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"content": "\u003cp>When \u003ca href=\"http://adrianrosenfeld.com/\" rel=\"noopener\" target=\"_blank\">Adrian Rosenfeld Gallery\u003c/a> arrived at Minnesota Street Project’s 1150 25th Street location (down the street and up the hill from the main gallery building), the first thing I heard was, “You have to check out the library.” Push open the gallery’s large door and you’ll see not white walls, but floor-to-ceiling thick walnut shelves holding thousands of art books. And often, set invitingly before them: a plump leather couch. \u003c/p>\n\u003cp>So despite its potential intimidation factor (blue chip work, collaborations with fancy international galleries, the aforementioned giant door), Adrian Rosenfeld Gallery is inviting, usually well worth a visit, and currently even more so.\u003c/p>\n\u003cp>\u003ci>Tadaaki Kuwayama and Rakuko Naito\u003c/i>, an exhibition of husband-and-wife artists organized in collaboration with the Los Angeles gallery \u003ca href=\"https://nonaka-hill.com/\" rel=\"noopener\" target=\"_blank\">Nonaka-Hill\u003c/a>, spans six decades of work. Trained as Nihonga painters (traditional Japanese figure painting), Kuwayama and Naito moved from Tokyo to New York in 1958, where they quickly shed their formal training and entered the emerging minimalist scene. \u003c/p>\n\u003cfigure id=\"attachment_13860605\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/Rosenfeld_Kuwayama-Naito_0568_cropped_1200.jpg\" alt=\"Rakuko Naito, 'Untitled,' 1964; Acrylic on canvas.\" width=\"1200\" height=\"1194\" class=\"size-full wp-image-13860605\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Rosenfeld_Kuwayama-Naito_0568_cropped_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Rosenfeld_Kuwayama-Naito_0568_cropped_1200-160x159.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Rosenfeld_Kuwayama-Naito_0568_cropped_1200-800x796.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Rosenfeld_Kuwayama-Naito_0568_cropped_1200-768x764.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Rosenfeld_Kuwayama-Naito_0568_cropped_1200-1020x1015.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Rakuko Naito, ‘Untitled,’ 1964; Acrylic on canvas. \u003ccite>(Photo by Aaron Wojack; Courtesy of Adrian Rosenfeld Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Rubbing elbows with Donald Judd, Ad Reinhardt and Frank Stella, Kuwayama and Naito’s work shifted to color fields, hard-edged geometries and delicate aluminum frames. Their paintings from this period are eerily precise, the acrylic surfaces rendered without a single hint of brush bristles—let alone a human hand. Some of Kuwayama’s paintings even have an iridescent sheen, adding to their otherworldly aura.\u003c/p>\n\u003cp>While Kuwayama’s pieces in the show, covering 1962 to 1991, demonstrate a singular dedication to form, Naito’s works within a similar time frame range across media, playing with dimensionality and illusion in the bounds of an often-square frame. Most recently, those frames provide space for the accumulation of delicate stuffs: twists of aluminum wire and coils of Japanese paper. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>What emerges throughout the exhibition is the sensation of these precise, illusionistic and vibrant paintings filling in some blanks. Why do we (or at least I) know Judd, Stella and Reinhardt, but not Naito and Kuwayama? In belated answer, there’s a berry-colored painting at Adrian Rosenfeld that argues quite persuasively not to be ignored or forgotten in the sands of art historical time. \u003ci>—Sarah Hotchkiss\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When \u003ca href=\"http://adrianrosenfeld.com/\" rel=\"noopener\" target=\"_blank\">Adrian Rosenfeld Gallery\u003c/a> arrived at Minnesota Street Project’s 1150 25th Street location (down the street and up the hill from the main gallery building), the first thing I heard was, “You have to check out the library.” Push open the gallery’s large door and you’ll see not white walls, but floor-to-ceiling thick walnut shelves holding thousands of art books. And often, set invitingly before them: a plump leather couch. \u003c/p>\n\u003cp>So despite its potential intimidation factor (blue chip work, collaborations with fancy international galleries, the aforementioned giant door), Adrian Rosenfeld Gallery is inviting, usually well worth a visit, and currently even more so.\u003c/p>\n\u003cp>\u003ci>Tadaaki Kuwayama and Rakuko Naito\u003c/i>, an exhibition of husband-and-wife artists organized in collaboration with the Los Angeles gallery \u003ca href=\"https://nonaka-hill.com/\" rel=\"noopener\" target=\"_blank\">Nonaka-Hill\u003c/a>, spans six decades of work. Trained as Nihonga painters (traditional Japanese figure painting), Kuwayama and Naito moved from Tokyo to New York in 1958, where they quickly shed their formal training and entered the emerging minimalist scene. \u003c/p>\n\u003cfigure id=\"attachment_13860605\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/Rosenfeld_Kuwayama-Naito_0568_cropped_1200.jpg\" alt=\"Rakuko Naito, 'Untitled,' 1964; Acrylic on canvas.\" width=\"1200\" height=\"1194\" class=\"size-full wp-image-13860605\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Rosenfeld_Kuwayama-Naito_0568_cropped_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Rosenfeld_Kuwayama-Naito_0568_cropped_1200-160x159.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Rosenfeld_Kuwayama-Naito_0568_cropped_1200-800x796.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Rosenfeld_Kuwayama-Naito_0568_cropped_1200-768x764.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Rosenfeld_Kuwayama-Naito_0568_cropped_1200-1020x1015.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Rakuko Naito, ‘Untitled,’ 1964; Acrylic on canvas. \u003ccite>(Photo by Aaron Wojack; Courtesy of Adrian Rosenfeld Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Rubbing elbows with Donald Judd, Ad Reinhardt and Frank Stella, Kuwayama and Naito’s work shifted to color fields, hard-edged geometries and delicate aluminum frames. Their paintings from this period are eerily precise, the acrylic surfaces rendered without a single hint of brush bristles—let alone a human hand. Some of Kuwayama’s paintings even have an iridescent sheen, adding to their otherworldly aura.\u003c/p>\n\u003cp>While Kuwayama’s pieces in the show, covering 1962 to 1991, demonstrate a singular dedication to form, Naito’s works within a similar time frame range across media, playing with dimensionality and illusion in the bounds of an often-square frame. Most recently, those frames provide space for the accumulation of delicate stuffs: twists of aluminum wire and coils of Japanese paper. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "500 Capp Street Lays Off Head Curator, Creates Confusion About Future Exhibitions",
"headTitle": "500 Capp Street Lays Off Head Curator, Creates Confusion About Future Exhibitions | KQED",
"content": "\u003cp>\u003ci>Updated Thursday, 10:50am\u003c/i>\u003c/p>\n\u003cp>In a decision that shocked the Bay Area art scene, \u003ca href=\"https://500cappstreet.org/\" rel=\"noopener\" target=\"_blank\">500 Capp Street Foundation\u003c/a>’s Board of Directors suddenly laid off the nonprofit arts organization’s head curator, Bob Linder, on Wednesday, creating confusion as to the status of planned exhibitions for the remainder of the year. \u003c/p>\n\u003cp>The board characterized the decision in an official statement as an effort to “re-balance 500 Capp Street future exhibitions and public programs with an enhanced education program.”\u003c/p>\n\u003cfigure id=\"attachment_13860422\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/BobLinder_640.jpg\" alt=\"Bob Linder, former head curator of 500 Capp Street.\" width=\"640\" height=\"590\" class=\"size-full wp-image-13860422\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/BobLinder_640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/BobLinder_640-160x148.jpg 160w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Bob Linder, former head curator of 500 Capp Street. \u003ccite>(Courtesy of 500 Capp Street Foundation website)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The 500 Capp Street Foundation, established by arts funder Carlie Wilmans, owns and operates the former residence of late San Francisco artist David Ireland, who treated the home as a constantly changing artwork, rearranging sculpture and two-dimensional works within the space. The foundation \u003ca href=\"https://www.kqed.org/arts/13855723/arts-funder-under-fire-for-evicting-family-next-to-david-ireland-house\" rel=\"noopener\" target=\"_blank\">recently came under fire\u003c/a> for its connection to Wilmans due to her attempts to evict tenants from 3463-3465 20th Street, a property that adjoins 500 Capp Street. \u003c/p>\n\u003cp>Linder, who has held the role of head curator since 2016, was unable to comment for this article due to a nondisclosure clause in his employment contract with 500 Capp Street. Curator Diego Villalobos will remain in his role; the two other staff positions, including director, also remain in place. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>According to newly appointed board chairman Jock Reynolds, who is about to retire as director of the Yale University Art Gallery, laying off Linder “wasn’t a pleasant thing to have to do, but he’s capable with his track record of getting another position.”\u003c/p>\n\u003cp>Speaking with KQED, Reynolds cites financial concerns as central to the decision of the board, which includes Wilmans and arts funder Ann Hatch. Several grants to which the foundation applied in order to support its much-lauded exhibition program—which brought work by national and international artists into conversation with Ireland’s home and artwork three times a year—did not come through, Reynolds says. Without outside support, the foundation is primarily funded by Wilmans. \u003c/p>\n\u003cfigure id=\"attachment_13860424\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/6_DIH_Exterior_HenrikKam_2015.jpg\" alt=\"The exterior of 500 Capp Street (corner) and its garage exhibition space.\" width=\"1200\" height=\"959\" class=\"size-full wp-image-13860424\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/6_DIH_Exterior_HenrikKam_2015.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/6_DIH_Exterior_HenrikKam_2015-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/6_DIH_Exterior_HenrikKam_2015-800x639.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/6_DIH_Exterior_HenrikKam_2015-768x614.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/6_DIH_Exterior_HenrikKam_2015-1020x815.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">The exterior of 500 Capp Street (corner) and its garage exhibition space. \u003ccite>(Henrik Kam/Courtesy 500 Capp Street Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We’ve been very happy with the quality of these exhibitions,” Reynolds says, “but the amount of money that was \u003ci>not\u003c/i> coming in, in terms of anticipated revenue—there was a limit to what Carlie Wilmans was willing to do.” He adds that he hopes a shift towards a more educational model will increase funding opportunities in the future. \u003c/p>\n\u003cp>A secondary concern for the board was that Ireland’s own work, some of which remains in storage when not on view in the house, had not been seen often enough, despite the fact that the house itself is also an Ireland work. In their June 24 statement, the board promised “more well balanced representation and frequent rotation of the many Ireland artifacts and artworks that reside in the Foundation’s large collection of his work.” Following a brief closure in February 2020 for conservation and repairs to the home, 500 Capp Street will reopen with a staging of Ireland’s work.\u003c/p>\n\u003cp>Furor over the decision spread quickly on social media channels, especially within the Bay Area arts scene, where 500 Capp Street’s exhibition programming was seen as exciting and ambitious in the midst of an increasingly diminished landscape of arts spaces. Kate Rhoades and Maysoun Wazwaz, co-hosts of the arts and culture podcast \u003cem>\u003ca href=\"http://congratulationspinetree.blogspot.com/\" rel=\"noopener\" target=\"_blank\">Congratulations Pine Tree\u003c/a>\u003c/em> say the decision to fundamentally alter the exhibitions program is very upsetting.