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"title": "Kahlil Joseph Broadcasts the Vastness of Black Life in ‘BLKNWS’",
"headTitle": "Kahlil Joseph Broadcasts the Vastness of Black Life in ‘BLKNWS’ | KQED",
"content": "\u003cp>\u003ci>Editor’s note: Please welcome a new monthly column from writer, editor and producer Ruth Gebreyesus, who will cover Bay Area arts and culture, with an eye towards the East Bay, for KQED Arts.\u003c/i>\u003c/p>\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\">T\u003c/span>here’s no good reason to summarize or itemize Kahlil Joseph’s \u003cem>\u003ca href=\"https://museum.stanford.edu/exhibitions/kahlil-joseph-blknws\" target=\"_blank\" rel=\"noopener noreferrer\">BLKNWS\u003c/a>\u003c/em>, a two-channel video installation now on view at Stanford University. Its density resists any such effort.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-13864254\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/RuthHeadshot_160.jpg\" alt=\"\" width=\"160\" height=\"187\">\u003c/p>\n\u003cp>In fact, there’s great relief in arriving at a show about blackness that isn’t attempting a frugal summary of its subject matter or extolling moral lessons through black bodies. But for the sake of fulfilling my duties as a messenger, here goes: \u003cem>BLKNWS\u003c/em> is a broadcast of black life in America expressed through abundant footage pulled from headline news, archival material, internet-native clips and Joseph’s own past films.\u003c/p>\n\u003cp>At a screening for the San Francisco Film Festival in April, Joseph explained he originally pitched \u003cem>BLKNWS\u003c/em> to television networks as a news program. With painter Henry Taylor and actress Amandla Stenberg, among others, as anchors, the broadcast reads more like a social media feed or a journey at the mercy of YouTube’s calculus than any news currently on TV.\u003c/p>\n\u003cp>On \u003cem>BLKNWS\u003c/em>, algorithmic chapters sway between disparate poles. Dystopian climate change headlines play alongside clips from \u003cem>Annihilation\u003c/em> and other catastrophe movies. Soon after, June Jordan sits at her desk reciting her poem “Song of the Law Abiding Citizen.”\u003c/p>\n\u003cp>“And I can’t pay the rent / but I sent 10,000 food stamps / back to the President and his beautiful wife,” she chants in her distinct birdsong, as the footage switches to a scene at the iconic dining table in Spike Lee’s \u003cem>Crooklyn\u003c/em>. In this case, the algorithm is Joseph’s own math, a living formula he edits and adds to at will, remotely via a server.\u003c/p>\n\u003cfigure id=\"attachment_13864256\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13864256\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/Kushner_Joseph_byTommyLau_08_1200.jpg\" alt=\"Kahlil Joseph speaking with Rachel Kushner at the 2019 San Francisco International Film Festival.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Kushner_Joseph_byTommyLau_08_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Kushner_Joseph_byTommyLau_08_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Kushner_Joseph_byTommyLau_08_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Kushner_Joseph_byTommyLau_08_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Kushner_Joseph_byTommyLau_08_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Kahlil Joseph speaking with Rachel Kushner at the 2019 San Francisco International Film Festival. \u003ccite>(Courtesy of Tommy Lau, SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If there’s one through line that connects Joseph’s art and film career thus far, it’s the presence of music. His earliest films found their way to the public through music videos he directed for Shabazz Palaces, Flying Lotus and FKA Twigs. In 2014, he debuted \u003cem>\u003ca href=\"https://www.moca.org/exhibition/kahlil-joseph-double-conscience\" target=\"_blank\" rel=\"noopener noreferrer\">m.A.A.d.\u003c/a>\u003c/em> at MOCA, a short film set to songs from Kendrick Lamar’s critically acclaimed 2012 album, \u003cem>Good Kid, M.A.A.D City\u003c/em>. Opening with Lamar’s family home videos, shot just a month before the 1992 L.A. riots, and continuing with clips of quotidian life Joseph captured after the album’s release, \u003cem>m.A.A.d.\u003c/em> paints a portrait of Compton as if it were recollected from communal memory.\u003c/p>\n\u003cp>[pullquote size='large']He resists the urge towards a conclusion about blackness. It is everything he’s showed and much more.[/pullquote]\u003c/p>\n\u003cp>A shot of a young man taking a swig at a block party switches to him dancing at the concrete mouth of the L.A. River for a few seconds then back to the block party again. It’s a signature rhythm of Joseph’s, a loyalty to emotional time over the logic of a ticking clock. It’s the difference between how warm it is and how warm it feels. Between going fast and flying.\u003c/p>\n\u003cp>\u003cem>BLKNWS\u003c/em> leans further into that pace with synchronized screens and a keen awareness of how we digest information in the age of social media: how we jump from joy to terror in the space of a click or a scroll. Joseph must understand our tolerance for those emotional swings has transformed into an appetite. As he travels through visuals and sounds from the black zeitgeist into smaller, intimate moments of home life, shifting between cosmic and cellular scales, he resists the urge towards a conclusion about blackness. It is everything he’s showed and much more.\u003c/p>\n\u003cfigure id=\"attachment_13864258\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13864258\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/BLKNWS_Stanford_Final_Web_Diptych_1200.jpg\" alt=\"Kahlil Joseph, 'BLKNWS,' 2018; Still from 2-channel broadcast.\" width=\"1200\" height=\"338\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/BLKNWS_Stanford_Final_Web_Diptych_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/BLKNWS_Stanford_Final_Web_Diptych_1200-160x45.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/BLKNWS_Stanford_Final_Web_Diptych_1200-800x225.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/BLKNWS_Stanford_Final_Web_Diptych_1200-768x216.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/BLKNWS_Stanford_Final_Web_Diptych_1200-1020x287.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Kahlil Joseph, ‘BLKNWS,’ 2018; Still from 2-channel broadcast. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Though he couldn’t find a home on TV for \u003cem>BLKNWS\u003c/em>, Joseph chose three locations to stream it at Stanford: the Cantor Arts Center; the Lagunita dining hall in the complex that houses Ujamaa, a residence with black cultural focus; and Harmony House, home to the Institute for Diversity in the Arts (IDA).\u003c/p>\n\u003cp>I chose to watch \u003cem>BLKNWS\u003c/em> at Harmony House. (The full piece is estimated to be around nine hours long, though Joseph’s periodic edits defy a running time.) Across from the two wall-mounted monitors, I sank into a cozy couch in what was likely once a living room. Sipping water offered to me by A-lan Holt, the director of the IDA, I imagined this as Joseph’s original intended setting for the broadcast. Visiting someone’s home and catching a bit of news: The planet is in peril it seems. The brilliant Saidiya Hartman has thoughts to share about fugitive modernity. A young, shrill-toned Dave Chappelle does a bit. They do name all these hurricanes after women, don’t they? A child giggles at his father’s silly voices. Toni Morrison speaks a few words from the generous mountain she left us to climb up and see the vastness of black life.\u003c/p>\n\u003cp>Back home, my Twitter feed’s assemblage feels less profound and artful than ever. Instead, I seek out the fragments I saw on \u003cem>BLKNWS\u003c/em>. In one, Joseph interplays \u003ca href=\"https://www.youtube.com/watch?v=Ap0dUrCRKBg\" target=\"_blank\" rel=\"noopener noreferrer\">Christina Sharpe reading\u003c/a> from her book \u003cem>In Wake: On Blackness and Being\u003c/em> with brutal scenes from \u003cem>Amistad\u003c/em>.\u003c/p>\n\u003cp>“The amount of time it takes for a substance to enter the ocean and then leave the ocean is called ‘residence time,’” Sharpe says, later borrowing a phrase from Morrison’s \u003cem>Jazz\u003c/em>. “We black people exist in the residence time of the wake. A time in which ‘everything is now.’ It is all now.” Her last sentence, a proverb of \u003cem>BLKNWS\u003c/em>’s intangible magnitude, echoed in my head for hours.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003ci>‘BLKNWS’ is on view at Stanford University through Nov. 25. \u003ca href=\"https://museum.stanford.edu/exhibitions/kahlil-joseph-blknws\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>Editor’s note: Please welcome a new monthly column from writer, editor and producer Ruth Gebreyesus, who will cover Bay Area arts and culture, with an eye towards the East Bay, for KQED Arts.\u003c/i>\u003c/p>\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\">T\u003c/span>here’s no good reason to summarize or itemize Kahlil Joseph’s \u003cem>\u003ca href=\"https://museum.stanford.edu/exhibitions/kahlil-joseph-blknws\" target=\"_blank\" rel=\"noopener noreferrer\">BLKNWS\u003c/a>\u003c/em>, a two-channel video installation now on view at Stanford University. Its density resists any such effort.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-13864254\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/RuthHeadshot_160.jpg\" alt=\"\" width=\"160\" height=\"187\">\u003c/p>\n\u003cp>In fact, there’s great relief in arriving at a show about blackness that isn’t attempting a frugal summary of its subject matter or extolling moral lessons through black bodies. But for the sake of fulfilling my duties as a messenger, here goes: \u003cem>BLKNWS\u003c/em> is a broadcast of black life in America expressed through abundant footage pulled from headline news, archival material, internet-native clips and Joseph’s own past films.\u003c/p>\n\u003cp>At a screening for the San Francisco Film Festival in April, Joseph explained he originally pitched \u003cem>BLKNWS\u003c/em> to television networks as a news program. With painter Henry Taylor and actress Amandla Stenberg, among others, as anchors, the broadcast reads more like a social media feed or a journey at the mercy of YouTube’s calculus than any news currently on TV.\u003c/p>\n\u003cp>On \u003cem>BLKNWS\u003c/em>, algorithmic chapters sway between disparate poles. Dystopian climate change headlines play alongside clips from \u003cem>Annihilation\u003c/em> and other catastrophe movies. Soon after, June Jordan sits at her desk reciting her poem “Song of the Law Abiding Citizen.”\u003c/p>\n\u003cp>“And I can’t pay the rent / but I sent 10,000 food stamps / back to the President and his beautiful wife,” she chants in her distinct birdsong, as the footage switches to a scene at the iconic dining table in Spike Lee’s \u003cem>Crooklyn\u003c/em>. In this case, the algorithm is Joseph’s own math, a living formula he edits and adds to at will, remotely via a server.\u003c/p>\n\u003cfigure id=\"attachment_13864256\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13864256\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/Kushner_Joseph_byTommyLau_08_1200.jpg\" alt=\"Kahlil Joseph speaking with Rachel Kushner at the 2019 San Francisco International Film Festival.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Kushner_Joseph_byTommyLau_08_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Kushner_Joseph_byTommyLau_08_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Kushner_Joseph_byTommyLau_08_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Kushner_Joseph_byTommyLau_08_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Kushner_Joseph_byTommyLau_08_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Kahlil Joseph speaking with Rachel Kushner at the 2019 San Francisco International Film Festival. \u003ccite>(Courtesy of Tommy Lau, SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If there’s one through line that connects Joseph’s art and film career thus far, it’s the presence of music. His earliest films found their way to the public through music videos he directed for Shabazz Palaces, Flying Lotus and FKA Twigs. In 2014, he debuted \u003cem>\u003ca href=\"https://www.moca.org/exhibition/kahlil-joseph-double-conscience\" target=\"_blank\" rel=\"noopener noreferrer\">m.A.A.d.\u003c/a>\u003c/em> at MOCA, a short film set to songs from Kendrick Lamar’s critically acclaimed 2012 album, \u003cem>Good Kid, M.A.A.D City\u003c/em>. Opening with Lamar’s family home videos, shot just a month before the 1992 L.A. riots, and continuing with clips of quotidian life Joseph captured after the album’s release, \u003cem>m.A.A.d.\u003c/em> paints a portrait of Compton as if it were recollected from communal memory.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A shot of a young man taking a swig at a block party switches to him dancing at the concrete mouth of the L.A. River for a few seconds then back to the block party again. It’s a signature rhythm of Joseph’s, a loyalty to emotional time over the logic of a ticking clock. It’s the difference between how warm it is and how warm it feels. Between going fast and flying.\u003c/p>\n\u003cp>\u003cem>BLKNWS\u003c/em> leans further into that pace with synchronized screens and a keen awareness of how we digest information in the age of social media: how we jump from joy to terror in the space of a click or a scroll. Joseph must understand our tolerance for those emotional swings has transformed into an appetite. As he travels through visuals and sounds from the black zeitgeist into smaller, intimate moments of home life, shifting between cosmic and cellular scales, he resists the urge towards a conclusion about blackness. It is everything he’s showed and much more.\u003c/p>\n\u003cfigure id=\"attachment_13864258\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13864258\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/BLKNWS_Stanford_Final_Web_Diptych_1200.jpg\" alt=\"Kahlil Joseph, 'BLKNWS,' 2018; Still from 2-channel broadcast.