding all that good stuff.\u003c/p>\n\u003cp>They are the managers, retail directors, buyers and distinguished employees of Bay Area museum stores… and they’re here to help. We asked representatives from five Bay Area arts institutions for their personal gift recommendations; all you have to worry about now is wrapping.\u003c/p>\n\u003ch2>Ceramics and Food to Fill Them\u003c/h2>\n\u003cp>\u003cb>\u003ca href=\"https://www.thecjm.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Contemporary Jewish Museum\u003c/a>\u003c/b>\u003c/p>\n\u003cfigure id=\"attachment_13870654\" class=\"wp-caption aligncenter\" style=\"max-width: 972px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/NorishZine_crop.jpg\" alt=\"A cooking zine in a wooden box sits to the right of a glass vase of flowers on a white counter.\" width=\"972\" height=\"816\" class=\"size-full wp-image-13870654\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/NorishZine_crop.jpg 972w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/NorishZine_crop-160x134.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/NorishZine_crop-800x672.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/NorishZine_crop-768x645.jpg 768w\" sizes=\"(max-width: 972px) 100vw, 972px\">\u003cfigcaption class=\"wp-caption-text\">‘Nourish Co. All Day: A Mini Cookbook’ \u003ccite>(Courtesy of Nourish Co.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gravity Goldberg, director of public programs and visitor experience at the Contemporary Jewish Museum, had an especially hard time picking just one item. \u003c/p>\n\u003cp>“This fall we’ve been having a series of ceramic pop-ups in conjunction with our \u003ca href=\"https://www.kqed.org/arts/13867880/at-the-cjm-20-years-of-annabeth-rosens-earthen-humor\" rel=\"noopener noreferrer\" target=\"_blank\">Annabeth Rosen exhibition\u003c/a>, so we’ve been working each month with a different, mostly local ceramics artist,” Goldberg says. She’s fallen in love with a number of items, like \u003ca href=\"https://www.sarahkersten.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Sarah Kersten\u003c/a>’s fermentation jar and \u003ca href=\"https://www.cestbonclay.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Cassie Brown\u003c/a>’s Bauhaus-esque take on a black vase. \u003c/p>\n\u003cp>But for a lower price point, Goldberg recommends a \u003ca href=\"https://nourish-co.com/shop/nourish-co-all-day\" rel=\"noopener noreferrer\" target=\"_blank\">mini-cookbook zine\u003c/a> by Nourish Co. ($15), a lifestyle brand run by San Francisco-based Kristin Eriko Posner, who is Japanese American and Jewish. \u003c/p>\n\u003cp>“It’s full of recipes that are Japanese-Jewish. She does a Jewish donburi, it’s fun! It’s a cute little Hanukkah stocking stuffer,” Goldberg says.\u003c/p>\n\u003ch2>Gifts for Hosting and Cooking\u003c/h2>\n\u003cp>\u003cb>\u003ca href=\"http://www.asianart.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Asian Art Museum\u003c/a>\u003c/b>\u003c/p>\n\u003cfigure id=\"attachment_13870657\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/umeboshi_crop.jpg\" alt=\"Japanese salty plums in two jars and on a plate with chopsticks.\" width=\"1000\" height=\"608\" class=\"size-full wp-image-13870657\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/umeboshi_crop.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/umeboshi_crop-160x97.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/umeboshi_crop-800x486.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/umeboshi_crop-768x467.jpg 768w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">Umeboshi savory plum pickles by Yumé Boshi. \u003ccite>(Courtesy of Yumé Boshi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With the exhibition schedule a bit different from years past, as the Asian Art Museum undergoes a \u003ca href=\"https://www.kqed.org/arts/13809355/asian-art-museum-moves-toward-90-million-transformation\" rel=\"noopener noreferrer\" target=\"_blank\">major expansion project\u003c/a>, Director of Retail Françoise Sengens decided the organizing principle of this year’s winter display would be—quite simply—food. \u003c/p>\n\u003cp>“Whatever your holidays are, there is always a big meal that people share with family and friends. So I investigated artisans and small companies, mostly Asian American, in San Francisco and the Bay Area,” she says. “We decided to bring in a lot of products, gourmet food and gifts for hosting and cooking.”\u003c/p>\n\u003cp>The centerpiece of the store is a display of \u003ca href=\"https://www.jadechocolates.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Jade Chocolates\u003c/a> ($7.95–$34.95), a San Francisco-based company that makes artisan chocolates blended with teas, spices and tropical fruits—all flavors from Asia and the Pacific Islands. \u003c/p>\n\u003cp>But Sengens also recommends a range of tasty treats made by Oakland-based food company \u003ca href=\"https://yumeboshiplum.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Yumé Boshi\u003c/a> ($19.95–$22.95). Their small-batch Japanese preserves are made using traditional methods, and simple, locally sourced ingredients. Look for their plum syrup (great in cocktails), jars of Japanese salty plums and a mandarinquat and ume plum marmalade.\u003c/p>\n\u003ch2>‘Black is Beautiful’ in Past and Present Publications\u003c/h2>\n\u003cp>\u003cb>\u003ca href=\"https://www.moadsf.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Museum of the African Diaspora\u003c/a>\u003c/b>\u003c/p>\n\u003cfigure id=\"attachment_13870642\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/Black-Is-Beautiful_Umber_1600.jpg\" alt=\"A book cover and a magazine cover.\" width=\"1600\" height=\"700\" class=\"size-full wp-image-13870642\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Black-Is-Beautiful_Umber_1600.