\u003c/p>\n\u003cp>“The exhibitions they bring allow David Ireland’s work to continue to be relevant,” says Wazwaz. “To remove that makes it feel like it’s going to become more stale, regardless of how important David Ireland’s work is to contemporary art in general.” For those who visit from out of town and only view 500 Capp Street once, an exhibition of Ireland’s work may suffice, they say, but the exhibition program was a gift to repeat visitors and local audiences.\u003c/p>\n\u003cp>As far as eliminating the role of head curator, Reynolds says he views this as an opportunity to create “some type of curatorial training program.” He is mindful of the \u003ca href=\"https://www.kqed.org/arts/13841205/curatorial-crisis-bay-area-art-institutions\" rel=\"noopener\" target=\"_blank\">diminishing number of curatorial positions\u003c/a> in the Bay Area, he says, mentioning former jobs at the San Francisco Art Institute and the Contemporary Jewish Museum as examples.\u003c/p>\n\u003cp>If there’s irony in a decision to create a training program for curators while simultaneously eliminating a job that might have been available to them once trained, Reynolds does not mention it. As for Linder, he has a long history with both the house and Ireland, whom he met as an SFAI undergrad in 1998. As head curator at 500 Capp Street, Linder brought his personal knowledge of Ireland and his practice into exhibition planning, which over the past three years included shows with work by Mike Kelley, Felix Gonzales-Torres and Cady Nolad. (Until its last exhibitions closed on April 27, Linder also co-directed the Mission District gallery \u003ca href=\"http://www.capital.gallery/index.html\" rel=\"noopener\" target=\"_blank\">CAPITAL\u003c/a>.) \u003c/p>\n\u003cfigure id=\"attachment_13848030\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/500_Capp_Kelley_installation-20_1200.jpg\" alt=\"Installation view of 'Pushing and pulling, pulling and pushing' at 500 Capp Street Foundation, featuring images from Mike Kelley's 'Extracurricular Activity Projective Reconstruction' series, 2004-2005.\" width=\"1200\" height=\"1041\" class=\"size-full wp-image-13848030\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/500_Capp_Kelley_installation-20_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/500_Capp_Kelley_installation-20_1200-160x139.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/500_Capp_Kelley_installation-20_1200-800x694.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/500_Capp_Kelley_installation-20_1200-768x666.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/500_Capp_Kelley_installation-20_1200-1020x885.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Pushing and pulling, pulling and pushing’ at 500 Capp Street Foundation, featuring images from Mike Kelley’s ‘Extracurricular Activity Projective Reconstruction’ series, 2004-2005. \u003ccite>(Courtesy of the MIke Kelley Foundation for the Arts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>500 Capp Street typically hosts one show in the main house, and a smaller show in the garage, which was converted into an exhibition space when the house was refurbished by Jensen Architects and ARG Conservation Services. Reynolds promises exhibitions for the remainder of 2019 will take place as planned.\u003c/p>\n\u003cp>But New York artist Matt Connors, scheduled to mount the next house exhibition in October, states via email to KQED that he will not be showing with 500 Capp Street. “I officially pulled out of any continuing association with them and have expressed my strong disapproval of their treatment of Mr. Linder as well as the new direction,” Connors says.\u003c/p>\n\u003cp>Precise information about the scheduling of the future “re-balanced” exhibitions program, how contemporary artists will now be involved in those shows, and what potential “curatorial training” might look like are all up in the air. But, Reynolds promises, “no one’s going to be disappointed about what lies ahead.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>As for the current shows up at 500 Capp Street, Liz Magor’s \u003ci>TIMESHARE\u003c/i> \u003ca href=\"https://www.kqed.org/arts/13860618/liz-magor-pulls-works-from-500-capp-street-in-response-to-head-curator-layoff\" rel=\"noopener\" target=\"_blank\">will be on view through July 6\u003c/a>, Nina Canell’s \u003ci>Drag-Out\u003c/i>, remain on view through Aug. 17. \u003c/p>\n\n",
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"title": "500 Capp Street Lays Off Head Curator, Creates Confusion About Future Exhibitions | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>Updated Thursday, 10:50am\u003c/i>\u003c/p>\n\u003cp>In a decision that shocked the Bay Area art scene, \u003ca href=\"https://500cappstreet.org/\" rel=\"noopener\" target=\"_blank\">500 Capp Street Foundation\u003c/a>’s Board of Directors suddenly laid off the nonprofit arts organization’s head curator, Bob Linder, on Wednesday, creating confusion as to the status of planned exhibitions for the remainder of the year. \u003c/p>\n\u003cp>The board characterized the decision in an official statement as an effort to “re-balance 500 Capp Street future exhibitions and public programs with an enhanced education program.”\u003c/p>\n\u003cfigure id=\"attachment_13860422\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/BobLinder_640.jpg\" alt=\"Bob Linder, former head curator of 500 Capp Street.\" width=\"640\" height=\"590\" class=\"size-full wp-image-13860422\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/BobLinder_640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/BobLinder_640-160x148.jpg 160w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Bob Linder, former head curator of 500 Capp Street. \u003ccite>(Courtesy of 500 Capp Street Foundation website)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The 500 Capp Street Foundation, established by arts funder Carlie Wilmans, owns and operates the former residence of late San Francisco artist David Ireland, who treated the home as a constantly changing artwork, rearranging sculpture and two-dimensional works within the space. The foundation \u003ca href=\"https://www.kqed.org/arts/13855723/arts-funder-under-fire-for-evicting-family-next-to-david-ireland-house\" rel=\"noopener\" target=\"_blank\">recently came under fire\u003c/a> for its connection to Wilmans due to her attempts to evict tenants from 3463-3465 20th Street, a property that adjoins 500 Capp Street. \u003c/p>\n\u003cp>Linder, who has held the role of head curator since 2016, was unable to comment for this article due to a nondisclosure clause in his employment contract with 500 Capp Street. Curator Diego Villalobos will remain in his role; the two other staff positions, including director, also remain in place. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>According to newly appointed board chairman Jock Reynolds, who is about to retire as director of the Yale University Art Gallery, laying off Linder “wasn’t a pleasant thing to have to do, but he’s capable with his track record of getting another position.”\u003c/p>\n\u003cp>Speaking with KQED, Reynolds cites financial concerns as central to the decision of the board, which includes Wilmans and arts funder Ann Hatch. Several grants to which the foundation applied in order to support its much-lauded exhibition program—which brought work by national and international artists into conversation with Ireland’s home and artwork three times a year—did not come through, Reynolds says. Without outside support, the foundation is primarily funded by Wilmans. \u003c/p>\n\u003cfigure id=\"attachment_13860424\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/6_DIH_Exterior_HenrikKam_2015.jpg\" alt=\"The exterior of 500 Capp Street (corner) and its garage exhibition space.\" width=\"1200\" height=\"959\" class=\"size-full wp-image-13860424\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/6_DIH_Exterior_HenrikKam_2015.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/6_DIH_Exterior_HenrikKam_2015-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/6_DIH_Exterior_HenrikKam_2015-800x639.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/6_DIH_Exterior_HenrikKam_2015-768x614.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/6_DIH_Exterior_HenrikKam_2015-1020x815.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">The exterior of 500 Capp Street (corner) and its garage exhibition space. \u003ccite>(Henrik Kam/Courtesy 500 Capp Street Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We’ve been very happy with the quality of these exhibitions,” Reynolds says, “but the amount of money that was \u003ci>not\u003c/i> coming in, in terms of anticipated revenue—there was a limit to what Carlie Wilmans was willing to do.” He adds that he hopes a shift towards a more educational model will increase funding opportunities in the future. \u003c/p>\n\u003cp>A secondary concern for the board was that Ireland’s own work, some of which remains in storage when not on view in the house, had not been seen often enough, despite the fact that the house itself is also an Ireland work. In their June 24 statement, the board promised “more well balanced representation and frequent rotation of the many Ireland artifacts and artworks that reside in the Foundation’s large collection of his work.” Following a brief closure in February 2020 for conservation and repairs to the home, 500 Capp Street will reopen with a staging of Ireland’s work.\u003c/p>\n\u003cp>Furor over the decision spread quickly on social media channels, especially within the Bay Area arts scene, where 500 Capp Street’s exhibition programming was seen as exciting and ambitious in the midst of an increasingly diminished landscape of arts spaces. Kate Rhoades and Maysoun Wazwaz, co-hosts of the arts and culture podcast \u003cem>\u003ca href=\"http://congratulationspinetree.blogspot.com/\" rel=\"noopener\" target=\"_blank\">Congratulations Pine Tree\u003c/a>\u003c/em> say the decision to fundamentally alter the exhibitions program is very upsetting.\u003c/p>\n\u003cp>“The exhibitions they bring allow David Ireland’s work to continue to be relevant,” says Wazwaz. “To remove that makes it feel like it’s going to become more stale, regardless of how important David Ireland’s work is to contemporary art in general.” For those who visit from out of town and only view 500 Capp Street once, an exhibition of Ireland’s work may suffice, they say, but the exhibition program was a gift to repeat visitors and local audiences.\u003c/p>\n\u003cp>As far as eliminating the role of head curator, Reynolds says he views this as an opportunity to create “some type of curatorial training program.” He is mindful of the \u003ca href=\"https://www.kqed.org/arts/13841205/curatorial-crisis-bay-area-art-institutions\" rel=\"noopener\" target=\"_blank\">diminishing number of curatorial positions\u003c/a> in the Bay Area, he says, mentioning former jobs at the San Francisco Art Institute and the Contemporary Jewish Museum as examples.\u003c/p>\n\u003cp>If there’s irony in a decision to create a training program for curators while simultaneously eliminating a job that might have been available to them once trained, Reynolds does not mention it. As for Linder, he has a long history with both the house and Ireland, whom he met as an SFAI undergrad in 1998. As head curator at 500 Capp Street, Linder brought his personal knowledge of Ireland and his practice into exhibition planning, which over the past three years included shows with work by Mike Kelley, Felix Gonzales-Torres and Cady Nolad. (Until its last exhibitions closed on April 27, Linder also co-directed the Mission District gallery \u003ca href=\"http://www.capital.gallery/index.html\" rel=\"noopener\" target=\"_blank\">CAPITAL\u003c/a>.) \u003c/p>\n\u003cfigure id=\"attachment_13848030\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/500_Capp_Kelley_installation-20_1200.jpg\" alt=\"Installation view of 'Pushing and pulling, pulling and pushing' at 500 Capp Street Foundation, featuring images from Mike Kelley's 'Extracurricular Activity Projective Reconstruction' series, 2004-2005.\" width=\"1200\" height=\"1041\" class=\"size-full wp-image-13848030\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/500_Capp_Kelley_installation-20_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/500_Capp_Kelley_installation-20_1200-160x139.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/500_Capp_Kelley_installation-20_1200-800x694.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/500_Capp_Kelley_installation-20_1200-768x666.