\" width=\"1200\" height=\"338\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/BLKNWS_Stanford_Final_Web_Diptych_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/BLKNWS_Stanford_Final_Web_Diptych_1200-160x45.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/BLKNWS_Stanford_Final_Web_Diptych_1200-800x225.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/BLKNWS_Stanford_Final_Web_Diptych_1200-768x216.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/BLKNWS_Stanford_Final_Web_Diptych_1200-1020x287.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Kahlil Joseph, ‘BLKNWS,’ 2018; Still from 2-channel broadcast. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Though he couldn’t find a home on TV for \u003cem>BLKNWS\u003c/em>, Joseph chose three locations to stream it at Stanford: the Cantor Arts Center; the Lagunita dining hall in the complex that houses Ujamaa, a residence with black cultural focus; and Harmony House, home to the Institute for Diversity in the Arts (IDA).\u003c/p>\n\u003cp>I chose to watch \u003cem>BLKNWS\u003c/em> at Harmony House. (The full piece is estimated to be around nine hours long, though Joseph’s periodic edits defy a running time.) Across from the two wall-mounted monitors, I sank into a cozy couch in what was likely once a living room. Sipping water offered to me by A-lan Holt, the director of the IDA, I imagined this as Joseph’s original intended setting for the broadcast. Visiting someone’s home and catching a bit of news: The planet is in peril it seems. The brilliant Saidiya Hartman has thoughts to share about fugitive modernity. A young, shrill-toned Dave Chappelle does a bit. They do name all these hurricanes after women, don’t they? A child giggles at his father’s silly voices. Toni Morrison speaks a few words from the generous mountain she left us to climb up and see the vastness of black life.\u003c/p>\n\u003cp>Back home, my Twitter feed’s assemblage feels less profound and artful than ever. Instead, I seek out the fragments I saw on \u003cem>BLKNWS\u003c/em>. In one, Joseph interplays \u003ca href=\"https://www.youtube.com/watch?v=Ap0dUrCRKBg\" target=\"_blank\" rel=\"noopener noreferrer\">Christina Sharpe reading\u003c/a> from her book \u003cem>In Wake: On Blackness and Being\u003c/em> with brutal scenes from \u003cem>Amistad\u003c/em>.\u003c/p>\n\u003cp>“The amount of time it takes for a substance to enter the ocean and then leave the ocean is called ‘residence time,’” Sharpe says, later borrowing a phrase from Morrison’s \u003cem>Jazz\u003c/em>. “We black people exist in the residence time of the wake. A time in which ‘everything is now.’ It is all now.” Her last sentence, a proverb of \u003cem>BLKNWS\u003c/em>’s intangible magnitude, echoed in my head for hours.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003ci>‘BLKNWS’ is on view at Stanford University through Nov. 25. \u003ca href=\"https://museum.stanford.edu/exhibitions/kahlil-joseph-blknws\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>On Aug. 17, Mosswood Park in Oakland will be full of people gathered in celebration of the 50th birthday of the late, great Mike “Dream” Francisco.\u003c/p>\n\u003cp>Dream, a legendary graffiti writer, was raised in Alameda and spent time all over the Bay Area. But he found a home on the walls of Oakland—specifically those near 23rd Avenue and East 12th Street, in what’s known as Oakland’s 23rd Yards. He got his first taste of writing in 1983, and from that moment on, Dream used the walls of the Bay Area as a canvas to create artwork so impressive that publications around the world took note.\u003c/p>\n\u003cp>His notable hand styles and clever messages, as well as the proliferation of pieces that simply read DREAM, helped to spread his name in the graffiti writing world.\u003c/p>\n\u003cfigure id=\"attachment_13864061\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13864061\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/DSC01619-800x532.jpg\" alt=\"Best Of Both Worlds-Dream\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/DSC01619-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/DSC01619-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/DSC01619-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/DSC01619-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/DSC01619-1200x797.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/DSC01619-1920x1276.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/DSC01619.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Two of Dream’s more popular pieces, ‘The Best Of Both Worlds’ and ‘Sweet Dreams.’ \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Much more than just a writer, Dream was a hustler who grew to be politicized. He had the Bay Area vernacular and charisma, \u003ca href=\"https://www.youtube.com/watch?v=zklG2h4B86o\" target=\"_blank\" rel=\"noopener\">and used it in conversation\u003c/a>. He was a proud first-generation Filipino guy who loved hip-hop, and kicked it with folks of all nationalities.\u003c/p>\n\u003cp>He was also a founding member of a crew of writers known as TDK, which originally stood for “Those Damn Kids.” But you know how it is: multiple meanings for an acronym emerge, depending on what the crew got into. So, when they did devious things, they were “The Dark Knights.” When they were talking politics, it was “Tax Dollars Kill.” When they were bragging about how dope they were, they were “The Damn Kings.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Years have passed and the crew has grown. A lot of them still paint; you can find TDK pieces in all corners of the Town. Some have used their artistic ability for other things, like becoming tattoo artists. And a few of them became teachers, still carrying the TDK name—you know, “Teach Da Kids.”\u003c/p>\n\u003cfigure id=\"attachment_13864060\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13864060\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/IMG_1636-800x600.jpg\" alt=\"Dream memorial at the front door of East Side Arts Alliance\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/IMG_1636-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/IMG_1636-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/IMG_1636-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/IMG_1636-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/IMG_1636-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/IMG_1636-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/IMG_1636.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dream memorial at the front door of East Side Arts Alliance. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After Mike ‘Dream’ Francisco was killed on Feb. 17, 2000, in Oakland, the City of Oakland \u003ca href=\"http://nvrovr.blogspot.com/2010/02/city-of-oakland-honors-dream-day.html\" target=\"_blank\" rel=\"noopener\">officially designated\u003c/a> that day as Dream Day in 2010. His legacy not only lives on in the photos of his work and his crew’s continued contributions to the arts, but through his son Akil as well.\u003c/p>\n\u003cp>I have a close connection to Dream’s story: my 2014 documentary film, \u003ca href=\"https://www.youtube.com/watch?v=cDp38sltic8\" target=\"_blank\" rel=\"noopener\">\u003cem>TDK: The Dream Kontinues\u003c/em>\u003c/a>, highlights just a bit of his life and artistry.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But for a real sense of his legacy in the Bay Area, there’s nothing like being around the people he worked with, and the writers he inspired. At Mosswood Park this Saturday, friends, family and writers from around the world will share signatures, tell stories and listen to golden-era hip-hop, with music by DJ Qbert, Wes, Nump and more. It’s all to honor the life of one of the most well-loved graffiti artists of the region.\u003cem>—Pendarvis Harshaw\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On Aug. 17, Mosswood Park in Oakland will be full of people gathered in celebration of the 50th birthday of the late, great Mike “Dream” Francisco.\u003c/p>\n\u003cp>Dream, a legendary graffiti writer, was raised in Alameda and spent time all over the Bay Area. But he found a home on the walls of Oakland—specifically those near 23rd Avenue and East 12th Street, in what’s known as Oakland’s 23rd Yards. He got his first taste of writing in 1983, and from that moment on, Dream used the walls of the Bay Area as a canvas to create artwork so impressive that publications around the world took note.\u003c/p>\n\u003cp>His notable hand styles and clever messages, as well as the proliferation of pieces that simply read DREAM, helped to spread his name in the graffiti writing world.\u003c/p>\n\u003cfigure id=\"attachment_13864061\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13864061\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/DSC01619-800x532.jpg\" alt=\"Best Of Both Worlds-Dream\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/DSC01619-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/DSC01619-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/DSC01619-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/DSC01619-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/DSC01619-1200x797.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/DSC01619-1920x1276.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/DSC01619.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Two of Dream’s more popular pieces, ‘The Best Of Both Worlds’ and ‘Sweet Dreams.’ \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Much more than just a writer, Dream was a hustler who grew to be politicized. He had the Bay Area vernacular and charisma, \u003ca href=\"https://www.youtube.com/watch?v=zklG2h4B86o\" target=\"_blank\" rel=\"noopener\">and used it in conversation\u003c/a>. He was a proud first-generation Filipino guy who loved hip-hop, and kicked it with folks of all nationalities.\u003c/p>\n\u003cp>He was also a founding member of a crew of writers known as TDK, which originally stood for “Those Damn Kids.” But you know how it is: multiple meanings for an acronym emerge, depending on what the crew got into. So, when they did devious things, they were “The Dark Knights.” When they were talking politics, it was “Tax Dollars Kill.” When they were bragging about how dope they were, they were “The Damn Kings.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Years have passed and the crew has grown. A lot of them still paint; you can find TDK pieces in all corners of the Town. Some have used their artistic ability for other things, like becoming tattoo artists. And a few of them became teachers, still carrying the TDK name—you know, “Teach Da Kids.”\u003c/p>\n\u003cfigure id=\"attachment_13864060\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13864060\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/IMG_1636-800x600.jpg\" alt=\"Dream memorial at the front door of East Side Arts Alliance\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/IMG_1636-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/IMG_1636-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/IMG_1636-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/IMG_1636-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/IMG_1636-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/IMG_1636-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/IMG_1636.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dream memorial at the front door of East Side Arts Alliance. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After Mike ‘Dream’ Francisco was killed on Feb. 17, 2000, in Oakland, the City of Oakland \u003ca href=\"http://nvrovr.blogspot.com/2010/02/city-of-oakland-honors-dream-day.html\" target=\"_blank\" rel=\"noopener\">officially designated\u003c/a> that day as Dream Day in 2010. His legacy not only lives on in the photos of his work and his crew’s continued contributions to the arts, but through his son Akil as well.\u003c/p>\n\u003cp>I have a close connection to Dream’s story: my 2014 documentary film, \u003ca href=\"https://www.youtube.com/watch?v=cDp38sltic8\" target=\"_blank\" rel=\"noopener\">\u003cem>TDK: The Dream Kontinues\u003c/em>\u003c/a>, highlights just a bit of his life and artistry.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But for a real sense of his legacy in the Bay Area, there’s nothing like being around the people he worked with, and the writers he inspired. At Mosswood Park this Saturday, friends, family and writers from around the world will share signatures, tell stories and listen to golden-era hip-hop, with music by DJ Qbert, Wes, Nump and more. It’s all to honor the life of one of the most well-loved graffiti artists of the region.\u003cem>—Pendarvis Harshaw\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Despite the extravagant, bombastic name, the members of \u003ca href=\"http://bonanzallc.co\" target=\"_blank\" rel=\"noopener noreferrer\">Bonanza\u003c/a> (the collaborative art practice of Conrad Guevara, Lindsay Tully and Lana Williams), aren’t as interested in occupying the spotlight as they are in creating opportunities for others to shine. “We’re a platform,” Tully says. “We will design or curate a situation, set up the scene.”\u003c/p>\n\u003cp>On a late September evening in 2018, that scene was a fashion show \u003cem>The Young and the Restless\u003c/em>. Models powerfully stalked an actual platform—a 50-foot-long runway made out of recycled pallets—showing off dozens of looks sourced almost entirely from \u003ca href=\"https://www.recology.com/recology-san-francisco/\" target=\"_blank\" rel=\"noopener noreferrer\">Recology San Francisco\u003c/a>, the city’s public dump.\u003c/p>\n\u003cp>The show was the culmination of a four-month residency; the trio mined Recology’s public disposal area for unorthodox materials like Lowe’s shopping bags, a hammock, shaped foam and fake foliage, custom-fit their outfits to each model and coached their volunteers (fellow artists, members of the queer community and nightlife scene) in runway tactics. “We like to make people feel like we’re empowering them,” says Guevara. “We think of them as professional and their time is valuable.” That experience, in turn, can help people ask for what they want—and get it.