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Black-Is-Beautiful_Umber_1600-160x70.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Black-Is-Beautiful_Umber_1600-800x350.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Black-Is-Beautiful_Umber_1600-768x336.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Black-Is-Beautiful_Umber_1600-1020x446.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Black-Is-Beautiful_Umber_1600-1200x525.jpg 1200w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">‘Black is Beautiful’ exhibition catalog and the “Sound Issue” of ‘Umber Magazine.’ \u003ccite>(Courtesy of MoAD)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When the Museum of the African Diaspora opens \u003ci>\u003ca href=\"https://www.moadsf.org/exhibition/black-is-beautiful-the-photography-of-kwame-brathwaite/\" rel=\"noopener noreferrer\" target=\"_blank\">Black is Beautiful\u003c/a>\u003c/i> on Dec. 4, an exhibition of Kwame Brathewaite’s photography, Visitor Experience Manager Nia McAllister thinks you’re going to want to bring part of the show home with you. \u003c/p>\n\u003cp>This key figure in the second Harlem Renaissance co-founded the African Jazz Arts Society Studios and Grandassa Models, a modeling agency for black women. His powerful images of black men and women with natural hair and clothes celebrating their African roots illustrated the movement that gives the show its name. A catalog ($40) featuring all of the above can be found in MoAD’s small but mighty museum store.\u003c/p>\n\u003cp>If you’re looking for something a bit more rooted in Bay Area artistic production, McAllister has that covered too. “Something we try to feature in the bookstore at MoAD is local black artists and black creatives,” she says, suggesting an Oakland-based publication called \u003ci>\u003ca href=\"https://www.kqed.org/arts/13861253/rightnowish-mike-nicholls-and-umber-magazine\" rel=\"noopener noreferrer\" target=\"_blank\">Umber Magazine\u003c/a>\u003c/i>. \u003c/p>\n\u003cp>“It’s collectively owned by three people of color and it features the visual arts and culture of black and brown people,” McAllister explains. The museum stocks both the magazine’s luxurious “Sound Issue” ($25) and their latest zine, an eight-page large-format publication \u003ci>Umber\u003c/i> describes as “a visual tactile mixtape” ($10).\u003c/p>\n\u003ch2>An Introduction to Electronic Music\n\u003ch2>\n\u003c/h2>\u003c/h2>\u003cp>\u003cb>\u003ca href=\"https://www.sfmoma.org/\" rel=\"noopener noreferrer\" target=\"_blank\">San Francisco Museum of Modern Art\u003c/a>\u003c/b>\u003c/p>\n\u003cfigure id=\"attachment_13870651\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/Blipblox2_1000x_crop.jpg\" alt=\"A white plastic device covered in blue, red and green knobs and levers.\" width=\"1000\" height=\"644\" class=\"size-full wp-image-13870651\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Blipblox2_1000x_crop.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Blipblox2_1000x_crop-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Blipblox2_1000x_crop-800x515.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Blipblox2_1000x_crop-768x495.jpg 768w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">Blipblox, “a real synth made for kids,” by Playtime Engineering. \u003ccite>(Courtesy of SFMOMA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Camille Verboort, a buyer for the San Francisco Museum of Modern Art store, spotted her recommendation earlier this year at a toy fair. “I saw this product, and it stopped me in my tracks,” she remembers. The \u003ca href=\"https://museumstore.sfmoma.org/blipbox-410000382189.html\" rel=\"noopener noreferrer\" target=\"_blank\">Blipblox\u003c/a> ($189) is a synthesizer for children ages three and up, a technically complicated but easy-to-use instrument that kids can experiment with and grow into, eventually plugging into computers to create their own recorded music. \u003c/p>\n\u003cp>Made by the Potrero Hill-based company Playtime Engineering, Verboort saw in the Blipblox not just a fun and educational product, but something that expanded on the museum’s holdings, specifically Brian Eno’s ambient music installations. “Part of my job is to bring in products that relate to our collection and the exhibitions we have, to further educate people about the artists we feature in the museum,” Verboort explains.\u003c/p>\n\u003cp>The Blipblox, along with a selection of other noise-making art-related toys, are available in SFMOMA’s store in what Verboort calls “the family jam band” section. \u003c/p>\n\u003ch2>Colors and Concoctions\u003c/h2>\n\u003cp>\u003cb>\u003ca href=\"https://creativegrowth.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Creative Growth Art Center\u003c/a>\u003c/b>\u003c/p>\n\u003cfigure id=\"attachment_13870647\" class=\"wp-caption aligncenter\" style=\"max-width: 1271px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/Creative_Growth_Coloring_Book_GlassesComp.jpg\" alt=\"A coloring book cover and four tall clear glasses with intricate black line drawings on them.\" width=\"1271\" height=\"426\" class=\"size-full wp-image-13870647\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Creative_Growth_Coloring_Book_GlassesComp.jpg 1271w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Creative_Growth_Coloring_Book_GlassesComp-160x54.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Creative_Growth_Coloring_Book_GlassesComp-800x268.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Creative_Growth_Coloring_Book_GlassesComp-768x257.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Creative_Growth_Coloring_Book_GlassesComp-1020x342.