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/500_Capp_Kelley_installation-20_1200-1020x885.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Pushing and pulling, pulling and pushing’ at 500 Capp Street Foundation, featuring images from Mike Kelley’s ‘Extracurricular Activity Projective Reconstruction’ series, 2004-2005. \u003ccite>(Courtesy of the MIke Kelley Foundation for the Arts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>500 Capp Street typically hosts one show in the main house, and a smaller show in the garage, which was converted into an exhibition space when the house was refurbished by Jensen Architects and ARG Conservation Services. Reynolds promises exhibitions for the remainder of 2019 will take place as planned.\u003c/p>\n\u003cp>But New York artist Matt Connors, scheduled to mount the next house exhibition in October, states via email to KQED that he will not be showing with 500 Capp Street. “I officially pulled out of any continuing association with them and have expressed my strong disapproval of their treatment of Mr. Linder as well as the new direction,” Connors says.\u003c/p>\n\u003cp>Precise information about the scheduling of the future “re-balanced” exhibitions program, how contemporary artists will now be involved in those shows, and what potential “curatorial training” might look like are all up in the air. But, Reynolds promises, “no one’s going to be disappointed about what lies ahead.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As for the current shows up at 500 Capp Street, Liz Magor’s \u003ci>TIMESHARE\u003c/i> \u003ca href=\"https://www.kqed.org/arts/13860618/liz-magor-pulls-works-from-500-capp-street-in-response-to-head-curator-layoff\" rel=\"noopener\" target=\"_blank\">will be on view through July 6\u003c/a>, Nina Canell’s \u003ci>Drag-Out\u003c/i>, remain on view through Aug. 17. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "SFO’s Harvey Milk Terminal 1 to Open With New Public Art",
"headTitle": "SFO’s Harvey Milk Terminal 1 to Open With New Public Art | KQED",
"content": "\u003cp>When you’re listing off the Bay Area’s great art collections, chances are you’re forgetting one very important stockpile of visual art—the airport.\u003c/p>\n\u003cp>Outside of local museums, the San Francisco International Airport is, in fact, home to the largest and most valuable public collection of art in the region. \u003c/p>\n\u003cp>And it’s getting bigger.\u003c/p>\n\u003cp>[aside postID='arts_10998106' hero='https://ww2.kqed.org/wp-content/uploads/sites/2/2015/10/EllingsonCover-1180x664.jpg']\u003c/p>\n\u003cp>When the Harvey Milk Terminal 1 opens with nine of its planned 25 gates on July 23, it will contain five new public art commissions and 25 two-dimensional works, many of which are by Bay Area artists. Ultimately, the terminal will be home to a total of 14 new public artworks.\u003c/p>\n\u003cp>The terminal’s redesign and expansion will continue until 2023, but it’s the steady whine of construction that funds the airport’s art—SFO is subject to the Art Enrichment Ordinance, which requires two percent of the gross construction costs of publicly funded capital projects be allocated for public art. \u003c/p>\n\u003cp>As the first airport terminal in the world named for an LGBTQ+ leader, it’s fitting that a huge amount of temporary wall space is given over to the text and images of \u003ci>Harvey Milk: Messenger of Hope\u003c/i>, an SFO museum exhibit that will remain in place for at least two years. \u003c/p>\n\u003cfigure id=\"attachment_13860224\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/Mark-Handforth_1200.jpg\" alt=\"Rendering of Mark Handforth's ' Cadmium Red Giant' in Harvey Milk Terminal 1, SFO.\" width=\"1200\" height=\"1043\" class=\"size-full wp-image-13860224\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Mark-Handforth_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Mark-Handforth_1200-160x139.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Mark-Handforth_1200-800x695.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Mark-Handforth_1200-768x668.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Mark-Handforth_1200-1020x887.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Rendering of Mark Handforth’s ‘ Cadmium Red Giant’ in Harvey Milk Terminal 1, SFO. \u003ccite>(Courtesy of the San Francisco Arts Commission)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I have high hopes for the future of San Francisco,” reads a quote from Milk, in a block of introductory wall text just after the terminal’s security checkpoint. Stretching 380 feet, the exhibit includes dramatically blown-up images of Milk meeting with constituents; ephemera from his runs for city supervisor; newspaper articles documenting his assassination, along with that of Mayor George Moscone, by former Supervisor Dan White; and one particularly heartfelt handwritten note of condolence.\u003c/p>\n\u003cp>The nearly 100 images were gathered from the San Francisco Public Library and the GLBT Historical Society—and a November 2018 public call for images, which yielded some results that will actually enter the aforementioned collections, SFO Museum representatives say. \u003c/p>\n\u003cfigure id=\"attachment_13860222\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/AMC1738_Untitled_sm_web.jpg\" alt=\"Artwork by Alicia McCarthy inside Harvey Milk Terminal 1 at the San Francisco International Airport.\" width=\"500\" height=\"495\" class=\"size-full wp-image-13860222\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/AMC1738_Untitled_sm_web.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/AMC1738_Untitled_sm_web-160x158.jpg 160w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">Artwork by Alicia McCarthy inside Harvey Milk Terminal 1 at the San Francisco International Airport. \u003ccite>(Courtesy of the San Francisco Arts Comission )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Until Terminal 1 construction is completed, this impressive display is only available to ticketed passengers, but a permanent (and much smaller) exhibition on the life and legacy of Harvey Milk will be installed outside the security checkpoint for the general public in 2021.\u003c/p>\n\u003cp>What isn’t going away is the first batch of the terminal’s permanent public artworks: two mosaic murals (\u003ca href=\"http://www.robertminervini.com/\" rel=\"noopener\" target=\"_blank\">Robert Minervini\u003c/a> and \u003ca href=\"http://www.jasonjagel.com/\" rel=\"noopener\" target=\"_blank\">Jason Jägel\u003c/a>), two hanging sculptures (\u003ca href=\"http://lizglynn.work/\" rel=\"noopener\" target=\"_blank\">Liz Glynn\u003c/a> and \u003ca href=\"https://gavinbrown.biz/artists/mark_handforth/works\" rel=\"noopener\" target=\"_blank\">Mark Hanforth\u003c/a>) and a wall installation (\u003ca href=\"https://art21.org/artist/leonardo-drew/\" rel=\"noopener\" target=\"_blank\">Leonardo Drew\u003c/a>).\u003c/p>\n\u003cp>Such artworks fulfill many functions at the airport, says Susan Pontious, the SFAC’s civic art collection and public art program director. One is wayfinding. Such as: “Meet me under that witchy red metal star with the silver tree branch and neon bits” (Hanforth’s \u003ci>Cadmium Red Giant\u003c/i>).\u003c/p>\n\u003cp>Another is as an introduction to the particular aesthetics of San Francisco. See the terminal’s “Mission Wall,” an alcove hung with two-dimensional work by artists associated with the Mission School—Barry McGee, Chris Johanson and Alicia McCarthy.\u003c/p>\n\u003cp>And then there’s the bald reality of how most people will spend quality time with SFO’s art: waiting for flights. Here we have Minervini’s delightfully intricate mosaic piece, \u003ci>Hyper-Natural Bay Area\u003c/i>, designed like a window looking across the Bay to a blue-hued San Francisco skyline (with the Salesforce tower still under construction). On the window’s “ledge,” an assortment of potted plants, cats, classical and Brancusi-looking sculpture, and a friendly wooden bear take shape courtesy of what Minervini estimates are millions of tile pieces. \u003c/p>\n\u003cfigure id=\"attachment_13860223\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/Jason-Jagel_1200.jpg\" alt=\"Rendering of Jason Jagel's 'The Author & Her Story,' in Harvey Milk Terminal 1, SFO.\" width=\"1200\" height=\"679\" class=\"size-full wp-image-13860223\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Jason-Jagel_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Jason-Jagel_1200-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Jason-Jagel_1200-800x453.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Jason-Jagel_1200-768x435.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Jason-Jagel_1200-1020x577.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Rendering of Jason Jagel’s ‘The Author & Her Story,’ in Harvey Milk Terminal 1, SFO. \u003ccite>(Courtesy of the San Francisco Arts Commission)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A few gates down, Jägel’s \u003ci>The Author & Her Story\u003c/i>—despite being made from glazed tile and stretched to 13-by-33 feet—retains the rich, moody hues of the original oil painting that served as its model. Its fantastical scene of multicolored characters sitting around a sphere (a globe? a fortune teller’s crystal ball?) spreads to the mural’s very margins, suggesting imaginative possibilities beyond the tiles’ edges. Suffice to say: Both mosaics are full of details to keep the impatient traveler engaged and amused. \u003c/p>\n\u003cp>Unfortunately, the most unconventional pieces of the five new public artworks are the ones that might be hardest to observe for any substantial period of time. Drew’s \u003ci>Number 69S\u003c/i>, assembled from recycled materials and past artworks, spans three walls of a boarding area’s bulkheads and is best viewed from the center of the terminal walkway, likely to be too busy for looky-looing. \u003c/p>\n\u003cp>And Liz Glynn’s incredible \u003ci>Terra-Techne\u003c/i> hangs above the terminal’s new security check-in area—six separate representations of the world’s continents. Seen from below, cast stainless steel plants native to California seem to grow upside-down from each land mass. From above, Glynn covers the continents in circuit-board patterns made up of three-dimensional terracotta tiles.\u003c/p>\n\u003cp>Which is all to say: Next time you fly Jet Blue or Southwest, you might end up hoping for some slow lines. \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>\u003ci>Harvey Milk Terminal 1 opens to the public on July 23, 2019, with a free community day scheduled for Saturday, July 20. \u003ca href=\"https://www.eventbrite.com/e/sfo-harvey-milk-terminal-1-community-day-tickets-61464561157\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/i> \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"excerpt": "The first phase of the redeveloped terminal, opening July 23, features five new public art pieces and an exhibition about Harvey Milk. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When you’re listing off the Bay Area’s great art collections, chances are you’re forgetting one very important stockpile of visual art—the airport.\u003c/p>\n\u003cp>Outside of local museums, the San Francisco International Airport is, in fact, home to the largest and most valuable public collection of art in the region. \u003c/p>\n\u003cp>And it’s getting bigger.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When the Harvey Milk Terminal 1 opens with nine of its planned 25 gates on July 23, it will contain five new public art commissions and 25 two-dimensional works, many of which are by Bay Area artists. Ultimately, the terminal will be home to a total of 14 new public artworks.\u003c/p>\n\u003cp>The terminal’s redesign and expansion will continue until 2023, but it’s the steady whine of construction that funds the airport’s art—SFO is subject to the Art Enrichment Ordinance, which requires two percent of the gross construction costs of publicly funded capital projects be allocated for public art. \u003c/p>\n\u003cp>As the first airport terminal in the world named for an LGBTQ+ leader, it’s fitting that a huge amount of temporary wall space is given over to the text and images of \u003ci>Harvey Milk: Messenger of Hope\u003c/i>, an SFO museum exhibit that will remain in place for at least two years. \u003c/p>\n\u003cfigure id=\"attachment_13860224\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/Mark-Handforth_1200.jpg\" alt=\"Rendering of Mark Handforth's ' Cadmium Red Giant' in Harvey Milk Terminal 1, SFO.