\u003c/p>\n\u003cfigure id=\"attachment_13863940\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863940\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/bonanza2-800x450.jpg\" alt=\"Models in Bonanza's fashion show at San Francisco's city dump show off looks transformed from trash\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/bonanza2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/bonanza2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/bonanza2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/bonanza2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/bonanza2-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/bonanza2.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jasmine Johnson leads a group of models in Bonanza’s fashion show at the city dump\u003c/figcaption>\u003c/figure>\n\u003cp>Jasmine Johnson, one of Bonanza’s models, can attest to this. “I’m usually not a performer,” she says. “Bonanza, I think, is the only group that could get me to do something like this. They always make you feel really positive, really confident. We’re walking like New York Fashion Week or something!”\u003c/p>\n\u003cp>Watching material arrive at Recology often took an emotional toll on the artists, reinforcing the importance of the space they were creating through fashion and performance. “You see a lot of things come from old homes in San Francisco,” Guevara says. “Like old patio furniture—and then old drywall with wallpaper. So you know someone is flipping a house to make it into a luxury home for a single family when maybe it was an apartment building for multiple families.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As the sun set, spreading golden light across Recology’s courtyard and glinting off of parade floats repurposed as gowns, such concerns temporarily lift, fulfilling Williams’ stated goal: “We hope this allows the people we work with the space and freedom to access and express a part of themselves they couldn’t before.” —\u003cem>Text by Sarah Hotchkiss\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Despite the extravagant, bombastic name, the members of \u003ca href=\"http://bonanzallc.co\" target=\"_blank\" rel=\"noopener noreferrer\">Bonanza\u003c/a> (the collaborative art practice of Conrad Guevara, Lindsay Tully and Lana Williams), aren’t as interested in occupying the spotlight as they are in creating opportunities for others to shine. “We’re a platform,” Tully says. “We will design or curate a situation, set up the scene.”\u003c/p>\n\u003cp>On a late September evening in 2018, that scene was a fashion show \u003cem>The Young and the Restless\u003c/em>. Models powerfully stalked an actual platform—a 50-foot-long runway made out of recycled pallets—showing off dozens of looks sourced almost entirely from \u003ca href=\"https://www.recology.com/recology-san-francisco/\" target=\"_blank\" rel=\"noopener noreferrer\">Recology San Francisco\u003c/a>, the city’s public dump.\u003c/p>\n\u003cp>The show was the culmination of a four-month residency; the trio mined Recology’s public disposal area for unorthodox materials like Lowe’s shopping bags, a hammock, shaped foam and fake foliage, custom-fit their outfits to each model and coached their volunteers (fellow artists, members of the queer community and nightlife scene) in runway tactics. “We like to make people feel like we’re empowering them,” says Guevara. “We think of them as professional and their time is valuable.” That experience, in turn, can help people ask for what they want—and get it.\u003c/p>\n\u003cfigure id=\"attachment_13863940\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863940\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/bonanza2-800x450.jpg\" alt=\"Models in Bonanza's fashion show at San Francisco's city dump show off looks transformed from trash\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/bonanza2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/bonanza2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/bonanza2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/bonanza2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/bonanza2-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/bonanza2.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jasmine Johnson leads a group of models in Bonanza’s fashion show at the city dump\u003c/figcaption>\u003c/figure>\n\u003cp>Jasmine Johnson, one of Bonanza’s models, can attest to this. “I’m usually not a performer,” she says. “Bonanza, I think, is the only group that could get me to do something like this. They always make you feel really positive, really confident. We’re walking like New York Fashion Week or something!”\u003c/p>\n\u003cp>Watching material arrive at Recology often took an emotional toll on the artists, reinforcing the importance of the space they were creating through fashion and performance. “You see a lot of things come from old homes in San Francisco,” Guevara says. “Like old patio furniture—and then old drywall with wallpaper. So you know someone is flipping a house to make it into a luxury home for a single family when maybe it was an apartment building for multiple families.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As the sun set, spreading golden light across Recology’s courtyard and glinting off of parade floats repurposed as gowns, such concerns temporarily lift, fulfilling Williams’ stated goal: “We hope this allows the people we work with the space and freedom to access and express a part of themselves they couldn’t before.” —\u003cem>Text by Sarah Hotchkiss\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Watch 'Ghost' With a Bunch of Ceramicists in Oakland",
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"content": "\u003cp>Film history is filled to the brim with depictions of fictional painters and sculptors (personal fave: Julianne Moore in \u003ci>The Big Lebowski\u003c/i>), performance artists and oh-so-many aspiring filmmakers, but where are all the ceramicists?\u003c/p>\n\u003cp>Please see \u003ci>Ghost\u003c/i>. No, please. See \u003ci>Ghost\u003c/i>. Released in 1990, the supernatural thriller/love story includes possibly the most famous scene of ceramics in action, courtesy of Demi Moore’s character throwing some clay in the middle of the night.\u003c/p>\n\u003cp>Who should join her to the sound of the Righteous Brother’s “Unchained Melody,” offering to “help” make a vessel? Why, a shirtless Patrick Swayze, of course. (Spoiler: They don’t have a future as a collaborative artist duo.)\u003c/p>\n\u003cp>But the Oakland artist collective \u003ca href=\"http://mutualstores.online/\" rel=\"noopener\" target=\"_blank\">Mutual Stores\u003c/a> doesn’t seem to mind. On Saturday, Aug. 17 they’ll screen \u003ci>Ghost\u003c/i> in their backyard garden (doors at 6pm, movie at sundown, a.k.a. 8:30pm), the second in an ongoing series of movie nights they promise will deliver “art films to classic American kitsch” (\u003ci>Ghost\u003c/i> is, of course, the latter). \u003c/p>\n\u003cp>It’s also a great opportunity to meet Mutual Stores’ organizers (the space was founded by Rosa Novak, Brendan Page and Kate Pruitt) and learn more about their events (brick-making workshops! clay days!), gallery space and residency program—which is dedicated to developing sustainable systems by offering artists the studio’s ceramic waste as a raw material. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And if you find yourself inspired by the aforementioned scene, the Mutual Stores folks might know where you can sign up for some pottery classes. \u003ci>—Sarah Hotchkiss\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Film history is filled to the brim with depictions of fictional painters and sculptors (personal fave: Julianne Moore in \u003ci>The Big Lebowski\u003c/i>), performance artists and oh-so-many aspiring filmmakers, but where are all the ceramicists?\u003c/p>\n\u003cp>Please see \u003ci>Ghost\u003c/i>. No, please. See \u003ci>Ghost\u003c/i>. Released in 1990, the supernatural thriller/love story includes possibly the most famous scene of ceramics in action, courtesy of Demi Moore’s character throwing some clay in the middle of the night.\u003c/p>\n\u003cp>Who should join her to the sound of the Righteous Brother’s “Unchained Melody,” offering to “help” make a vessel? Why, a shirtless Patrick Swayze, of course. (Spoiler: They don’t have a future as a collaborative artist duo.)\u003c/p>\n\u003cp>But the Oakland artist collective \u003ca href=\"http://mutualstores.online/\" rel=\"noopener\" target=\"_blank\">Mutual Stores\u003c/a> doesn’t seem to mind. On Saturday, Aug. 17 they’ll screen \u003ci>Ghost\u003c/i> in their backyard garden (doors at 6pm, movie at sundown, a.k.a. 8:30pm), the second in an ongoing series of movie nights they promise will deliver “art films to classic American kitsch” (\u003ci>Ghost\u003c/i> is, of course, the latter). \u003c/p>\n\u003cp>It’s also a great opportunity to meet Mutual Stores’ organizers (the space was founded by Rosa Novak, Brendan Page and Kate Pruitt) and learn more about their events (brick-making workshops! clay days!), gallery space and residency program—which is dedicated to developing sustainable systems by offering artists the studio’s ceramic waste as a raw material. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Steel, Wood and ... Uranium Ore? Vallejo Show Draws From City’s Naval History",
"headTitle": "Steel, Wood and … Uranium Ore? Vallejo Show Draws From City’s Naval History | KQED",
"content": "\u003cp>\u003ca href=\"https://matthewkerkhof.com/section/241920.html\" rel=\"noopener\" target=\"_blank\">Matthew Kerkhof\u003c/a> is good at convincing people to visit Vallejo. And no, he is not employed by the city’s chamber of commerce.\u003c/p>\n\u003cp>He’s an artist with a garage-turned-exhibition space, dubbed Brittany after the name someone carved into once-wet concrete in front of his house. The occasion for his gentle persuasion is a fairly easy sell: \u003ca href=\"http://marshallelliott.com/\" rel=\"noopener\" target=\"_blank\">Marshall Elliott\u003c/a>’s thoughtful \u003ci>Rates of Disappearance\u003c/i>, a show inspired by nearby Mare Island and its history, a show of measurement and communication devices—and a small container of radioactive uranium ore.\u003c/p>\n\u003cp>Though its exterior is an unmissable shade of faded salmon, Brittany’s interior is spare and unadorned, every surface painted a semitransparent white. Smooth drywall covers one wall, floor-to-ceiling, roughly hewn shelving another. Strips of fluorescent lighting hang from the rafters.\u003c/p>\n\u003cfigure id=\"attachment_13863432\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/RatesofDisappearance_10_1200.jpg\" alt=\"Installation view of Marshall Elliott, 'Rates of Disappearance,' 2019.\" width=\"1200\" height=\"893\" class=\"size-full wp-image-13863432\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RatesofDisappearance_10_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RatesofDisappearance_10_1200-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RatesofDisappearance_10_1200-800x595.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RatesofDisappearance_10_1200-768x572.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RatesofDisappearance_10_1200-1020x759.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of Marshall Elliott, ‘Rates of Disappearance,’ 2019. \u003ccite>(Courtesy of the artist and Brittany)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Tucked into the spaces between the walls’ two-by-fours, sitting on the floor and hanging from the ceiling are Elliott’s sculptures, made of wood, lead, cast aluminum, half-burned signal flags, steel and the aforementioned uranium.\u003c/p>\n\u003cp>It’s a lot of work for such a small space, and some of the more minimal gestures (a series called \u003ci>Lead Shields\u003c/i> or the 40 “rulers” of \u003ci>Your Foot Project\u003c/i>) might have been better served with more breathing room, but the artist’s curiosity about local naval history and the legacy of that enterprise is obvious, and ultimately, contagious.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The show’s introduction comes outside the gallery, with the first lead shield: a sheet of the thin, malleable metal “stretched” over plywood, like canvas, and secured around the edges with tacks. A message stamped into the surface reads, “I am abandoning my vessel which has suffered a nuclear accident and is a possible source of radiation danger.” Elliott scaled all the works in this series to the dimensions of various U.S. paper sizes, imbuing even the blank shields with the quality of an official pronouncement.\u003c/p>\n\u003cfigure id=\"attachment_13863433\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/RatesofDisappearance_11_1200.jpg\" alt=\"Marshall Elliott, 'Lead Shields,' 2019.\" width=\"1200\" height=\"908\" class=\"size-full wp-image-13863433\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RatesofDisappearance_11_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RatesofDisappearance_11_1200-160x121.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RatesofDisappearance_11_1200-800x605.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RatesofDisappearance_11_1200-768x581.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RatesofDisappearance_11_1200-1020x772.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Marshall Elliott, ‘Lead Shields,’ 2019. \u003ccite>(Courtesy of the artist and Brittany)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That distress/welcome phrase comes from the \u003ca href=\"https://en.wikipedia.org/wiki/International_Code_of_Signals\" rel=\"noopener\" target=\"_blank\">International Code of Signals\u003c/a>, represented by the flags for “A” and “D,” which Elliott fabricates as a pair of lightboxes inside the garage. And it’s not pulled out of thin air: Between 1957 and 1970, the Mare Island Naval Shipyard built and launched 17 nuclear-powered submarines, including the \u003ca href=\"https://en.wikipedia.org/wiki/USS_Guitarro_(SSN-665)\" rel=\"noopener\" target=\"_blank\">USS Guitarro\u003c/a>, which sank during construction and had to be refloated (at massive cost) three days later.