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Creative_Growth_Coloring_Book_GlassesComp-1200x402.jpg 1200w\" sizes=\"(max-width: 1271px) 100vw, 1271px\">\u003cfigcaption class=\"wp-caption-text\">A Creative Growth coloring book and Dinah Simpson’s detailed highball glasses. \u003ccite>(Courtesy of Creative Growth)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Creative Growth, a nonprofit founded in 1974, provides artists with disabilities professional studio space, exhibitions and representation. And because they work with over 150 artists, Megan Mirro, the organization’s communications and partnerships associate, has a recommendation that showcases the range of practices they support—and invites participation. The \u003ca href=\"http://creative-growth.shoplightspeed.com/creative-growth-coloring-book.html\" rel=\"noopener noreferrer\" target=\"_blank\">Creative Growth coloring book\u003c/a> ($15) is collection of black-and-white drawings by 39 studio artists, primed and ready for colorful collaboration.\u003c/p>\n\u003cp>For someone more interested in mixing drinks than watercolors, Mirro recommends a set of \u003ca href=\"http://creative-growth.shoplightspeed.com/dinah-shapiro-totem-glasses-set.html\" rel=\"noopener noreferrer\" target=\"_blank\">four highball glasses\u003c/a> featuring designs by artist Dinah Shapiro ($40). “We chose to design a glass with her because she’s an artist who concocts a lot of her own drink combinations here in the studio,” Mirro explains. “She likes to mix iced tea with yogurts and other types of juices.” \u003c/p>\n\u003cp>The four glasses are a retrospective of sorts—each one comes from a different period of work in the studio, where Shapiro has been making art since 1983.\u003c/p>\n\u003cp>If you’d like to see far more work from the artists at Creative Growth, stop by their \u003ca href=\"https://creativegrowth.org/exhibitions/holiday-studio-sale-2019\" rel=\"noopener noreferrer\" target=\"_blank\">holiday studio sale\u003c/a> Dec. 6, 2019–Jan. 17, 2020, where a wide variety of textiles, paintings, drawings and ceramics are available for purchase. “It’s one of the best introductions to our space,” Mirro says. “You can find artwork from the ’70s when we started, or a brand new, hot-off-the-kiln ceramics piece.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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}
},
"baycurious": {
"id": "baycurious",
"title": "Bay Curious",
"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.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/news/series/baycurious",
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"source": "kqed",
"order": 3
},
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"npr": "https://www.npr.org/podcasts/500557090/bay-curious",
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}
},
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"id": "bbc-world-service",
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"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
"airtime": "MON-FRI 9pm-10pm, TUE-FRI 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.bbc.co.uk/sounds/play/live:bbc_world_service",
"meta": {
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"source": "BBC World Service"
},
"link": "/radio/program/bbc-world-service",
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"apple": "https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2",
"tuneIn": "https://tunein.com/radio/BBC-World-Service-p455581/",
"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareport",
"meta": {
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"source": "kqed",
"order": 8
},
"link": "/californiareport",
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"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
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}
},
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"title": "The California Report Magazine",
"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.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
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"officialWebsiteLink": "/podcasts/closealltabs",
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"source": "kqed",
"order": 1
},
"link": "/podcasts/closealltabs",
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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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"meta": {
"site": "radio",
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},
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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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"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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}
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"id": "forum",
"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",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"meta": {
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"source": "kqed",
"order": 9
},
"link": "/forum",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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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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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"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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"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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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/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
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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)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
"spotify": "https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"
}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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