\" width=\"1200\" height=\"1043\" class=\"size-full wp-image-13860224\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Mark-Handforth_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Mark-Handforth_1200-160x139.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Mark-Handforth_1200-800x695.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Mark-Handforth_1200-768x668.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Mark-Handforth_1200-1020x887.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Rendering of Mark Handforth’s ‘ Cadmium Red Giant’ in Harvey Milk Terminal 1, SFO. \u003ccite>(Courtesy of the San Francisco Arts Commission)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I have high hopes for the future of San Francisco,” reads a quote from Milk, in a block of introductory wall text just after the terminal’s security checkpoint. Stretching 380 feet, the exhibit includes dramatically blown-up images of Milk meeting with constituents; ephemera from his runs for city supervisor; newspaper articles documenting his assassination, along with that of Mayor George Moscone, by former Supervisor Dan White; and one particularly heartfelt handwritten note of condolence.\u003c/p>\n\u003cp>The nearly 100 images were gathered from the San Francisco Public Library and the GLBT Historical Society—and a November 2018 public call for images, which yielded some results that will actually enter the aforementioned collections, SFO Museum representatives say. \u003c/p>\n\u003cfigure id=\"attachment_13860222\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/AMC1738_Untitled_sm_web.jpg\" alt=\"Artwork by Alicia McCarthy inside Harvey Milk Terminal 1 at the San Francisco International Airport.\" width=\"500\" height=\"495\" class=\"size-full wp-image-13860222\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/AMC1738_Untitled_sm_web.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/AMC1738_Untitled_sm_web-160x158.jpg 160w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">Artwork by Alicia McCarthy inside Harvey Milk Terminal 1 at the San Francisco International Airport. \u003ccite>(Courtesy of the San Francisco Arts Comission )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Until Terminal 1 construction is completed, this impressive display is only available to ticketed passengers, but a permanent (and much smaller) exhibition on the life and legacy of Harvey Milk will be installed outside the security checkpoint for the general public in 2021.\u003c/p>\n\u003cp>What isn’t going away is the first batch of the terminal’s permanent public artworks: two mosaic murals (\u003ca href=\"http://www.robertminervini.com/\" rel=\"noopener\" target=\"_blank\">Robert Minervini\u003c/a> and \u003ca href=\"http://www.jasonjagel.com/\" rel=\"noopener\" target=\"_blank\">Jason Jägel\u003c/a>), two hanging sculptures (\u003ca href=\"http://lizglynn.work/\" rel=\"noopener\" target=\"_blank\">Liz Glynn\u003c/a> and \u003ca href=\"https://gavinbrown.biz/artists/mark_handforth/works\" rel=\"noopener\" target=\"_blank\">Mark Hanforth\u003c/a>) and a wall installation (\u003ca href=\"https://art21.org/artist/leonardo-drew/\" rel=\"noopener\" target=\"_blank\">Leonardo Drew\u003c/a>).\u003c/p>\n\u003cp>Such artworks fulfill many functions at the airport, says Susan Pontious, the SFAC’s civic art collection and public art program director. One is wayfinding. Such as: “Meet me under that witchy red metal star with the silver tree branch and neon bits” (Hanforth’s \u003ci>Cadmium Red Giant\u003c/i>).\u003c/p>\n\u003cp>Another is as an introduction to the particular aesthetics of San Francisco. See the terminal’s “Mission Wall,” an alcove hung with two-dimensional work by artists associated with the Mission School—Barry McGee, Chris Johanson and Alicia McCarthy.\u003c/p>\n\u003cp>And then there’s the bald reality of how most people will spend quality time with SFO’s art: waiting for flights. Here we have Minervini’s delightfully intricate mosaic piece, \u003ci>Hyper-Natural Bay Area\u003c/i>, designed like a window looking across the Bay to a blue-hued San Francisco skyline (with the Salesforce tower still under construction). On the window’s “ledge,” an assortment of potted plants, cats, classical and Brancusi-looking sculpture, and a friendly wooden bear take shape courtesy of what Minervini estimates are millions of tile pieces. \u003c/p>\n\u003cfigure id=\"attachment_13860223\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/Jason-Jagel_1200.jpg\" alt=\"Rendering of Jason Jagel's 'The Author & Her Story,' in Harvey Milk Terminal 1, SFO.\" width=\"1200\" height=\"679\" class=\"size-full wp-image-13860223\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Jason-Jagel_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Jason-Jagel_1200-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Jason-Jagel_1200-800x453.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Jason-Jagel_1200-768x435.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Jason-Jagel_1200-1020x577.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Rendering of Jason Jagel’s ‘The Author & Her Story,’ in Harvey Milk Terminal 1, SFO. \u003ccite>(Courtesy of the San Francisco Arts Commission)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A few gates down, Jägel’s \u003ci>The Author & Her Story\u003c/i>—despite being made from glazed tile and stretched to 13-by-33 feet—retains the rich, moody hues of the original oil painting that served as its model. Its fantastical scene of multicolored characters sitting around a sphere (a globe? a fortune teller’s crystal ball?) spreads to the mural’s very margins, suggesting imaginative possibilities beyond the tiles’ edges. Suffice to say: Both mosaics are full of details to keep the impatient traveler engaged and amused. \u003c/p>\n\u003cp>Unfortunately, the most unconventional pieces of the five new public artworks are the ones that might be hardest to observe for any substantial period of time. Drew’s \u003ci>Number 69S\u003c/i>, assembled from recycled materials and past artworks, spans three walls of a boarding area’s bulkheads and is best viewed from the center of the terminal walkway, likely to be too busy for looky-looing. \u003c/p>\n\u003cp>And Liz Glynn’s incredible \u003ci>Terra-Techne\u003c/i> hangs above the terminal’s new security check-in area—six separate representations of the world’s continents. Seen from below, cast stainless steel plants native to California seem to grow upside-down from each land mass. From above, Glynn covers the continents in circuit-board patterns made up of three-dimensional terracotta tiles.\u003c/p>\n\u003cp>Which is all to say: Next time you fly Jet Blue or Southwest, you might end up hoping for some slow lines. \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>\u003ci>Harvey Milk Terminal 1 opens to the public on July 23, 2019, with a free community day scheduled for Saturday, July 20. \u003ca href=\"https://www.eventbrite.com/e/sfo-harvey-milk-terminal-1-community-day-tickets-61464561157\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/i> \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "this-is-reparations-s-f-school-board-votes-to-paint-over-controversial-high-school-mural",
"title": "'This Is Reparations:' S.F. School Board Votes to Paint Over Controversial High School Mural",
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"headTitle": "‘This Is Reparations:’ S.F. School Board Votes to Paint Over Controversial High School Mural | KQED",
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"content": "\u003cp>The San Francisco Board of Education voted Tuesday to paint over a mural series showing George Washington as a slave owner and promoter of the United States’ genocidal westward expansion, acknowledging decades of complaints about the depiction of a dead Native American and enslaved African Americans inside George Washington High School.\u003c/p>\n\u003cp>The unanimous vote instructed district staff to develop a plan to paint over all 13 panels of Victor Arnautoff’s “Life of Washington” mural, which is expected to cost some $600,000 and take more than a year to implement. In the event of “undue delay,” according to the amended motion by commissioner Mark Sanchez, the school board retains the option of covering the mural temporarily with paneling.\u003c/p>\n\u003cp>“This is reparations,” Sanchez said, dismissing concerns about estimated costs.\u003c/p>\n\u003cp>It was a decisive moment in a protracted debate, one propelled by the nationwide referendum on public monuments to racism, that found the school board going above and beyond district staff’s recommendation to obscure the mural with fabric or paneling, and instead heeding community members’ demands to “paint it down.” [aside postID=news_11756796,arts_13854510]\u003c/p>\n\u003cp>Paloma Flores, program coordinator for the school district’s Indian Education Program, joined with local high school students, recent George Washington graduates and Native American parents to oppose the mural during public comment Tuesday. “It’s not a matter of offense, it’s a matter of the right to learn without a hostile environment,” Flores said. “Intent does not negate lived experience.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The plan is still contingent on an environmental impact report, and appeals or legal challenges are expected: Lope Yap Jr., vice president of the high school’s alumni association and an outspoken mural supporter, said the group will sue to halt the mural destruction.\u003c/p>\n\u003cp>“We’ll use every tactic available,” Yap Jr. said, adding that there are “several grounds” for litigation.\u003c/p>\n\u003cfigure id=\"attachment_13854565\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/gwhs-main-800x342.jpg\" alt=\"A WPA-era mural by Victor Arnautoff depicting slave ownership is part of a new controversy at George Washington High School in San Francisco.\" width=\"800\" height=\"342\" class=\"size-medium wp-image-13854565\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/gwhs-main.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/gwhs-main-160x68.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/gwhs-main-768x328.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A WPA-era mural by Victor Arnautoff depicting slave ownership is part of a new controversy at George Washington High School in San Francisco. \u003ccite>(Courtesy George Washington High School Alumni Association)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Arnautoff, a Russian-born social realist, painted the 1,600 square-foot “Life of Washington” mural in 1936, showing the nation’s first president in various periods of his life. Two of the 13 panels are primarily at issue: One shows Washington among his slaves at Mount Vernon, while in another he directs white men with guns westward, over the body of an apparently slain Native American.\u003c/p>\n\u003cp>Asked if the board’s decision would apply to all or only parts of the mural, district spokesperson Laura Dudnick on Tuesday said “the options to cover the mural are for the entire mural.”\u003c/p>\n\u003cp>According to Arnautoff’s biographer Robert Cherny, the artist intended the mural as a “counter narrative,” or a corrective rebuke to the nation’s founding mythology. Supporters of the Works Progress Administration-funded frescoes cite the communist artist’s progressive motivations, decrying efforts to remove the artworks as censorship and a betrayal of history stemming from a lack of understanding and interpretative context.\u003c/p>\n\u003cp>“Political artworks like Arnautoff’s must not be confused with historic monuments such as Confederate statues, which are intended to send a clear racist message,” reads a recent statement from the National Coalition Against Censorship, echoing sentiments from New Deal scholars and Russian American organizations as well as local arts figures \u003ca href=\"https://datebook.sfchronicle.com/art-exhibits/bay-area-art-leaders-on-censorship-of-george-washington-high-mural\">polled\u003c/a> by the \u003cem>San Francisco Chronicle\u003c/em>.\u003c/p>\n\u003cp>However, critics of the artwork, a camp including many students and Native American parents, have recently, as well as in decades past, argued that the depictions of slain and enslaved people of color have no place in a school lobby. They believe the artist’s intentions are irrelevant in light of the harm to young people of color daily confronted by images of their ancestors debased.