\u003c/p>\n\u003cp>The culprit for that snafu? Two crews working on the submarine were filling its ballast tanks at the same time, trying to achieve different levels of balance and adding tons of water in the process. For Elliott, this story perfectly encapsulates the hazards of different measurement systems, exacerbated by a lack of communication, and the potential for harm in structures (or materials) meant to protect.\u003c/p>\n\u003cfigure id=\"attachment_13863434\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/RatesofDisappearance_20_1200.jpg\" alt=\"Marshall Elliott, 'Your Foot Project,' 2019.\" width=\"1200\" height=\"733\" class=\"size-full wp-image-13863434\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RatesofDisappearance_20_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RatesofDisappearance_20_1200-160x98.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RatesofDisappearance_20_1200-800x489.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RatesofDisappearance_20_1200-768x469.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RatesofDisappearance_20_1200-1020x623.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Marshall Elliott, ‘Your Foot Project,’ 2019. \u003ccite>(Courtesy of the artist and Brittany)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>Your Foot Project\u003c/i>, evenly installed on the garage’s built-in shelves, comprises a series of wooden rulers whose lengths were determined by asking people for their estimation of a foot, then dividing that distance into 12 “inches.” (For those who measure the world in the much more rational metric system, Elliott asked them to identify 30.48 cm and divided the length up accordingly.) Individual understandings of space and distance sometimes vary by several actual inches; no two feet are the same.\u003c/p>\n\u003cp>In the center of the gallery stands \u003ci>Rates of Decay\u003c/i>, a bit of uranium ore (purchased online) inside a lead pig, under a Plexi vitrine, all atop a gangly pedestal Elliott welded together from short segments of steel. That lead, which usually gives me a sensation of unease, blocks the ore’s small amount of radiation. (Elliott has a Geiger counter to confirm this reassuring fact.) \u003c/p>\n\u003cfigure id=\"attachment_13863435\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/RatesofDisappearance_35_1200.jpg\" alt=\"Marshall Elliott, 'Rates of Decay,' 2019.\" width=\"1200\" height=\"899\" class=\"size-full wp-image-13863435\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RatesofDisappearance_35_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RatesofDisappearance_35_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RatesofDisappearance_35_1200-800x599.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RatesofDisappearance_35_1200-768x575.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RatesofDisappearance_35_1200-1020x764.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Marshall Elliott, ‘Rates of Decay,’ 2019. \u003ccite>(Courtesy of the artist and Brittany)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This material shift—from toxic metal to protective container—captures some of the trade-offs at play in Vallejo’s contemporary moment, especially when it comes to the \u003ca href=\"https://www.kqed.org/arts/13861897/in-vallejo-bureaucratic-bullying-threatens-a-nature-preserve-and-unlikely-arts-hub\" rel=\"noopener\" target=\"_blank\">ongoing saga of Mare Island\u003c/a>. The shipyard that once employed tens of thousands of Vallejo’s civilians is now the site of \u003ca href=\"https://projects.propublica.org/bombs/installation/CA9170024775001700\" rel=\"noopener\" target=\"_blank\">ongoing military cleanup actions\u003c/a>. What powers a city or a submarine at one point in history (military contracts or radioactive material, respectively) can have dangerously long-lasting consequences generations later. \u003c/p>\n\u003cp>Despite its dismal welcoming message, \u003ci>Rates of Disappearance\u003c/i> isn’t without optimism. The repeated gesture of measurement, the attempts, however garbled, at communication, betray a hope for a future that might take a closer look at the mistakes of the past, and instead of erasing them, put them under a vitrine (and inside lead shielding) for close and continued study.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Rates of Disappearance’ is on view at Brittany (801 Sacramento Street, Vallejo) through Sep. 21. \u003ca href=\"https://brittany-vallejo-art.tumblr.com/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"excerpt": "At the new art space Brittany, Marshall Elliott's 'Rates of Disappearance' uses maritime signals and measurement devices to examine the legacy of Mare Island's shipyard.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://matthewkerkhof.com/section/241920.html\" rel=\"noopener\" target=\"_blank\">Matthew Kerkhof\u003c/a> is good at convincing people to visit Vallejo. And no, he is not employed by the city’s chamber of commerce.\u003c/p>\n\u003cp>He’s an artist with a garage-turned-exhibition space, dubbed Brittany after the name someone carved into once-wet concrete in front of his house. The occasion for his gentle persuasion is a fairly easy sell: \u003ca href=\"http://marshallelliott.com/\" rel=\"noopener\" target=\"_blank\">Marshall Elliott\u003c/a>’s thoughtful \u003ci>Rates of Disappearance\u003c/i>, a show inspired by nearby Mare Island and its history, a show of measurement and communication devices—and a small container of radioactive uranium ore.\u003c/p>\n\u003cp>Though its exterior is an unmissable shade of faded salmon, Brittany’s interior is spare and unadorned, every surface painted a semitransparent white. Smooth drywall covers one wall, floor-to-ceiling, roughly hewn shelving another. Strips of fluorescent lighting hang from the rafters.\u003c/p>\n\u003cfigure id=\"attachment_13863432\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/RatesofDisappearance_10_1200.jpg\" alt=\"Installation view of Marshall Elliott, 'Rates of Disappearance,' 2019.\" width=\"1200\" height=\"893\" class=\"size-full wp-image-13863432\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RatesofDisappearance_10_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RatesofDisappearance_10_1200-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RatesofDisappearance_10_1200-800x595.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RatesofDisappearance_10_1200-768x572.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RatesofDisappearance_10_1200-1020x759.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of Marshall Elliott, ‘Rates of Disappearance,’ 2019. \u003ccite>(Courtesy of the artist and Brittany)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Tucked into the spaces between the walls’ two-by-fours, sitting on the floor and hanging from the ceiling are Elliott’s sculptures, made of wood, lead, cast aluminum, half-burned signal flags, steel and the aforementioned uranium.\u003c/p>\n\u003cp>It’s a lot of work for such a small space, and some of the more minimal gestures (a series called \u003ci>Lead Shields\u003c/i> or the 40 “rulers” of \u003ci>Your Foot Project\u003c/i>) might have been better served with more breathing room, but the artist’s curiosity about local naval history and the legacy of that enterprise is obvious, and ultimately, contagious.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The show’s introduction comes outside the gallery, with the first lead shield: a sheet of the thin, malleable metal “stretched” over plywood, like canvas, and secured around the edges with tacks. A message stamped into the surface reads, “I am abandoning my vessel which has suffered a nuclear accident and is a possible source of radiation danger.” Elliott scaled all the works in this series to the dimensions of various U.S. paper sizes, imbuing even the blank shields with the quality of an official pronouncement.\u003c/p>\n\u003cfigure id=\"attachment_13863433\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/RatesofDisappearance_11_1200.jpg\" alt=\"Marshall Elliott, 'Lead Shields,' 2019.\" width=\"1200\" height=\"908\" class=\"size-full wp-image-13863433\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RatesofDisappearance_11_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RatesofDisappearance_11_1200-160x121.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RatesofDisappearance_11_1200-800x605.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RatesofDisappearance_11_1200-768x581.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RatesofDisappearance_11_1200-1020x772.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Marshall Elliott, ‘Lead Shields,’ 2019. \u003ccite>(Courtesy of the artist and Brittany)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That distress/welcome phrase comes from the \u003ca href=\"https://en.wikipedia.org/wiki/International_Code_of_Signals\" rel=\"noopener\" target=\"_blank\">International Code of Signals\u003c/a>, represented by the flags for “A” and “D,” which Elliott fabricates as a pair of lightboxes inside the garage. And it’s not pulled out of thin air: Between 1957 and 1970, the Mare Island Naval Shipyard built and launched 17 nuclear-powered submarines, including the \u003ca href=\"https://en.wikipedia.org/wiki/USS_Guitarro_(SSN-665)\" rel=\"noopener\" target=\"_blank\">USS Guitarro\u003c/a>, which sank during construction and had to be refloated (at massive cost) three days later.\u003c/p>\n\u003cp>The culprit for that snafu? Two crews working on the submarine were filling its ballast tanks at the same time, trying to achieve different levels of balance and adding tons of water in the process. For Elliott, this story perfectly encapsulates the hazards of different measurement systems, exacerbated by a lack of communication, and the potential for harm in structures (or materials) meant to protect.\u003c/p>\n\u003cfigure id=\"attachment_13863434\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/RatesofDisappearance_20_1200.jpg\" alt=\"Marshall Elliott, 'Your Foot Project,' 2019.\" width=\"1200\" height=\"733\" class=\"size-full wp-image-13863434\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RatesofDisappearance_20_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RatesofDisappearance_20_1200-160x98.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RatesofDisappearance_20_1200-800x489.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RatesofDisappearance_20_1200-768x469.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RatesofDisappearance_20_1200-1020x623.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Marshall Elliott, ‘Your Foot Project,’ 2019. \u003ccite>(Courtesy of the artist and Brittany)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>Your Foot Project\u003c/i>, evenly installed on the garage’s built-in shelves, comprises a series of wooden rulers whose lengths were determined by asking people for their estimation of a foot, then dividing that distance into 12 “inches.” (For those who measure the world in the much more rational metric system, Elliott asked them to identify 30.48 cm and divided the length up accordingly.) Individual understandings of space and distance sometimes vary by several actual inches; no two feet are the same.\u003c/p>\n\u003cp>In the center of the gallery stands \u003ci>Rates of Decay\u003c/i>, a bit of uranium ore (purchased online) inside a lead pig, under a Plexi vitrine, all atop a gangly pedestal Elliott welded together from short segments of steel. That lead, which usually gives me a sensation of unease, blocks the ore’s small amount of radiation. (Elliott has a Geiger counter to confirm this reassuring fact.) \u003c/p>\n\u003cfigure id=\"attachment_13863435\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/RatesofDisappearance_35_1200.jpg\" alt=\"Marshall Elliott, 'Rates of Decay,' 2019.\" width=\"1200\" height=\"899\" class=\"size-full wp-image-13863435\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RatesofDisappearance_35_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RatesofDisappearance_35_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RatesofDisappearance_35_1200-800x599.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RatesofDisappearance_35_1200-768x575.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RatesofDisappearance_35_1200-1020x764.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Marshall Elliott, ‘Rates of Decay,’ 2019. \u003ccite>(Courtesy of the artist and Brittany)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This material shift—from toxic metal to protective container—captures some of the trade-offs at play in Vallejo’s contemporary moment, especially when it comes to the \u003ca href=\"https://www.kqed.org/arts/13861897/in-vallejo-bureaucratic-bullying-threatens-a-nature-preserve-and-unlikely-arts-hub\" rel=\"noopener\" target=\"_blank\">ongoing saga of Mare Island\u003c/a>. The shipyard that once employed tens of thousands of Vallejo’s civilians is now the site of \u003ca href=\"https://projects.propublica.org/bombs/installation/CA9170024775001700\" rel=\"noopener\" target=\"_blank\">ongoing military cleanup actions\u003c/a>. What powers a city or a submarine at one point in history (military contracts or radioactive material, respectively) can have dangerously long-lasting consequences generations later. \u003c/p>\n\u003cp>Despite its dismal welcoming message, \u003ci>Rates of Disappearance\u003c/i> isn’t without optimism. The repeated gesture of measurement, the attempts, however garbled, at communication, betray a hope for a future that might take a closer look at the mistakes of the past, and instead of erasing them, put them under a vitrine (and inside lead shielding) for close and continued study.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Rates of Disappearance’ is on view at Brittany (801 Sacramento Street, Vallejo) through Sep. 21. \u003ca href=\"https://brittany-vallejo-art.tumblr.com/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>It’s time for the weekend!\u003c/p>\n\u003cp>Looking for things to do in the Bay Area? Listen to KQED Arts’ Gabe Meline and Nastia Voynovskaya discuss their critic’s picks for this weekend at the audio link above, and read about each event below.\u003c/p>\n\u003cp>\u003cstrong>Outside Lands\u003c/strong>: We’ve got your \u003ca href=\"https://www.kqed.org/arts/13862534/headed-to-outside-lands-heres-everything-you-need-to-know\" rel=\"noopener\" target=\"_blank\">all-purpose online guide\u003c/a> to surviving the city’s biggest music festival, including how to get there, what to wear and how to navigate the crowds. And since you probably already know about the big headliners (Childish Gambino, Paul Simon, Twenty-One Pilots), we’ll take you on a brief tour of some of the lineup’s rising stars and local acts, like Yaeji, P-Lo and The Seshen. That’s Friday–Sunday, Aug. 9–11, in Golden Gate Park. \u003ca href=\"https://www.sfoutsidelands.com/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Satinder Sartaaj\u003c/strong>: Over the course of 10 albums, this Punjabi singer has made a big splash, not just at home in India, but around the globe. He also recently made his film debut, and with his charismatic style, it’s easy to imagine him as next year’s Bollywood star. He performs Saturday, Aug. 10, at the California Theatre in San Jose. \u003ca href=\"https://sanjosetheaters.org/event/satinder-sartaaj-aug10/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>‘Mama’s Babies: An Account of Black Matriarchy in America’\u003c/strong>: For a Vallejo filmmaker and photographer, Adrian Burrell has a wide impact Bay Area-wide. After working on the acclaimed film \u003cem>Licks\u003c/em>, he’s turned his lens to social issues and people fighting for change. This exhibition, focusing on black mothers, runs Aug. 7–24, with an opening reception Aug. 10, at SHOH Gallery in Berkeley. \u003ca href=\"https://www.shohgallery.com/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>‘Those Dancin’ Feet’\u003c/strong>: There’s something special about the Transcendence Theatre Company, made up of Broadway professionals on summertime leave from New York. For starters, their shows are in a gorgeous outdoor setting: under the stars, inside old stone ruins at Jack London State Park. Secondly, they raise money for state parks. But the main thing is the productions are always a hell of a good time. Their latest show opens Aug. 9, at Jack London State Park in Glen Ellen. \u003ca href=\"https://transcendencetheatre.org/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s time for the weekend!\u003c/p>\n\u003cp>Looking for things to do in the Bay Area? Listen to KQED Arts’ Gabe Meline and Nastia Voynovskaya discuss their critic’s picks for this weekend at the audio link above, and read about each event below.\u003c/p>\n\u003cp>\u003cstrong>Outside Lands\u003c/strong>: We’ve got your \u003ca href=\"https://www.kqed.org/arts/13862534/headed-to-outside-lands-heres-everything-you-need-to-know\" rel=\"noopener\" target=\"_blank\">all-purpose online guide\u003c/a> to surviving the city’s biggest music festival, including how to get there, what to wear and how to navigate the crowds. And since you probably already know about the big headliners (Childish Gambino, Paul Simon, Twenty-One Pilots), we’ll take you on a brief tour of some of the lineup’s rising stars and local acts, like Yaeji, P-Lo and The Seshen. That’s Friday–Sunday, Aug. 9–11, in Golden Gate Park. \u003ca href=\"https://www.sfoutsidelands.com/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Satinder Sartaaj\u003c/strong>: Over the course of 10 albums, this Punjabi singer has made a big splash, not just at home in India, but around the globe. He also recently made his film debut, and with his charismatic style, it’s easy to imagine him as next year’s Bollywood star. He performs Saturday, Aug. 10, at the California Theatre in San Jose. \u003ca href=\"https://sanjosetheaters.org/event/satinder-sartaaj-aug10/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>‘Mama’s Babies: An Account of Black Matriarchy in America’\u003c/strong>: For a Vallejo filmmaker and photographer, Adrian Burrell has a wide impact Bay Area-wide. After working on the acclaimed film \u003cem>Licks\u003c/em>, he’s turned his lens to social issues and people fighting for change. This exhibition, focusing on black mothers, runs Aug. 7–24, with an opening reception Aug. 10, at SHOH Gallery in Berkeley. \u003ca href=\"https://www.shohgallery.com/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>‘Those Dancin’ Feet’\u003c/strong>: There’s something special about the Transcendence Theatre Company, made up of Broadway professionals on summertime leave from New York. For starters, their shows are in a gorgeous outdoor setting: under the stars, inside old stone ruins at Jack London State Park. Secondly, they raise money for state parks. But the main thing is the productions are always a hell of a good time. Their latest show opens Aug. 9, at Jack London State Park in Glen Ellen. \u003ca href=\"https://transcendencetheatre.org/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Sara VanDerBeek’s ‘Roman Women’ Disrupt the Past in Living Color",
"headTitle": "Sara VanDerBeek’s ‘Roman Women’ Disrupt the Past in Living Color | KQED",
"content": "\u003cp>Color has long been contentious—even Plato and Aristotle disagreed as to whether it helped or hindered the aim of art, which was always the imitation of nature. Color was decorative, even false, but gave painting and sculpture life, and truth. The Greeks used the word \u003cem>pharmakon\u003c/em> for paint and artificial color; it also meant drug (both poison and cure), remedy, medicine, charm and spell. Color has often been associated with the marginal, the threatening—that which is not in charge—so also: the foreign, the feminine. Its definitions have included “to hide,” “to conceal,” “a pretense”; it still means to embellish, at the very least to influence. \u003c/p>\n\u003cp>Artist Sara VanDerBeek knows that ancient Greek and Roman marble statues were originally many-colored, vibrantly painted, and that, when antique statuary was rediscovered during the Renaissance, the brilliance had largely worn away. Figures were prized above all for their (colorless) forms. Better yet, she knows that the contemporary impact of such a revelation has less to do with the reapplication of color to the statues—as some art historians are now undertaking via plaster models or projection—than with revealing the decidedly fragmentary nature of the past and its hold on us.\u003c/p>\n\u003cp>In \u003cem>\u003ca href=\"https://altmansiegel.com/exhibitions-l/current/\" rel=\"noopener\" target=\"_blank\">Roman Women\u003c/a>\u003c/em>, on view at San Francisco’s Altman Siegel gallery through Aug. 30, VanDerBeek’s saturated, synthetically colored photographic prints of Roman statues both acknowledge and render foolish our heavily conditioned assumptions about the place and virtue of unadorned white marble—and by extension the chauvinist ideals of Western empire. \u003c/p>\n\u003cp>Her vivid, all-over color images are further manipulated: cropped, duplicated, printed on flat metal plates and wrapped around three-dimensional objects. As such, they accentuate how simultaneously incomplete and pervasive our own understanding of the past can be, and challenge the legacies tied to art and to bodies, particularly women’s, inherited images so often carry.\u003c/p>\n\u003cfigure id=\"attachment_13863253\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/06.SV_RW-XXI.XII_install_1200.jpg\" alt=\"Installation view of 'Roman Women.'\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13863253\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/06.SV_RW-XXI.XII_install_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/06.SV_RW-XXI.XII_install_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/06.SV_RW-XXI.XII_install_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/06.SV_RW-XXI.XII_install_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/06.SV_RW-XXI.XII_install_1200-1020x574.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Roman Women.’ \u003ccite>(Courtesy of the artist and Altman Siegel, San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In \u003cem>Roman Woman XI\u003c/em>, at the gallery’s entrance, a bright and piercing lapis offsets a crouching, life-size woman entirely cast in deep and ethereal violet. She’s missing a portion of her head and both arms; she casts a shadow on her own thighs and gentle belly rolls. A thin purple strip along the left edge of the print hints at the meticulous coloring process. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Like all the 2D works, it is a dye sublimation print on aluminum, meaning the ink and image are essentially fused into the metal, making the print color-fast and UV-resistant. It’s mounted on a thin plate of colored plexiglass and frameless, hovering slightly off the gallery wall.\u003c/p>\n\u003cp>VanDerBeek ups her transformative techniques in \u003cem>Roman Woman XVIII\u003c/em>. She’s big (48 by 66 inches), shown from the shoulders up. On a pale peach background, her skin is the color of glowing silver gelatin, her face awash in warm magenta. She’s a little blown out, contrast-wise, so that a highlight erases, a lowlight blotches. VanDerBeek shoots with film before scanning the negatives for digital editing, and the texture of the emulsion is often present in the print.\u003c/p>\n\u003cp>Her images work best by building depth of color, not depth of space. The layers of color are inextricable yet beg to be plied apart—you feel their additive weight without quite comprehending which is laid over what. You see the composite colors, the deep indigo, the magenta, like colored gels along the edges, and witness how at one stage VanDerBeek turned this woman blue, gray or purple.\u003c/p>\n\u003cp>While photographing the statues in collections and museums across Europe and the United States, VanDerBeek used only existing light, shooting from every angle. In an \u003ca href=\"https://aperture.org/blog/interview-with-sara-vanderbeek/\" rel=\"noopener\" target=\"_blank\">\u003cem>Aperture\u003c/em> interview\u003c/a>, she describes being mesmerized. \u003c/p>\n\u003cp>Her now-extensive image archive of classical and neoclassical figures began with a residency at the Fondazione Memmo in Rome in 2012. Her final prints, of inky blue torsos and enlarged silhouettes, have been shown in New York and, earlier this summer, in Minneapolis. The distortions of color and perspective are greater, however, in the work at Altman Siegel.\u003c/p>\n\u003cfigure id=\"attachment_13863252\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/04.SV_RW-X.IX_install_floor_1200.jpg\" alt=\"Sara VanDerBeek, 'Roman Woman IX' and 'Roman Woman X,' 2019.\" width=\"1200\" height=\"1600\" class=\"size-full wp-image-13863252\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/04.SV_RW-X.IX_install_floor_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/04.SV_RW-X.IX_install_floor_1200-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/04.SV_RW-X.IX_install_floor_1200-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/04.SV_RW-X.IX_install_floor_1200-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/04.SV_RW-X.IX_install_floor_1200-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/04.SV_RW-X.IX_install_floor_1200-900x1200.jpg 900w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Sara VanDerBeek, ‘Roman Woman IX’ and ‘Roman Woman X,’ 2019. \u003ccite>(Courtesy of the artist and Altman Siegel, San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Two six-foot-tall prints feature the same woman, partially effaced in the posterization, the images identical but for their inverted colors—silver and crepuscular, cloudy purple. There’s another bust in quadruplicate, and in the next room, a face cut off by the angled slant of the print. Obfuscation and repetition highlight the paucity of certainties we possess about the way our readings of images and objects come to be, about the values we receive yet treat as full and absolute. \u003c/p>\n\u003cp>VanDerBeek wraps prints around a wooden pillar and foam rollers, rendering those women visible only fractionally. She turns images into objects and objects into images, a feedback loop of references and referents, of symbols and meanings. \u003c/p>\n\u003cp>I’ve never seen an ancient statue in all its polychromatic glory (I missed \u003cem>\u003ca href=\"https://legionofhonor.famsf.org/exhibitions/gods-color-polychromy-ancient-world\" rel=\"noopener\" target=\"_blank\">Gods in Color\u003c/a>\u003c/em> at the Legion of Honor in 2017), but, by looking at \u003cem>Roman Women\u003c/em>, it’s possible to understand what it is we’re often missing in our encounters with antiquity, and other eras. \u003c/p>\n\u003cp>“This is the \u003cem>pharmakon\u003c/em>,” writes poet Lisa Roberston in her essay, “How to Colour,” “an indiscrete threshold where our bodies exchange information with an environment.” VanDerBeek’s Roman women are not just in color but in conversation with their place in the cultural imagination and historical reality; they are materially critical of their inherited significations. \u003c/p>\n\u003cp>As a photographer interested in the properties of photography—its production, reproduction and circulation—more so than its mimetic knack, VanDerBeek reminds us that the scale of space as well as time is ever fungible, that context is crucial, that viewpoint is always limited. Might an imitation of life look different than we once thought? As we reconsider the ways in which we see ourselves, we must assert that there are no givens, not anymore.