\u003c/p>\n\u003cp>“Kids don’t see these images as helpful or powerful, they see them as insulting and demeaning,” George Washington High School student Kai Anderson-Lawson, who is Native American, said at a June 18 school board meeting. The notion that young indigenous people are at risk of forgetting their own history, Anderson-Lawson added, is offensive: “Generational trauma follows us.”\u003c/p>\n\u003cp>Barbara Mumby-Huerta, a San Francisco Arts Commission staffer who is Native American, pointed out at the same meeting that, for all the talk of historical accuracy, the mural actually shows ignorance of indigenous cultures. “To portray a Native person face down, dead, you are trapping their soul so that they can not move on,” she said.\u003c/p>\n\u003cp>(The San Francisco Arts Commission has not officially taken a position on the mural’s removal.)\u003c/p>\n\u003cp>The demographics of the opposing camps seemed to influence the board’s decision to paint over the mural. School board member Gabriela López noted at the June 18 meeting that the mural supporters offering public comment skewed older and white, saying they generally weren’t “representative of the people affected.”\u003c/p>\n\u003cp>Although the controversy dates back to the 1960s, it escalated beginning in 2017 amid a nationwide referendum on public monuments, in particular Confederate statues, to racism and exploitation. That year a preservationist nonprofit recommended George Washington High School for landmark status, a process the school board scuttled out of reluctance to enshrine the mural.\u003c/p>\n\u003cp>For guidance, the district convened a Reflection and Action Group, which held four public meetings before approving, by a vote of 10-1, a recommendation this past February to paint over all thirteen panels of “Life of Washington.” The committee referenced Cherny’s interpretation of Arnautoff’s work when it wrote that the “impact of this mural is greater than what its intent ever was; it’s not counter narrative if it traumatizes students and community members.”\u003c/p>\n\u003cp>Yap Jr., the lone dissenting Reflection and Action Group member, said he’s disappointed the school board declined to further consider the alumni association’s proposal to provide more context for the mural, and accused his critics of incivility. “Anything less than whitewashing for the opposition would be a compromise,” he said.\u003c/p>\n\u003cp>It is a long-simmering issue: In 1968, according to the landmark application, George Washington High School students voted 61 percent in favor of supplementing the mural with positive depictions of black people. Daryl Thomas, then president of the Washington Afro-American club, called for “recognition of the great contributions of black people to the sciences and history.”\u003c/p>\n\u003cp>The Afro-American Club proposed that Dewey Crumpler, a young black artist, paint what has come to be known as the “response” mural. Crumpler’s “Multi-Ethnic Heritage: Black, Asian, Native/Latin American” works, completed in 1974, show empowered people of color rendered in a fiery, sunburst palette near the Arnautoff mural.\u003c/p>\n\u003cp>But Crumpler, now a painting professor at the San Francisco Art Institute, has emerged a seemingly unlikely champion of the mural that prompted his own. He recently appeared in a \u003ca href=\"https://www.youtube.com/watch?v=sZEMpyvdAXQ\">video\u003c/a> analyzing controversial imagery. “Without Arnautoff’s murals, my murals are irrelevant. And without my murals, Arnautoff’s murals are irrelevant,” he said. “They are one thing.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Some of the same community members successfully campaigned for the \u003ca href=\"https://www.kqed.org/arts/13840748/early-days-statue-in-sf-deemed-racist-will-be-removed-following-re-vote\">removal last year\u003c/a> of Civic Center Plaza statue “Early Days,” which critics also called historically inaccurate and degrading to Native Americans.\u003c/p>\n\n",
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"title": "'This Is Reparations:' S.F. School Board Votes to Paint Over Controversial High School Mural | KQED",
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"headline": "'This Is Reparations:' S.F. School Board Votes to Paint Over Controversial High School Mural",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The San Francisco Board of Education voted Tuesday to paint over a mural series showing George Washington as a slave owner and promoter of the United States’ genocidal westward expansion, acknowledging decades of complaints about the depiction of a dead Native American and enslaved African Americans inside George Washington High School.\u003c/p>\n\u003cp>The unanimous vote instructed district staff to develop a plan to paint over all 13 panels of Victor Arnautoff’s “Life of Washington” mural, which is expected to cost some $600,000 and take more than a year to implement. In the event of “undue delay,” according to the amended motion by commissioner Mark Sanchez, the school board retains the option of covering the mural temporarily with paneling.\u003c/p>\n\u003cp>“This is reparations,” Sanchez said, dismissing concerns about estimated costs.\u003c/p>\n\u003cp>It was a decisive moment in a protracted debate, one propelled by the nationwide referendum on public monuments to racism, that found the school board going above and beyond district staff’s recommendation to obscure the mural with fabric or paneling, and instead heeding community members’ demands to “paint it down.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Paloma Flores, program coordinator for the school district’s Indian Education Program, joined with local high school students, recent George Washington graduates and Native American parents to oppose the mural during public comment Tuesday. “It’s not a matter of offense, it’s a matter of the right to learn without a hostile environment,” Flores said. “Intent does not negate lived experience.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The plan is still contingent on an environmental impact report, and appeals or legal challenges are expected: Lope Yap Jr., vice president of the high school’s alumni association and an outspoken mural supporter, said the group will sue to halt the mural destruction.\u003c/p>\n\u003cp>“We’ll use every tactic available,” Yap Jr. said, adding that there are “several grounds” for litigation.\u003c/p>\n\u003cfigure id=\"attachment_13854565\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/gwhs-main-800x342.jpg\" alt=\"A WPA-era mural by Victor Arnautoff depicting slave ownership is part of a new controversy at George Washington High School in San Francisco.\" width=\"800\" height=\"342\" class=\"size-medium wp-image-13854565\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/gwhs-main.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/gwhs-main-160x68.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/gwhs-main-768x328.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A WPA-era mural by Victor Arnautoff depicting slave ownership is part of a new controversy at George Washington High School in San Francisco. \u003ccite>(Courtesy George Washington High School Alumni Association)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Arnautoff, a Russian-born social realist, painted the 1,600 square-foot “Life of Washington” mural in 1936, showing the nation’s first president in various periods of his life. Two of the 13 panels are primarily at issue: One shows Washington among his slaves at Mount Vernon, while in another he directs white men with guns westward, over the body of an apparently slain Native American.\u003c/p>\n\u003cp>Asked if the board’s decision would apply to all or only parts of the mural, district spokesperson Laura Dudnick on Tuesday said “the options to cover the mural are for the entire mural.”\u003c/p>\n\u003cp>According to Arnautoff’s biographer Robert Cherny, the artist intended the mural as a “counter narrative,” or a corrective rebuke to the nation’s founding mythology. Supporters of the Works Progress Administration-funded frescoes cite the communist artist’s progressive motivations, decrying efforts to remove the artworks as censorship and a betrayal of history stemming from a lack of understanding and interpretative context.\u003c/p>\n\u003cp>“Political artworks like Arnautoff’s must not be confused with historic monuments such as Confederate statues, which are intended to send a clear racist message,” reads a recent statement from the National Coalition Against Censorship, echoing sentiments from New Deal scholars and Russian American organizations as well as local arts figures \u003ca href=\"https://datebook.sfchronicle.com/art-exhibits/bay-area-art-leaders-on-censorship-of-george-washington-high-mural\">polled\u003c/a> by the \u003cem>San Francisco Chronicle\u003c/em>.\u003c/p>\n\u003cp>However, critics of the artwork, a camp including many students and Native American parents, have recently, as well as in decades past, argued that the depictions of slain and enslaved people of color have no place in a school lobby. They believe the artist’s intentions are irrelevant in light of the harm to young people of color daily confronted by images of their ancestors debased.\u003c/p>\n\u003cp>“Kids don’t see these images as helpful or powerful, they see them as insulting and demeaning,” George Washington High School student Kai Anderson-Lawson, who is Native American, said at a June 18 school board meeting. The notion that young indigenous people are at risk of forgetting their own history, Anderson-Lawson added, is offensive: “Generational trauma follows us.”\u003c/p>\n\u003cp>Barbara Mumby-Huerta, a San Francisco Arts Commission staffer who is Native American, pointed out at the same meeting that, for all the talk of historical accuracy, the mural actually shows ignorance of indigenous cultures. “To portray a Native person face down, dead, you are trapping their soul so that they can not move on,” she said.\u003c/p>\n\u003cp>(The San Francisco Arts Commission has not officially taken a position on the mural’s removal.)\u003c/p>\n\u003cp>The demographics of the opposing camps seemed to influence the board’s decision to paint over the mural. School board member Gabriela López noted at the June 18 meeting that the mural supporters offering public comment skewed older and white, saying they generally weren’t “representative of the people affected.”\u003c/p>\n\u003cp>Although the controversy dates back to the 1960s, it escalated beginning in 2017 amid a nationwide referendum on public monuments, in particular Confederate statues, to racism and exploitation. That year a preservationist nonprofit recommended George Washington High School for landmark status, a process the school board scuttled out of reluctance to enshrine the mural.\u003c/p>\n\u003cp>For guidance, the district convened a Reflection and Action Group, which held four public meetings before approving, by a vote of 10-1, a recommendation this past February to paint over all thirteen panels of “Life of Washington.” The committee referenced Cherny’s interpretation of Arnautoff’s work when it wrote that the “impact of this mural is greater than what its intent ever was; it’s not counter narrative if it traumatizes students and community members.”\u003c/p>\n\u003cp>Yap Jr., the lone dissenting Reflection and Action Group member, said he’s disappointed the school board declined to further consider the alumni association’s proposal to provide more context for the mural, and accused his critics of incivility. “Anything less than whitewashing for the opposition would be a compromise,” he said.\u003c/p>\n\u003cp>It is a long-simmering issue: In 1968, according to the landmark application, George Washington High School students voted 61 percent in favor of supplementing the mural with positive depictions of black people. Daryl Thomas, then president of the Washington Afro-American club, called for “recognition of the great contributions of black people to the sciences and history.”\u003c/p>\n\u003cp>The Afro-American Club proposed that Dewey Crumpler, a young black artist, paint what has come to be known as the “response” mural. Crumpler’s “Multi-Ethnic Heritage: Black, Asian, Native/Latin American” works, completed in 1974, show empowered people of color rendered in a fiery, sunburst palette near the Arnautoff mural.\u003c/p>\n\u003cp>But Crumpler, now a painting professor at the San Francisco Art Institute, has emerged a seemingly unlikely champion of the mural that prompted his own. He recently appeared in a \u003ca href=\"https://www.youtube.com/watch?v=sZEMpyvdAXQ\">video\u003c/a> analyzing controversial imagery. “Without Arnautoff’s murals, my murals are irrelevant. And without my murals, Arnautoff’s murals are irrelevant,” he said. “They are one thing.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Some of the same community members successfully campaigned for the \u003ca href=\"https://www.kqed.org/arts/13840748/early-days-statue-in-sf-deemed-racist-will-be-removed-following-re-vote\">removal last year\u003c/a> of Civic Center Plaza statue “Early Days,” which critics also called historically inaccurate and degrading to Native Americans.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Elise Ferguson's 'June Room' Stretches Its Stripes and Curves Beyond the Gallery's Edge",