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Roman Women’ is on view at Altman Siegel in San Francisco through Aug. 30. \u003ca href=\"https://altmansiegel.com/exhibitions-l/current/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Color has long been contentious—even Plato and Aristotle disagreed as to whether it helped or hindered the aim of art, which was always the imitation of nature. Color was decorative, even false, but gave painting and sculpture life, and truth. The Greeks used the word \u003cem>pharmakon\u003c/em> for paint and artificial color; it also meant drug (both poison and cure), remedy, medicine, charm and spell. Color has often been associated with the marginal, the threatening—that which is not in charge—so also: the foreign, the feminine. Its definitions have included “to hide,” “to conceal,” “a pretense”; it still means to embellish, at the very least to influence. \u003c/p>\n\u003cp>Artist Sara VanDerBeek knows that ancient Greek and Roman marble statues were originally many-colored, vibrantly painted, and that, when antique statuary was rediscovered during the Renaissance, the brilliance had largely worn away. Figures were prized above all for their (colorless) forms. Better yet, she knows that the contemporary impact of such a revelation has less to do with the reapplication of color to the statues—as some art historians are now undertaking via plaster models or projection—than with revealing the decidedly fragmentary nature of the past and its hold on us.\u003c/p>\n\u003cp>In \u003cem>\u003ca href=\"https://altmansiegel.com/exhibitions-l/current/\" rel=\"noopener\" target=\"_blank\">Roman Women\u003c/a>\u003c/em>, on view at San Francisco’s Altman Siegel gallery through Aug. 30, VanDerBeek’s saturated, synthetically colored photographic prints of Roman statues both acknowledge and render foolish our heavily conditioned assumptions about the place and virtue of unadorned white marble—and by extension the chauvinist ideals of Western empire. \u003c/p>\n\u003cp>Her vivid, all-over color images are further manipulated: cropped, duplicated, printed on flat metal plates and wrapped around three-dimensional objects. As such, they accentuate how simultaneously incomplete and pervasive our own understanding of the past can be, and challenge the legacies tied to art and to bodies, particularly women’s, inherited images so often carry.\u003c/p>\n\u003cfigure id=\"attachment_13863253\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/06.SV_RW-XXI.XII_install_1200.jpg\" alt=\"Installation view of 'Roman Women.'\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13863253\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/06.SV_RW-XXI.XII_install_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/06.SV_RW-XXI.XII_install_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/06.SV_RW-XXI.XII_install_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/06.SV_RW-XXI.XII_install_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/06.SV_RW-XXI.XII_install_1200-1020x574.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Roman Women.’ \u003ccite>(Courtesy of the artist and Altman Siegel, San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In \u003cem>Roman Woman XI\u003c/em>, at the gallery’s entrance, a bright and piercing lapis offsets a crouching, life-size woman entirely cast in deep and ethereal violet. She’s missing a portion of her head and both arms; she casts a shadow on her own thighs and gentle belly rolls. A thin purple strip along the left edge of the print hints at the meticulous coloring process. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Like all the 2D works, it is a dye sublimation print on aluminum, meaning the ink and image are essentially fused into the metal, making the print color-fast and UV-resistant. It’s mounted on a thin plate of colored plexiglass and frameless, hovering slightly off the gallery wall.\u003c/p>\n\u003cp>VanDerBeek ups her transformative techniques in \u003cem>Roman Woman XVIII\u003c/em>. She’s big (48 by 66 inches), shown from the shoulders up. On a pale peach background, her skin is the color of glowing silver gelatin, her face awash in warm magenta. She’s a little blown out, contrast-wise, so that a highlight erases, a lowlight blotches. VanDerBeek shoots with film before scanning the negatives for digital editing, and the texture of the emulsion is often present in the print.\u003c/p>\n\u003cp>Her images work best by building depth of color, not depth of space. The layers of color are inextricable yet beg to be plied apart—you feel their additive weight without quite comprehending which is laid over what. You see the composite colors, the deep indigo, the magenta, like colored gels along the edges, and witness how at one stage VanDerBeek turned this woman blue, gray or purple.\u003c/p>\n\u003cp>While photographing the statues in collections and museums across Europe and the United States, VanDerBeek used only existing light, shooting from every angle. In an \u003ca href=\"https://aperture.org/blog/interview-with-sara-vanderbeek/\" rel=\"noopener\" target=\"_blank\">\u003cem>Aperture\u003c/em> interview\u003c/a>, she describes being mesmerized. \u003c/p>\n\u003cp>Her now-extensive image archive of classical and neoclassical figures began with a residency at the Fondazione Memmo in Rome in 2012. Her final prints, of inky blue torsos and enlarged silhouettes, have been shown in New York and, earlier this summer, in Minneapolis. The distortions of color and perspective are greater, however, in the work at Altman Siegel.\u003c/p>\n\u003cfigure id=\"attachment_13863252\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/04.SV_RW-X.IX_install_floor_1200.jpg\" alt=\"Sara VanDerBeek, 'Roman Woman IX' and 'Roman Woman X,' 2019.\" width=\"1200\" height=\"1600\" class=\"size-full wp-image-13863252\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/04.SV_RW-X.IX_install_floor_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/04.SV_RW-X.IX_install_floor_1200-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/04.SV_RW-X.IX_install_floor_1200-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/04.SV_RW-X.IX_install_floor_1200-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/04.SV_RW-X.IX_install_floor_1200-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/04.SV_RW-X.IX_install_floor_1200-900x1200.jpg 900w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Sara VanDerBeek, ‘Roman Woman IX’ and ‘Roman Woman X,’ 2019. \u003ccite>(Courtesy of the artist and Altman Siegel, San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Two six-foot-tall prints feature the same woman, partially effaced in the posterization, the images identical but for their inverted colors—silver and crepuscular, cloudy purple. There’s another bust in quadruplicate, and in the next room, a face cut off by the angled slant of the print. Obfuscation and repetition highlight the paucity of certainties we possess about the way our readings of images and objects come to be, about the values we receive yet treat as full and absolute. \u003c/p>\n\u003cp>VanDerBeek wraps prints around a wooden pillar and foam rollers, rendering those women visible only fractionally. She turns images into objects and objects into images, a feedback loop of references and referents, of symbols and meanings. \u003c/p>\n\u003cp>I’ve never seen an ancient statue in all its polychromatic glory (I missed \u003cem>\u003ca href=\"https://legionofhonor.famsf.org/exhibitions/gods-color-polychromy-ancient-world\" rel=\"noopener\" target=\"_blank\">Gods in Color\u003c/a>\u003c/em> at the Legion of Honor in 2017), but, by looking at \u003cem>Roman Women\u003c/em>, it’s possible to understand what it is we’re often missing in our encounters with antiquity, and other eras. \u003c/p>\n\u003cp>“This is the \u003cem>pharmakon\u003c/em>,” writes poet Lisa Roberston in her essay, “How to Colour,” “an indiscrete threshold where our bodies exchange information with an environment.” VanDerBeek’s Roman women are not just in color but in conversation with their place in the cultural imagination and historical reality; they are materially critical of their inherited significations. \u003c/p>\n\u003cp>As a photographer interested in the properties of photography—its production, reproduction and circulation—more so than its mimetic knack, VanDerBeek reminds us that the scale of space as well as time is ever fungible, that context is crucial, that viewpoint is always limited. Might an imitation of life look different than we once thought? As we reconsider the ways in which we see ourselves, we must assert that there are no givens, not anymore.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Roman Women’ is on view at Altman Siegel in San Francisco through Aug. 30. \u003ca href=\"https://altmansiegel.com/exhibitions-l/current/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>It’s time for the weekend!\u003c/p>\n\u003cp>Looking for things to do in the Bay Area? Listen to KQED Arts’ Gabe Meline and Sarah Hotchkiss discuss their critic’s picks for this weekend at the audio link above, and read about each event below.\u003c/p>\n\u003cp>\u003cstrong>YUNA\u003c/strong>: When she’s not collaborating with rap artists like G-Eazy and Tyler the Creator, this young R&B singer incorporates influences from her home country of Malaysia into her music—a refreshing cross-cultural sound. She performs Friday, Aug. 2, at the New Parish, and Saturday, Aug. 3, at the Great American Music Hall. \u003ca href=\"https://www.thenewparish.com/e/yuna-the-rouge-tour-with-skylar-stecker-61658724906/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a> and \u003ca href=\"https://slimspresents.com/event/yuna-the-rouge-tour-gamh/\" rel=\"noopener\" target=\"_blank\">here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>‘The Long Look’\u003c/strong>: A recent study showed that people in museums or galleries spend an average of only 17 seconds looking at an individual piece of art. The folks at Bass & Reiner Gallery want to change that, through an interesting method: for the duration of ‘The Long Look,’ they’ll show just one piece of art at a time, on a rotating basis, through Aug. 31. \u003ca href=\"https://www.kqed.org/arts/13862637/the-long-look-bass-and-reiner-gallery\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>West Edge Opera\u003c/strong>: This year, the company known for presenting opera in unlikely East Bay venues has landed at yet another out-of-the-way spot: a former train warehouse at the foot of the Bay Bridge. But the location isn’t the most interesting thing about West Edge’s new season: it’s \u003cem>Breaking the Waves\u003c/em>, a new opera by Missy Mazzoli and Royce Vavrek, based on the 1996 Lars Von Trier film. \u003cem>The Threepenny Opera\u003c/em> and \u003cem>Orfeo ed Euridice\u003c/em> round out the festival, running Aug. 3–18. \u003ca href=\"https://www.kqed.org/arts/13862267/cutting-edge-opera-about-sex-and-capitalism-performed-in-an-oakland-warehouse\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>‘Running, Rigging, Waiting’\u003c/strong>: This weekend’s your last chance to see this excellent show by Dionne Lee that’s all about water, incorporating the Atlantic slave trade, the effects of climate change, and more. A panel discussion on Saturday with some bright minds gives the show even more context. That’s at Interface Gallery in Oakland. \u003ca href=\"http://www.interfaceartgallery.com/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Concord Jazz Festival\u003c/strong>: It’s been 50 years since this jazz festival was founded, and it celebrates in style on Saturday with Chick Corea, Patti Austin, Esperanza Spalding and more. That’s Aug. 3 at the Concord Pavilion. \u003ca href=\"https://concord.com/concord-news/50th-anniversary-concord-jazz-festival-saturday-august-3rd-at-concord-pavilion/?utm_source=google&utm_medium=search&utm_campaign=july_ads\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s time for the weekend!\u003c/p>\n\u003cp>Looking for things to do in the Bay Area? Listen to KQED Arts’ Gabe Meline and Sarah Hotchkiss discuss their critic’s picks for this weekend at the audio link above, and read about each event below.\u003c/p>\n\u003cp>\u003cstrong>YUNA\u003c/strong>: When she’s not collaborating with rap artists like G-Eazy and Tyler the Creator, this young R&B singer incorporates influences from her home country of Malaysia into her music—a refreshing cross-cultural sound. She performs Friday, Aug. 2, at the New Parish, and Saturday, Aug. 3, at the Great American Music Hall. \u003ca href=\"https://www.thenewparish.com/e/yuna-the-rouge-tour-with-skylar-stecker-61658724906/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a> and \u003ca href=\"https://slimspresents.com/event/yuna-the-rouge-tour-gamh/\" rel=\"noopener\" target=\"_blank\">here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>‘The Long Look’\u003c/strong>: A recent study showed that people in museums or galleries spend an average of only 17 seconds looking at an individual piece of art. The folks at Bass & Reiner Gallery want to change that, through an interesting method: for the duration of ‘The Long Look,’ they’ll show just one piece of art at a time, on a rotating basis, through Aug. 31. \u003ca href=\"https://www.kqed.org/arts/13862637/the-long-look-bass-and-reiner-gallery\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>West Edge Opera\u003c/strong>: This year, the company known for presenting opera in unlikely East Bay venues has landed at yet another out-of-the-way spot: a former train warehouse at the foot of the Bay Bridge. But the location isn’t the most interesting thing about West Edge’s new season: it’s \u003cem>Breaking the Waves\u003c/em>, a new opera by Missy Mazzoli and Royce Vavrek, based on the 1996 Lars Von Trier film. \u003cem>The Threepenny Opera\u003c/em> and \u003cem>Orfeo ed Euridice\u003c/em> round out the festival, running Aug. 3–18. \u003ca href=\"https://www.kqed.org/arts/13862267/cutting-edge-opera-about-sex-and-capitalism-performed-in-an-oakland-warehouse\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Aunt Charlie’s, a narrow hallway of a bar on Turk Street, has long been a venue and refuge of critical importance to San Francisco drag queens and the broader queer community. Now one of the longest continuously-operating queer bars in the city and its inimitable denizens are the subjects of an exhibition series at the nearby Tenderloin Museum that will culminate in a book. \u003c/p>\n\u003cp>\u003cem>Aunt Charlie’s: San Francisco’s Working Class Drag Bar\u003c/em> encompasses nine events and five art shows between June-December, 2019 intended to celebrate what the organizers call a “remarkable space of socio-historical importance that is graced nightly by offbeat, eccentric characters,” and to highlight in particular the Tenderloin’s low-income LGTBQ community. \u003c/p>\n\u003cp>The exhibiting artists—James Hosking, Tim Snyder, Raphael Villet, Marissa Leitman and Darwin Bell—all have close ties to the bar, and as photographers and painters bring distinctive portraiture styles to their common subject. Drag performances and screenings, among other events on-site and at remote locations, punctuate the several months of programming. \u003c/p>\n\u003cp>Hosking, a photographer and filmmaker whose show opens Aug. 1, shadowed Aunt Charlie’s performers to explore aging and labor in drag. Bell, showing photographs throughout September, focused on the drag queens of Aunt Charlie’s fixtures Hot Boxx Girls. And both Leitman, the photographer featured in October, focuses on the recently discontinued High Fantasy. Leitman’s work illustrated \u003ca href=\"https://www.dazeddigital.com/life-culture/article/42245/1/high-fantasy-san-francisco-drag-club-aunt-charlies-essay\">this\u003c/a> lyrical eulogy to the night by Brittany Newell.