"headTitle": "Elise Ferguson’s ‘June Room’ Stretches Its Stripes and Curves Beyond the Gallery’s Edge | KQED",
"content": "\u003cp>Depending on which route you take to Romer Young Gallery, you might pass the Woods Operating Division of the San Francisco Municipal Transit System. And if you fail to notice this nondescript box of a building on 22nd Street, you’re forgiven. You have art to see. \u003c/p>\n\u003cp>But if your eye does chance upon this building, it’s likely because of its one decorative flourish: two \u003ca href=\"https://www.google.com/maps/@37.7577362,-122.3917772,3a,75y,182.45h,89.45t/data=!3m7!1e1!3m5!1sqcFssKKFT_d22-o5toiZdg!2e0!6s%2F%2Fgeo2.ggpht.com%2Fcbk%3Fpanoid%3DqcFssKKFT_d22-o5toiZdg%26output%3Dthumbnail%26cb_client%3Dmaps_sv.tactile.gps%26thumb%3D2%26w%3D203%26h%3D100%26yaw%3D181.51642%26pitch%3D0%26thumbfov%3D100!7i16384!8i8192\" rel=\"noopener\" target=\"_blank\">red metal fences with four perfectly semicircular ends\u003c/a>, faint echoes of Muni’s beloved “worm” logo, writ large and three-dimensional.\u003c/p>\n\u003cp>Just a block away, inside Romer Young, Elise Ferguson’s \u003ci>\u003ca href=\"https://www.romeryounggallery.com/current\" rel=\"noopener\" target=\"_blank\">June Room\u003c/a>\u003c/i> provides more than an echo of that curvilinear graphic. The show is made up of the same building blocks that shape \u003ca href=\"https://www.sfmta.com/blog/doing-worm-brief-history-munis-graphic-art\" rel=\"noopener\" target=\"_blank\">Walter Landor’s 1975 Muni logo\u003c/a>: snakey curves and orderly stripes stacked atop one another, flowing into each other, turned 180 degrees. \u003c/p>\n\u003cp>But in \u003ci>June Room\u003c/i>, Ferguson doesn’t stop at the ends of a groovy “M” and “I.” She assembles and rearranges her curves and stripes into a series of pigmented plaster paintings, a large-scale textile piece and one powder-coated aluminum sculpture. \u003c/p>\n\u003cfigure id=\"attachment_13860148\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/RYG.Ferguson-Triumph-300.jpg\" alt=\"Elise Ferguson, 'Triumph,' 2019.\" width=\"1000\" height=\"675\" class=\"size-full wp-image-13860148\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RYG.Ferguson-Triumph-300.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RYG.Ferguson-Triumph-300-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RYG.Ferguson-Triumph-300-800x540.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RYG.Ferguson-Triumph-300-768x518.jpg 768w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">Elise Ferguson, ‘Triumph,’ 2019. \u003ccite>(Courtesy of the artist and Romer Young)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Of course, Ferguson, based in Brooklyn, doesn’t spend her time riding Muni buses or waiting for the N-Judah (ahem). But the graphics that surely inspired Landor—Op art, Bay Area psychedelia—are, in turn, some of Ferguson’s reference points. Applying her patterns to a variety of media and with a joyful selection of colors, she tests their potency and effect. The results are mildly, wonderfully hypnotic.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Whether you experience Ferguson’s sinuous patterns as mathematically precise or warmly handmade (spoiler, they’re both) depends on proximity.\u003c/p>\n\u003cp>A sideways glance at the pigmented plaster paintings reveals delicate, chunky edges on the beveled MDF surfaces. Layers of screenprinted color build up, stripe upon stripe, inviting possibly too-close viewing to inspect the faint impression of the screen’s mesh in yellow, teal and goldenrod strips.\u003c/p>\n\u003cp>The show’s three paintings (one a vermilion and magenta diptych) demonstrate tantalizing experiments in color relativity. Is that the same limey yellow creating curves on \u003ci>Mettle\u003c/i> and vertical lines on \u003ci>Terminal\u003c/i>? What exactly is chartreuse?\u003c/p>\n\u003cfigure id=\"attachment_13860146\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/RYG.Ferguson-Spruce-300.jpg\" alt=\"Elise Ferguson, 'Spruce,' 2019.\" width=\"1000\" height=\"667\" class=\"size-full wp-image-13860146\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RYG.Ferguson-Spruce-300.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RYG.Ferguson-Spruce-300-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RYG.Ferguson-Spruce-300-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RYG.Ferguson-Spruce-300-768x512.jpg 768w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">Elise Ferguson, ‘Spruce,’ 2019. \u003ccite>(Courtesy of the artist and Romer Young Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Opposite this grouping is \u003ci>Spruce\u003c/i>, ten panels of seven-foot-tall Irish linen elegantly wrapped around three gallery walls—completely obscuring the window into the tiny office one usually sees upon entering Romer Young. Fixed only at the top, the linen panels (which, at this scale, start to look like a macro zoom on a crochet pattern) billow gently. Ferguson’s pencil-marks guide the painted yellow lines that punctuate the screenprinted curves and stripes, which shift, gradient-like, from a royal blue to a greenish teal. \u003c/p>\n\u003cp>At the center of it all is a sculpture called \u003ci>Armour\u003c/i>, a five-and-a-half-foot tall column of matte vermilion-painted aluminum, its edges—if you peer closely—sporting a glossy magenta. Strangely inside-out, it saves its machined details, nested grooves radiating within circular and semicircular shapes, for the “interior” of the column. \u003c/p>\n\u003cp>Was it inspired by something that held plants? (What is it about sculptures that makes us want to assign function to them?) Opposite the machined shapes are what appear to be their “negatives,” trumpet-like triangles with vertical slices running down their centers. \u003c/p>\n\u003cfigure id=\"attachment_13860149\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/RYG.Ferguson-Install.4-300_1200.jpg\" alt=\"Installation view of 'June Room,' with 'Armour' at center, 2019.\" width=\"1200\" height=\"844\" class=\"size-full wp-image-13860149\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RYG.Ferguson-Install.4-300_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RYG.Ferguson-Install.4-300_1200-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RYG.Ferguson-Install.4-300_1200-800x563.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RYG.Ferguson-Install.4-300_1200-768x540.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RYG.Ferguson-Install.4-300_1200-1020x717.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘June Room,’ with ‘Armour’ at center, 2019. \u003ccite>(Courtesy of the artist and Romer Young Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And here I was, paying so much attention to Ferguson’s curves and lines. Suddenly, the paintings and textile work pop with negative space, rare bits of solid pigment or bare linen in a gallery filled optical color mixing.\u003c/p>\n\u003cp>After \u003ci>June Room\u003c/i>, similar pops occur outside the gallery, and not just in front of Muni’s Woods Operating Division. In the neighborhood crosswalks: limey yellow stripes run perpendicular to the standard, thickly layered bands of white. Ferguson’s work, while seemingly hermetic, expands outwards into the built environment. Like the Muni “worm,” her static lines and curves convey a sense of winding, circuitous movement with the simplest of gestures, wiggling their way into the very fabric of the city.\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>‘June Room’ is on view at Romer Young Gallery through Aug. 3, 2019. \u003ca href=\"https://www.romeryounggallery.com/current\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"title": "Elise Ferguson's 'June Room' Stretches Its Stripes and Curves Beyond the Gallery's Edge | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Depending on which route you take to Romer Young Gallery, you might pass the Woods Operating Division of the San Francisco Municipal Transit System. And if you fail to notice this nondescript box of a building on 22nd Street, you’re forgiven. You have art to see. \u003c/p>\n\u003cp>But if your eye does chance upon this building, it’s likely because of its one decorative flourish: two \u003ca href=\"https://www.google.com/maps/@37.7577362,-122.3917772,3a,75y,182.45h,89.45t/data=!3m7!1e1!3m5!1sqcFssKKFT_d22-o5toiZdg!2e0!6s%2F%2Fgeo2.ggpht.com%2Fcbk%3Fpanoid%3DqcFssKKFT_d22-o5toiZdg%26output%3Dthumbnail%26cb_client%3Dmaps_sv.tactile.gps%26thumb%3D2%26w%3D203%26h%3D100%26yaw%3D181.51642%26pitch%3D0%26thumbfov%3D100!7i16384!8i8192\" rel=\"noopener\" target=\"_blank\">red metal fences with four perfectly semicircular ends\u003c/a>, faint echoes of Muni’s beloved “worm” logo, writ large and three-dimensional.\u003c/p>\n\u003cp>Just a block away, inside Romer Young, Elise Ferguson’s \u003ci>\u003ca href=\"https://www.romeryounggallery.com/current\" rel=\"noopener\" target=\"_blank\">June Room\u003c/a>\u003c/i> provides more than an echo of that curvilinear graphic. The show is made up of the same building blocks that shape \u003ca href=\"https://www.sfmta.com/blog/doing-worm-brief-history-munis-graphic-art\" rel=\"noopener\" target=\"_blank\">Walter Landor’s 1975 Muni logo\u003c/a>: snakey curves and orderly stripes stacked atop one another, flowing into each other, turned 180 degrees. \u003c/p>\n\u003cp>But in \u003ci>June Room\u003c/i>, Ferguson doesn’t stop at the ends of a groovy “M” and “I.” She assembles and rearranges her curves and stripes into a series of pigmented plaster paintings, a large-scale textile piece and one powder-coated aluminum sculpture. \u003c/p>\n\u003cfigure id=\"attachment_13860148\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/RYG.Ferguson-Triumph-300.jpg\" alt=\"Elise Ferguson, 'Triumph,' 2019.\" width=\"1000\" height=\"675\" class=\"size-full wp-image-13860148\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RYG.Ferguson-Triumph-300.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RYG.Ferguson-Triumph-300-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RYG.Ferguson-Triumph-300-800x540.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RYG.Ferguson-Triumph-300-768x518.jpg 768w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">Elise Ferguson, ‘Triumph,’ 2019. \u003ccite>(Courtesy of the artist and Romer Young)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Of course, Ferguson, based in Brooklyn, doesn’t spend her time riding Muni buses or waiting for the N-Judah (ahem). But the graphics that surely inspired Landor—Op art, Bay Area psychedelia—are, in turn, some of Ferguson’s reference points. Applying her patterns to a variety of media and with a joyful selection of colors, she tests their potency and effect. The results are mildly, wonderfully hypnotic.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Whether you experience Ferguson’s sinuous patterns as mathematically precise or warmly handmade (spoiler, they’re both) depends on proximity.\u003c/p>\n\u003cp>A sideways glance at the pigmented plaster paintings reveals delicate, chunky edges on the beveled MDF surfaces. Layers of screenprinted color build up, stripe upon stripe, inviting possibly too-close viewing to inspect the faint impression of the screen’s mesh in yellow, teal and goldenrod strips.\u003c/p>\n\u003cp>The show’s three paintings (one a vermilion and magenta diptych) demonstrate tantalizing experiments in color relativity. Is that the same limey yellow creating curves on \u003ci>Mettle\u003c/i> and vertical lines on \u003ci>Terminal\u003c/i>? What exactly is chartreuse?\u003c/p>\n\u003cfigure id=\"attachment_13860146\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/RYG.Ferguson-Spruce-300.jpg\" alt=\"Elise Ferguson, 'Spruce,' 2019.\" width=\"1000\" height=\"667\" class=\"size-full wp-image-13860146\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RYG.Ferguson-Spruce-300.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RYG.Ferguson-Spruce-300-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RYG.Ferguson-Spruce-300-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RYG.Ferguson-Spruce-300-768x512.jpg 768w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">Elise Ferguson, ‘Spruce,’ 2019. \u003ccite>(Courtesy of the artist and Romer Young Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Opposite this grouping is \u003ci>Spruce\u003c/i>, ten panels of seven-foot-tall Irish linen elegantly wrapped around three gallery walls—completely obscuring the window into the tiny office one usually sees upon entering Romer Young. Fixed only at the top, the linen panels (which, at this scale, start to look like a macro zoom on a crochet pattern) billow gently. Ferguson’s pencil-marks guide the painted yellow lines that punctuate the screenprinted curves and stripes, which shift, gradient-like, from a royal blue to a greenish teal. \u003c/p>\n\u003cp>At the center of it all is a sculpture called \u003ci>Armour\u003c/i>, a five-and-a-half-foot tall column of matte vermilion-painted aluminum, its edges—if you peer closely—sporting a glossy magenta. Strangely inside-out, it saves its machined details, nested grooves radiating within circular and semicircular shapes, for the “interior” of the column. \u003c/p>\n\u003cp>Was it inspired by something that held plants? (What is it about sculptures that makes us want to assign function to them?) Opposite the machined shapes are what appear to be their “negatives,” trumpet-like triangles with vertical slices running down their centers. \u003c/p>\n\u003cfigure id=\"attachment_13860149\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/RYG.Ferguson-Install.4-300_1200.jpg\" alt=\"Installation view of 'June Room,' with 'Armour' at center, 2019.\" width=\"1200\" height=\"844\" class=\"size-full wp-image-13860149\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RYG.Ferguson-Install.4-300_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RYG.Ferguson-Install.4-300_1200-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RYG.Ferguson-Install.4-300_1200-800x563.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RYG.Ferguson-Install.4-300_1200-768x540.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RYG.Ferguson-Install.4-300_1200-1020x717.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘June Room,’ with ‘Armour’ at center, 2019. \u003ccite>(Courtesy of the artist and Romer Young Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And here I was, paying so much attention to Ferguson’s curves and lines. Suddenly, the paintings and textile work pop with negative space, rare bits of solid pigment or bare linen in a gallery filled optical color mixing.\u003c/p>\n\u003cp>After \u003ci>June Room\u003c/i>, similar pops occur outside the gallery, and not just in front of Muni’s Woods Operating Division. In the neighborhood crosswalks: limey yellow stripes run perpendicular to the standard, thickly layered bands of white. Ferguson’s work, while seemingly hermetic, expands outwards into the built environment. Like the Muni “worm,” her static lines and curves convey a sense of winding, circuitous movement with the simplest of gestures, wiggling their way into the very fabric of the city.\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>‘June Room’ is on view at Romer Young Gallery through Aug. 3, 2019. \u003ca href=\"https://www.romeryounggallery.com/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>For the four artists in \u003ca href=\"https://www.artobjectgallery.com/\" rel=\"noopener\" target=\"_blank\">ArtObjectGallery\u003c/a>’s \u003ci>Transient Existence\u003c/i>, the exhibition title refers not just to their own experiences of living abroad (all were born in Japan, but two now live in the Bay Area, two in Berlin), but of the historical movement of people—especially people of Japanese descent, and especially in the United States. \u003c/p>\n\u003cp>In the show, opening June 21 in the heart of San Jose’s Japantown, \u003ca href=\"http://aisukekondo.com/Home.html\" rel=\"noopener\" target=\"_blank\">Aisuke Kondo\u003c/a>, \u003ca href=\"http://takeshimoro.com/\" rel=\"noopener\" target=\"_blank\">Takeshi Moro\u003c/a>, \u003ca href=\"http://yukikonagakura.com/yukikonagakura.html\" rel=\"noopener\" target=\"_blank\">Yukiko Nagakura\u003c/a> and \u003ca href=\"http://kaoriyamashita.com/\" rel=\"noopener\" target=\"_blank\">Kaori Yamashita\u003c/a> deal mostly, but not exclusively, with their connections to the Tule Lake and Topaz concentration camps used to incarcerate Japanese Americans during WWII. \u003c/p>\n\u003cp>Nearly 80 years after President Franklin D. Roosevelt signed and issued Executive Order 9066, few survive who can speak to the experience of being wrongfully detained in their own country. At Tule Lake and Topaz—located at the California/Oregon border and in Utah, respectively—little but historical plaques remain. The artists of \u003ci>Transient Existence\u003c/i> find ways to amplify and broaden that story, exploring dynamics of power, vulnerability and impermanence across works of photography, sculpture and collage. \u003c/p>\n\u003cfigure id=\"attachment_13859836\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/Transient4_1200.jpg\" alt=\"Takeshi Moro, 'The Gleaner,' 2019; Pigmented Inkjet Print.\" width=\"1200\" height=\"899\" class=\"size-full wp-image-13859836\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Transient4_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Transient4_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Transient4_1200-800x599.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Transient4_1200-768x575.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Transient4_1200-1020x764.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Takeshi Moro, ‘The Gleaner,’ 2019; Pigmented Inkjet Print. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The projects displayed are as varied as their individual practices and backgrounds. Kondo’s ongoing series \u003ci>Matter and Memory\u003c/i> retraces his great-grandfather’s life as an immigrant in the United States, during which he was relocated from San Francisco to Topaz. Moro’s work is informed by his years of working with elders at San Jose’s Japantown senior center, and with the Japanese American Museum of San Jose. Nagakura is particularly interested in highlighting instances of gender inequality; an example of work from the show pulls from racist newspaper reporting about Japanese women. And Yamashita’s previous work—delicate ceramics and sculptural installations hinting at architectural ruins—demonstrates an ability to gesture at larger, universal concerns within the format of carefully constructed tableaux. \u003c/p>\n\u003cp>Together, the artists of \u003ci>Transient Existence\u003c/i> find common ground in their shared experience of living “elsewhere,” and in doing so, usher our understanding of contemporary transience (its privileges and pains) into conversation with forced movements of the past.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For the four artists in \u003ca href=\"https://www.artobjectgallery.com/\" rel=\"noopener\" target=\"_blank\">ArtObjectGallery\u003c/a>’s \u003ci>Transient Existence\u003c/i>, the exhibition title refers not just to their own experiences of living abroad (all were born in Japan, but two now live in the Bay Area, two in Berlin), but of the historical movement of people—especially people of Japanese descent, and especially in the United States. \u003c/p>\n\u003cp>In the show, opening June 21 in the heart of San Jose’s Japantown, \u003ca href=\"http://aisukekondo.com/Home.html\" rel=\"noopener\" target=\"_blank\">Aisuke Kondo\u003c/a>, \u003ca href=\"http://takeshimoro.com/\" rel=\"noopener\" target=\"_blank\">Takeshi Moro\u003c/a>, \u003ca href=\"http://yukikonagakura.com/yukikonagakura.html\" rel=\"noopener\" target=\"_blank\">Yukiko Nagakura\u003c/a> and \u003ca href=\"http://kaoriyamashita.com/\" rel=\"noopener\" target=\"_blank\">Kaori Yamashita\u003c/a> deal mostly, but not exclusively, with their connections to the Tule Lake and Topaz concentration camps used to incarcerate Japanese Americans during WWII. \u003c/p>\n\u003cp>Nearly 80 years after President Franklin D. Roosevelt signed and issued Executive Order 9066, few survive who can speak to the experience of being wrongfully detained in their own country. At Tule Lake and Topaz—located at the California/Oregon border and in Utah, respectively—little but historical plaques remain. The artists of \u003ci>Transient Existence\u003c/i> find ways to amplify and broaden that story, exploring dynamics of power, vulnerability and impermanence across works of photography, sculpture and collage. \u003c/p>\n\u003cfigure id=\"attachment_13859836\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/Transient4_1200.jpg\" alt=\"Takeshi Moro, 'The Gleaner,' 2019; Pigmented Inkjet Print.\" width=\"1200\" height=\"899\" class=\"size-full wp-image-13859836\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Transient4_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Transient4_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Transient4_1200-800x599.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Transient4_1200-768x575.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Transient4_1200-1020x764.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Takeshi Moro, ‘The Gleaner,’ 2019; Pigmented Inkjet Print. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The projects displayed are as varied as their individual practices and backgrounds. Kondo’s ongoing series \u003ci>Matter and Memory\u003c/i> retraces his great-grandfather’s life as an immigrant in the United States, during which he was relocated from San Francisco to Topaz. Moro’s work is informed by his years of working with elders at San Jose’s Japantown senior center, and with the Japanese American Museum of San Jose. Nagakura is particularly interested in highlighting instances of gender inequality; an example of work from the show pulls from racist newspaper reporting about Japanese women. And Yamashita’s previous work—delicate ceramics and sculptural installations hinting at architectural ruins—demonstrates an ability to gesture at larger, universal concerns within the format of carefully constructed tableaux. \u003c/p>\n\u003cp>Together, the artists of \u003ci>Transient Existence\u003c/i> find common ground in their shared experience of living “elsewhere,” and in doing so, usher our understanding of contemporary transience (its privileges and pains) into conversation with forced movements of the past.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Science fiction has always been a creative space for working out our deepest hopes and fears about the future, and really, the present. White males have dominated the genre for decades, but that’s not to say it’s a white, male genre. After all, it all started with Mary Shelley’s seminal 1818 novel \u003cem>Frankenstein.\u003c/em>\u003c/p>\n\u003cp>So let’s start here with the idea that Latino artists and writers have a long history mining ancient and native mythologies and incorporating them into modern contexts with magical realism, as in Gabriel García Márquez’s \u003cem>One Hundred Years of Solitude\u003c/em>.\u003c/p>\n\u003cp>GenXers and younger will recall \u003ca href=\"http://www.fantagraphics.com/series/loveandrockets/\" target=\"_blank\" rel=\"noopener\">\u003cem>Love and Rockets\u003c/em>\u003c/a>, a comic book series birthed in the early 1980 and recently rebooted by Fantagraphics from brothers Gilbert, Jaime, and Mario Hernandez of Oxnard.\u003c/p>\n\u003cp>Sci fi is not a stretch.\u003c/p>\n\u003cfigure id=\"attachment_13859673\" class=\"wp-caption aligncenter\" style=\"max-width: 1369px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13859673\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/RS37717.jpg\" alt=\""El Calendario," by San Jose artist Claudia Blanco. Note that this sci fi nod to Jesus Helguera's iconic 1966 painting "La Leyenda de los Volcanes" purports to come from the East Palo Alto bakery called the Pink Elephant.\" width=\"1369\" height=\"2048\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37717.jpg 1369w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37717-160x239.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37717-800x1197.