\u003c/p>\n\u003cp>The artists’ work will eventually appear alongside interviews in an original book about Aunt Charlie’s with an introduction by Susan Stryker and André Pérez.\u003cem>—Sam Lefebvre\u003c/em> \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>When you visit a museum or a gallery, how much time do you spend looking at an individual work of art? A minute? Three seconds? The average, studies find, is somewhere around 17 seconds. To combat this woefully short attention span, San Francisco’s Bass & Reiner Gallery experiments with a different kind of summer group show in \u003ci>\u003ca href=\"https://www.bassandreiner.com/the-long-look\" rel=\"noopener\" target=\"_blank\">The Long Look\u003c/a>\u003c/i>, exhibiting just one work at a time for four days each.\u003c/p>\n\u003cp>First up is Joe Ferriso’s \u003ci>11/28/18 B&W Self-Portrait\u003c/i>, a 24-piece watercolor, on view July 31 through Aug. 3 (each mini-show culminates in a “closing reception” 4–6pm on Saturdays through the end of August). In chronological order, \u003ci>The Long Look\u003c/i> subsequently includes paintings by local artists Laura Rokas, Ana Saygi, Dan Davis and Robert Falco.\u003c/p>\n\u003cp>Each piece promises to itself reference the act of looking. Which means: Both the form and content of this show aim to retrain your attention span in favor of sustained consideration—something we could all use more of these days.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When you visit a museum or a gallery, how much time do you spend looking at an individual work of art? A minute? Three seconds? The average, studies find, is somewhere around 17 seconds. To combat this woefully short attention span, San Francisco’s Bass & Reiner Gallery experiments with a different kind of summer group show in \u003ci>\u003ca href=\"https://www.bassandreiner.com/the-long-look\" rel=\"noopener\" target=\"_blank\">The Long Look\u003c/a>\u003c/i>, exhibiting just one work at a time for four days each.\u003c/p>\n\u003cp>First up is Joe Ferriso’s \u003ci>11/28/18 B&W Self-Portrait\u003c/i>, a 24-piece watercolor, on view July 31 through Aug. 3 (each mini-show culminates in a “closing reception” 4–6pm on Saturdays through the end of August). In chronological order, \u003ci>The Long Look\u003c/i> subsequently includes paintings by local artists Laura Rokas, Ana Saygi, Dan Davis and Robert Falco.\u003c/p>\n\u003cp>Each piece promises to itself reference the act of looking. Which means: Both the form and content of this show aim to retrain your attention span in favor of sustained consideration—something we could all use more of these days.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003ca href=\"http://www.dionneleestudio.com/\">Dionne Lee\u003c/a>’s elegant installation at Oakland’s Interface Gallery is a show of just six works—a number that belies the wide-ranging references within.\u003c/p>\n\u003cp>\u003ci>\u003ca href=\"http://www.interfaceartgallery.com/\">Running, rigging, wading\u003c/a>\u003c/i> looks at the generative and destructive qualities of water, tracing that duality from the early days of American history into a future wracked by the effects of climate change. Lee’s silver gelatin prints, a video and a single sculpture hang in the balance of all those ideas, linked by a collage-like aesthetic that runs throughout the different media.\u003c/p>\n\u003cp>For her prints, Lee clips, scans and manipulates found images before layering them as individual negatives. In \u003ci>Surface tension\u003c/i>, a circle of floating bodies (synchronized swimmers) becomes ghostly through a solarization effect, conjuring thoughts of those forced to journey by water as part of the Atlantic slave trade.\u003c/p>\n\u003cp>Lee’s own hand is evident throughout. She is not just making work, but redefining landscape photography, reenacting history (\u003ci>Challenger deep\u003c/i> is a near 20-minute video of Lee wandering a field with dowsing rods), and remaking old tools (a handmade rope hangs from the gallery’s ceiling).\u003c/p>\n\u003cp>To examine all these processes and reference points, the exhibition culminates in a panel discussion on Saturday, Aug. 3, 2019, 1–3 p.m. Facilitated by Bay Area writer Elena Gross, the panel brings Lee, artist and educator Tamara Porras and curator Deena Chalabi into conversation on the show’s penultimate day.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://www.dionneleestudio.com/\">Dionne Lee\u003c/a>’s elegant installation at Oakland’s Interface Gallery is a show of just six works—a number that belies the wide-ranging references within.\u003c/p>\n\u003cp>\u003ci>\u003ca href=\"http://www.interfaceartgallery.com/\">Running, rigging, wading\u003c/a>\u003c/i> looks at the generative and destructive qualities of water, tracing that duality from the early days of American history into a future wracked by the effects of climate change. Lee’s silver gelatin prints, a video and a single sculpture hang in the balance of all those ideas, linked by a collage-like aesthetic that runs throughout the different media.\u003c/p>\n\u003cp>For her prints, Lee clips, scans and manipulates found images before layering them as individual negatives. In \u003ci>Surface tension\u003c/i>, a circle of floating bodies (synchronized swimmers) becomes ghostly through a solarization effect, conjuring thoughts of those forced to journey by water as part of the Atlantic slave trade.\u003c/p>\n\u003cp>Lee’s own hand is evident throughout. She is not just making work, but redefining landscape photography, reenacting history (\u003ci>Challenger deep\u003c/i> is a near 20-minute video of Lee wandering a field with dowsing rods), and remaking old tools (a handmade rope hangs from the gallery’s ceiling).\u003c/p>\n\u003cp>To examine all these processes and reference points, the exhibition culminates in a panel discussion on Saturday, Aug. 3, 2019, 1–3 p.m. Facilitated by Bay Area writer Elena Gross, the panel brings Lee, artist and educator Tamara Porras and curator Deena Chalabi into conversation on the show’s penultimate day.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "April Dawn Alison’s Private Polaroids Reveal an Artist Creating Herself",
"headTitle": "April Dawn Alison’s Private Polaroids Reveal an Artist Creating Herself | KQED",
"content": "\u003cp>In a one-room show on the San Francisco Museum of Art’s third floor, a “new to the collection” exhibition of framed Polaroids is actually new to just about everyone, a treasure trove of secret photographs that were almost lost to history.\u003c/p>\n\u003cp>\u003ci>\u003ca href=\"https://www.sfmoma.org/exhibition/april-dawn-alison/\" target=\"_blank\" rel=\"noopener noreferrer\">April Dawn Alison\u003c/a>\u003c/i>, curated by Erin O’Toole, presents a constellation of images on dark painted walls, images discovered after the death of an Oakland commercial photographer known to friends, family and neighbors as Alan Schaefer. Indoors, seemingly alone, Schaefer became someone else: April Dawn Alison, a feminine alter ego who, over the course of 30 years, photographed herself in playful poses and bondage scenarios. As contemplative and exuberant. Dressed up and stripped down.\u003c/p>\n\u003cfigure id=\"attachment_13862466\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13862466\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/08_April-Dawn-Alison_1200.jpg\" alt=\"April Dawn Alison, 'Untitled,' n.d.\" width=\"1200\" height=\"1188\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/08_April-Dawn-Alison_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/08_April-Dawn-Alison_1200-160x158.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/08_April-Dawn-Alison_1200-800x792.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/08_April-Dawn-Alison_1200-768x760.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/08_April-Dawn-Alison_1200-1020x1010.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">April Dawn Alison, ‘Untitled,’ n.d. \u003ccite>(San Francisco Museum of Modern Art, gift of Andrew Masullo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Naming—and gendering—the artist responsible for the works in \u003ci>April Dawn Alison\u003c/i> requires careful consideration. O’Toole opts for “she,” writing “the Polaroids are of April Dawn, by April Dawn.” In the \u003ca href=\"https://mackbooks.co.uk/collections/frontpage/products/april-dawn-alison-br-erin-o-toole-ed\" target=\"_blank\" rel=\"noopener noreferrer\">accompanying catalog\u003c/a> from London publisher Mack, Hilton Als’ essay employs a more fluid use of both pronouns: “April was a maker and so was the guy who made April; these pictures are a record of a double consciousness, the he who wants to be a she and the she who is a model and photographer.” Zackary Drucker’s writing ties the work to a long lineage of trans artists and performers, using “she” throughout.\u003c/p>\n\u003cp>An equal amount of consideration went into the decision of whether or not to present these images publicly at all. Schaefer passed away at age 67 in 2008. O’Toole edited \u003ci>April Dawn Alison\u003c/i> down from 9,200 Polaroids, a collection that remained remarkably intact while an estate liquidator sold off the rest of the artist’s belongings piecemeal. San Francisco painter Andrew Masullo purchased (or better put, rescued) the collection from the liquidator, gifting it to SFMOMA in 2017.\u003c/p>\n\u003cp>O’Toole writes about discussing issues of privacy and intent with the artist’s friends and family, concluding: “I have come to believe that the deep humanity, emotional impact, and visual sophistication of these photographs demands that they be shared.” It’s rare to see a curatorial statement dip into first person, let alone acknowledge any moral quandaries the organizer might have experienced in the process of putting together a show.\u003c/p>\n\u003cfigure id=\"attachment_13862465\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13862465\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/07_April-Dawn-Alison_1200.jpg\" alt=\"April Dawn Alison, 'Untitled,' n.d.\" width=\"1200\" height=\"396\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/07_April-Dawn-Alison_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/07_April-Dawn-Alison_1200-160x53.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/07_April-Dawn-Alison_1200-800x264.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/07_April-Dawn-Alison_1200-768x253.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/07_April-Dawn-Alison_1200-1020x337.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">April Dawn Alison, ‘Untitled,’ n.d. \u003ccite>(San Francisco Museum of Modern Art, gift of Andrew Masullo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the case of \u003ci>April Dawn Alison\u003c/i>, this honesty and openness is fitting. Alison shot the intimate Polaroids in the tight quarters of a living space that appears increasingly filled with photography equipment, framed images, fashion ads and stacked storage boxes as time progresses. The images are incredibly vulnerable, even as she makes a silly face for the camera, widening her eyes in mock surprise or sticking out her tongue.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Alison is a shape-shifter. With a variety of wigs, makeup, jewelry and outfits, she tries out coquettish looks (French maid costume), demure business wear (high-necked white shirt under a dark blazer) and out-there getups (teal velour-looking leotard, pink skirt and three garters). Despite these variations in personae, the accumulated images seem to capture Alison—in her willingness to mug for the camera, splay her legs, hunch into a frame and every so often, smile a particularly zany smile.\u003c/p>\n\u003cp>Few knew about Alison. O’Toole writes that family members were aware Schaefer sometimes dressed in women’s clothes, and rumors circulated through the neighbors to that effect. But the true audience of Alison’s “encyclopedia of selves,” as Drucker calls the collection of Polaroids, was Alison herself.\u003c/p>\n\u003cfigure id=\"attachment_13862462\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13862462\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/01_April-Dawn-Alison_1200.jpg\" alt=\"April Dawn Alison, 'Untitled,' n.d.\" width=\"1200\" height=\"1198\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/01_April-Dawn-Alison_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/01_April-Dawn-Alison_1200-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/01_April-Dawn-Alison_1200-800x799.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/01_April-Dawn-Alison_1200-768x767.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/01_April-Dawn-Alison_1200-1020x1018.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">April Dawn Alison, ‘Untitled,’ n.d. \u003ccite>(San Francisco Museum of Modern Art, gift of Andrew Masullo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In numerous shots included in the exhibition, a sequence of images shows Alison accumulating the Polaroids taken during a sitting, holding the photographs in her hands or lining them up on a shelf behind her. Sometimes, she trades eye contact with the camera for eye contact with herself—posing while peering at her own likeness in Polaroid form.\u003c/p>\n\u003cp>Certain things can be deduced about Alison from these images: she took great care crafting her appearance; she had a sense of humor; she was proud of her ability to construct images (both as a private practice and as a commercial photographer).\u003c/p>\n\u003cp>But there are so many more questions than answers. Did anyone know Alison as Alison? Was this the only space where she could be this version of herself? Did anyone help her get into some of the more complicated BDSM poses she staged? Was this photographic practice a secret she never intended to share—and should that affect how (and if) we look at these images now?\u003c/p>\n\u003cfigure id=\"attachment_13862563\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13862563\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/04c_April-Dawn-Alison_1200.jpg\" alt=\"April Dawn Alison, 'Untitled,' n.d.\" width=\"1200\" height=\"1191\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/04c_April-Dawn-Alison_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/04c_April-Dawn-Alison_1200-160x159.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/04c_April-Dawn-Alison_1200-800x794.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/04c_April-Dawn-Alison_1200-768x762.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/04c_April-Dawn-Alison_1200-1020x1012.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">April Dawn Alison, ‘Untitled,’ n.d. \u003ccite>(San Francisco Museum of Modern Art, gift of Andrew Masullo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s especially difficult, in 2019, to refrain from assigning to Alison contemporary understandings of gender expression and fluidity. We will likely never have answers to the above questions; we can only acknowledge how these images make us feel now, and honor Alison’s contribution to visual culture by welcoming such expressions of self moving forward.\u003c/p>\n\u003cp>When I visited SFMOMA shortly after the exhibition’s opening, a group of young people were taking turns photographing each other in front of one of the walls, carefully arranging themselves in poses pulled (as many of Alison’s were) from the vocabulary of fashion ads and celebrity portraiture.\u003c/p>\n\u003cp>The space between Alison’s private world and this public display of glamorous, defiant identity collapsed, the former providing the backdrop for the latter. And in that moment, Alison was simply a photographer ahead of her time, finally, posthumously, finding her adoring audience.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘April Dawn Alison’ is on view at the San Francisco Museum of Modern Art through Dec. 1. \u003ca href=\"https://www.sfmoma.org/exhibition/april-dawn-alison/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In a one-room show on the San Francisco Museum of Art’s third floor, a “new to the collection” exhibition of framed Polaroids is actually new to just about everyone, a treasure trove of secret photographs that were almost lost to history.\u003c/p>\n\u003cp>\u003ci>\u003ca href=\"https://www.sfmoma.org/exhibition/april-dawn-alison/\" target=\"_blank\" rel=\"noopener noreferrer\">April Dawn Alison\u003c/a>\u003c/i>, curated by Erin O’Toole, presents a constellation of images on dark painted walls, images discovered after the death of an Oakland commercial photographer known to friends, family and neighbors as Alan Schaefer. Indoors, seemingly alone, Schaefer became someone else: April Dawn Alison, a feminine alter ego who, over the course of 30 years, photographed herself in playful poses and bondage scenarios. As contemplative and exuberant. Dressed up and stripped down.\u003c/p>\n\u003cfigure id=\"attachment_13862466\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13862466\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/08_April-Dawn-Alison_1200.jpg\" alt=\"April Dawn Alison, 'Untitled,' n.d.\" width=\"1200\" height=\"1188\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/08_April-Dawn-Alison_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/08_April-Dawn-Alison_1200-160x158.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/08_April-Dawn-Alison_1200-800x792.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/08_April-Dawn-Alison_1200-768x760.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/08_April-Dawn-Alison_1200-1020x1010.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">April Dawn Alison, ‘Untitled,’ n.d. \u003ccite>(San Francisco Museum of Modern Art, gift of Andrew Masullo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Naming—and gendering—the artist responsible for the works in \u003ci>April Dawn Alison\u003c/i> requires careful consideration. O’Toole opts for “she,” writing “the Polaroids are of April Dawn, by April Dawn.” In the \u003ca href=\"https://mackbooks.co.uk/collections/frontpage/products/april-dawn-alison-br-erin-o-toole-ed\" target=\"_blank\" rel=\"noopener noreferrer\">accompanying catalog\u003c/a> from London publisher Mack, Hilton Als’ essay employs a more fluid use of both pronouns: “April was a maker and so was the guy who made April; these pictures are a record of a double consciousness, the he who wants to be a she and the she who is a model and photographer.” Zackary Drucker’s writing ties the work to a long lineage of trans artists and performers, using “she” throughout.\u003c/p>\n\u003cp>An equal amount of consideration went into the decision of whether or not to present these images publicly at all. Schaefer passed away at age 67 in 2008. O’Toole edited \u003ci>April Dawn Alison\u003c/i> down from 9,200 Polaroids, a collection that remained remarkably intact while an estate liquidator sold off the rest of the artist’s belongings piecemeal. San Francisco painter Andrew Masullo purchased (or better put, rescued) the collection from the liquidator, gifting it to SFMOMA in 2017.\u003c/p>\n\u003cp>O’Toole writes about discussing issues of privacy and intent with the artist’s friends and family, concluding: “I have come to believe that the deep humanity, emotional impact, and visual sophistication of these photographs demands that they be shared.” It’s rare to see a curatorial statement dip into first person, let alone acknowledge any moral quandaries the organizer might have experienced in the process of putting together a show.\u003c/p>\n\u003cfigure id=\"attachment_13862465\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13862465\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/07_April-Dawn-Alison_1200.jpg\" alt=\"April Dawn Alison, 'Untitled,' n.d.\" width=\"1200\" height=\"396\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/07_April-Dawn-Alison_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/07_April-Dawn-Alison_1200-160x53.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/07_April-Dawn-Alison_1200-800x264.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/07_April-Dawn-Alison_1200-768x253.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/07_April-Dawn-Alison_1200-1020x337.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">April Dawn Alison, ‘Untitled,’ n.d. \u003ccite>(San Francisco Museum of Modern Art, gift of Andrew Masullo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the case of \u003ci>April Dawn Alison\u003c/i>, this honesty and openness is fitting. Alison shot the intimate Polaroids in the tight quarters of a living space that appears increasingly filled with photography equipment, framed images, fashion ads and stacked storage boxes as time progresses. The images are incredibly vulnerable, even as she makes a silly face for the camera, widening her eyes in mock surprise or sticking out her tongue.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Alison is a shape-shifter. With a variety of wigs, makeup, jewelry and outfits, she tries out coquettish looks (French maid costume), demure business wear (high-necked white shirt under a dark blazer) and out-there getups (teal velour-looking leotard, pink skirt and three garters). Despite these variations in personae, the accumulated images seem to capture Alison—in her willingness to mug for the camera, splay her legs, hunch into a frame and every so often, smile a particularly zany smile.\u003c/p>\n\u003cp>Few knew about Alison. O’Toole writes that family members were aware Schaefer sometimes dressed in women’s clothes, and rumors circulated through the neighbors to that effect. But the true audience of Alison’s “encyclopedia of selves,” as Drucker calls the collection of Polaroids, was Alison herself.\u003c/p>\n\u003cfigure id=\"attachment_13862462\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13862462\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/01_April-Dawn-Alison_1200.jpg\" alt=\"April Dawn Alison, 'Untitled,' n.d.\" width=\"1200\" height=\"1198\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/01_April-Dawn-Alison_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/01_April-Dawn-Alison_1200-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/01_April-Dawn-Alison_1200-800x799.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/01_April-Dawn-Alison_1200-768x767.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/01_April-Dawn-Alison_1200-1020x1018.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">April Dawn Alison, ‘Untitled,’ n.d. \u003ccite>(San Francisco Museum of Modern Art, gift of Andrew Masullo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In numerous shots included in the exhibition, a sequence of images shows Alison accumulating the Polaroids taken during a sitting, holding the photographs in her hands or lining them up on a shelf behind her. Sometimes, she trades eye contact with the camera for eye contact with herself—posing while peering at her own likeness in Polaroid form.\u003c/p>\n\u003cp>Certain things can be deduced about Alison from these images: she took great care crafting her appearance; she had a sense of humor; she was proud of her ability to construct images (both as a private practice and as a commercial photographer).\u003c/p>\n\u003cp>But there are so many more questions than answers. Did anyone know Alison as Alison? Was this the only space where she could be this version of herself? Did anyone help her get into some of the more complicated BDSM poses she staged? Was this photographic practice a secret she never intended to share—and should that affect how (and if) we look at these images now?\u003c/p>\n\u003cfigure id=\"attachment_13862563\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13862563\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/04c_April-Dawn-Alison_1200.jpg\" alt=\"April Dawn Alison, 'Untitled,' n.d.\" width=\"1200\" height=\"1191\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/04c_April-Dawn-Alison_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/04c_April-Dawn-Alison_1200-160x159.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/04c_April-Dawn-Alison_1200-800x794.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/04c_April-Dawn-Alison_1200-768x762.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/04c_April-Dawn-Alison_1200-1020x1012.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">April Dawn Alison, ‘Untitled,’ n.d. \u003ccite>(San Francisco Museum of Modern Art, gift of Andrew Masullo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s especially difficult, in 2019, to refrain from assigning to Alison contemporary understandings of gender expression and fluidity. We will likely never have answers to the above questions; we can only acknowledge how these images make us feel now, and honor Alison’s contribution to visual culture by welcoming such expressions of self moving forward.\u003c/p>\n\u003cp>When I visited SFMOMA shortly after the exhibition’s opening, a group of young people were taking turns photographing each other in front of one of the walls, carefully arranging themselves in poses pulled (as many of Alison’s were) from the vocabulary of fashion ads and celebrity portraiture.\u003c/p>\n\u003cp>The space between Alison’s private world and this public display of glamorous, defiant identity collapsed, the former providing the backdrop for the latter. And in that moment, Alison was simply a photographer ahead of her time, finally, posthumously, finding her adoring audience.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘April Dawn Alison’ is on view at the San Francisco Museum of Modern Art through Dec. 1. \u003ca href=\"https://www.sfmoma.org/exhibition/april-dawn-alison/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"masters-of-scale": {
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},
"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"onourwatch": {
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"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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},
"pbs-newshour": {
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},
"perspectives": {
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"order": 14
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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"politicalbreakdown": {
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"order": 5
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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