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37717-768x1149.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37717-1020x1526.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37717-802x1200.jpg 802w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37717-1920x2872.jpg 1920w\" sizes=\"(max-width: 1369px) 100vw, 1369px\">\u003cfigcaption class=\"wp-caption-text\">“El Calendario,” by San Jose artist Claudia Blanco. Note that this sci fi nod to Jesus Helguera’s iconic 1966 painting “La Leyenda de los Volcanes” purports to come from the East Palo Alto bakery called the\u003ca href=\"http://thepinkelephantbakery.com\" target=\"_blank\" rel=\"noopener\"> Pink Elephant\u003c/a>. \u003ccite>(Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Unicorns, Aliens, and Futuristic Cities at Movimiento de Arte y Cultura Latino Americana (MACLA) in San Jose is a pocket-sized exhibit that showcases a handful of contemporary visual artists exploring dystopian paranoia, fantasy and humor. The exhibition was co-curated by Joey Reyes and MACLA’s Visual Arts Engagement Coordinator Maryela Perez.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ci>El Calen\u003c/i>\u003ci>da\u003c/i>\u003ci>rio\u003c/i>, a painting created for this exhibit by San Jose artist Claudia Blanco, functions as its visual mascot, and for good reason. “She reimagines a calendar that a lot of Latino folks that visit bakeries, like, panderias, they get at the end of the year,” Perez says.\u003c/p>\n\u003cp>Many of these calendars feature a particular, iconic image by Mexican artist Jesus Helguera called \u003ci>La Leyenda de los Volcanes,\u003c/i> or \u003cem>The Legend of the Volcanos\u003c/em>. Our Aztec hero staggers forward with his dead lover, tragically limp in his arms. On Blanco’s calendar, the warrior is replaced by an alien from the 1996 movie \u003ca href=\"https://www.rottentomatoes.com/m/mars_attacks\" target=\"_blank\" rel=\"noopener\">\u003cem>Mars Attacks\u003c/em>\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13859674\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13859674\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/RS37719_Photo-Jun-14-9-28-02-AM-qut.jpg\" alt='\"Birth of the Four Directions,\" by Jorge Gonzales. Color pencil on paper, 2016.' width=\"1920\" height=\"1625\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37719_Photo-Jun-14-9-28-02-AM-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37719_Photo-Jun-14-9-28-02-AM-qut-160x135.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37719_Photo-Jun-14-9-28-02-AM-qut-800x677.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37719_Photo-Jun-14-9-28-02-AM-qut-768x650.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37719_Photo-Jun-14-9-28-02-AM-qut-1020x863.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37719_Photo-Jun-14-9-28-02-AM-qut-1200x1016.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">“Birth of the Four Directions,” by Jorge Gonzales. Color pencil on paper, 2016. \u003ccite>(Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The exhibit also explores an unexpected affinity between science fiction and spirituality. Take \u003cem>Birth of the Four Directions\u003c/em> by Jorge Gonzales. The pencil drawing depicts a ball of concentrated energy in the cosmos bursting into four directions.\u003cbr>\n“We often think about the Big Bang and how it was the birth of the universe, but you can easily connect the birth of the four directions,” Perez says.\u003c/p>\n\u003cp>There is an aspect of science fiction that echoes the imperialistic compulsions of colonialism. Think of the appeal of creating “new worlds,” bumping aside “alien” species to pursue a nationalistic vision with self-righteous violence.\u003c/p>\n\u003cp>\u003cem>La Raza Cosmica\u003c/em> (see above) by Michael Menchaca reinterprets an essay by Mexican philosopher Jose Vasconcelo that imagines a “fifth race” in the Americas. Inspired by pre-Columbian iconography, Menchaca deconstructs Vasconcelo’s mestizo identity theory with animated animals.\u003c/p>\n\u003cfigure id=\"attachment_13859675\" class=\"wp-caption aligncenter\" style=\"max-width: 858px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13859675\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/RS37715_Double20Ass20Coyotl20-20Javier20Martinez-qut.jpg\" alt='\"Double Ass Coyotl\" by Javier Martinez. \"No matter what way you turn, your past is going to be following you,\" says MACLA’s Visual Arts Engagement Coordinator Maryela Perez.' width=\"858\" height=\"589\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37715_Double20Ass20Coyotl20-20Javier20Martinez-qut.jpg 858w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37715_Double20Ass20Coyotl20-20Javier20Martinez-qut-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37715_Double20Ass20Coyotl20-20Javier20Martinez-qut-800x549.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37715_Double20Ass20Coyotl20-20Javier20Martinez-qut-768x527.jpg 768w\" sizes=\"(max-width: 858px) 100vw, 858px\">\u003cfigcaption class=\"wp-caption-text\">“Double Ass Coyotl” by Javier Martinez. “No matter what way you turn, your past is going to be following you,” says MACLA’s Visual Arts Engagement Coordinator Maryela Perez. \u003ccite>(Courtesy of MACLA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cats, clowns, bears and elephants dance about in the multi-media video installation, at once cartoonish and fantastical. With multi-layered humor, Menchaca is essentially thumbing his nose at Spanish racism as it’s played out in the New World.\u003c/p>\n\u003cp>Even lowrider culture gets a spacey nod from Javier Martinez, who explores fantastical combinations of machine, machine and animal in three pieces on view in the gallery. Each one is funny, but also a little bit disturbing, provocative.\u003c/p>\n\u003cp>Have you noticed? Latinx sci fi is having a moment right now: in \u003ca href=\"http://www.comicosity.com/tag/comix-latinx/\" target=\"_blank\" rel=\"noopener\">comic books\u003c/a>, \u003ca href=\"https://queensmuseum.org/2018/09/mundos-alternos\" target=\"_blank\" rel=\"noopener\">museums\u003c/a>, even \u003ci>Black Mirror \u003c/i>on Netflix, which just produced a series of \u003ca href=\"https://www.youtube.com/channel/UC5ZiUaIJ2b5dYBYGf5iEUrA\" target=\"_blank\" rel=\"noopener\">YouTube\u003c/a> shorts in Spanish , featuring a cast of Latinx social media stars.\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=RqATb20dO34]\u003c/p>\n\u003cp>\u003cem>\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/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>\u003ci>Unicorns, Aliens, and Futuristic Cities \u003c/i>\u003c/strong>runs June 5 – August 19, 2019 at Movimiento de Arte y Cultura Latino Americana (MACLA) in San Jose. For more information, click \u003cstrong>\u003ca href=\"https://maclaarte.org/programs/visual-arts/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>\u003c/strong>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Science fiction has always been a creative space for working out our deepest hopes and fears about the future, and really, the present. White males have dominated the genre for decades, but that’s not to say it’s a white, male genre. After all, it all started with Mary Shelley’s seminal 1818 novel \u003cem>Frankenstein.\u003c/em>\u003c/p>\n\u003cp>So let’s start here with the idea that Latino artists and writers have a long history mining ancient and native mythologies and incorporating them into modern contexts with magical realism, as in Gabriel García Márquez’s \u003cem>One Hundred Years of Solitude\u003c/em>.\u003c/p>\n\u003cp>GenXers and younger will recall \u003ca href=\"http://www.fantagraphics.com/series/loveandrockets/\" target=\"_blank\" rel=\"noopener\">\u003cem>Love and Rockets\u003c/em>\u003c/a>, a comic book series birthed in the early 1980 and recently rebooted by Fantagraphics from brothers Gilbert, Jaime, and Mario Hernandez of Oxnard.\u003c/p>\n\u003cp>Sci fi is not a stretch.\u003c/p>\n\u003cfigure id=\"attachment_13859673\" class=\"wp-caption aligncenter\" style=\"max-width: 1369px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13859673\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/RS37717.jpg\" alt=\""El Calendario," by San Jose artist Claudia Blanco. Note that this sci fi nod to Jesus Helguera's iconic 1966 painting "La Leyenda de los Volcanes" purports to come from the East Palo Alto bakery called the Pink Elephant.\" width=\"1369\" height=\"2048\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37717.jpg 1369w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37717-160x239.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37717-800x1197.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37717-768x1149.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37717-1020x1526.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37717-802x1200.jpg 802w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37717-1920x2872.jpg 1920w\" sizes=\"(max-width: 1369px) 100vw, 1369px\">\u003cfigcaption class=\"wp-caption-text\">“El Calendario,” by San Jose artist Claudia Blanco. Note that this sci fi nod to Jesus Helguera’s iconic 1966 painting “La Leyenda de los Volcanes” purports to come from the East Palo Alto bakery called the\u003ca href=\"http://thepinkelephantbakery.com\" target=\"_blank\" rel=\"noopener\"> Pink Elephant\u003c/a>. \u003ccite>(Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Unicorns, Aliens, and Futuristic Cities at Movimiento de Arte y Cultura Latino Americana (MACLA) in San Jose is a pocket-sized exhibit that showcases a handful of contemporary visual artists exploring dystopian paranoia, fantasy and humor. The exhibition was co-curated by Joey Reyes and MACLA’s Visual Arts Engagement Coordinator Maryela Perez.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>El Calen\u003c/i>\u003ci>da\u003c/i>\u003ci>rio\u003c/i>, a painting created for this exhibit by San Jose artist Claudia Blanco, functions as its visual mascot, and for good reason. “She reimagines a calendar that a lot of Latino folks that visit bakeries, like, panderias, they get at the end of the year,” Perez says.\u003c/p>\n\u003cp>Many of these calendars feature a particular, iconic image by Mexican artist Jesus Helguera called \u003ci>La Leyenda de los Volcanes,\u003c/i> or \u003cem>The Legend of the Volcanos\u003c/em>. Our Aztec hero staggers forward with his dead lover, tragically limp in his arms. On Blanco’s calendar, the warrior is replaced by an alien from the 1996 movie \u003ca href=\"https://www.rottentomatoes.com/m/mars_attacks\" target=\"_blank\" rel=\"noopener\">\u003cem>Mars Attacks\u003c/em>\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13859674\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13859674\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/RS37719_Photo-Jun-14-9-28-02-AM-qut.jpg\" alt='\"Birth of the Four Directions,\" by Jorge Gonzales. Color pencil on paper, 2016.' width=\"1920\" height=\"1625\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37719_Photo-Jun-14-9-28-02-AM-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37719_Photo-Jun-14-9-28-02-AM-qut-160x135.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37719_Photo-Jun-14-9-28-02-AM-qut-800x677.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37719_Photo-Jun-14-9-28-02-AM-qut-768x650.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37719_Photo-Jun-14-9-28-02-AM-qut-1020x863.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37719_Photo-Jun-14-9-28-02-AM-qut-1200x1016.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">“Birth of the Four Directions,” by Jorge Gonzales. Color pencil on paper, 2016. \u003ccite>(Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The exhibit also explores an unexpected affinity between science fiction and spirituality. Take \u003cem>Birth of the Four Directions\u003c/em> by Jorge Gonzales. The pencil drawing depicts a ball of concentrated energy in the cosmos bursting into four directions.\u003cbr>\n“We often think about the Big Bang and how it was the birth of the universe, but you can easily connect the birth of the four directions,” Perez says.\u003c/p>\n\u003cp>There is an aspect of science fiction that echoes the imperialistic compulsions of colonialism. Think of the appeal of creating “new worlds,” bumping aside “alien” species to pursue a nationalistic vision with self-righteous violence.\u003c/p>\n\u003cp>\u003cem>La Raza Cosmica\u003c/em> (see above) by Michael Menchaca reinterprets an essay by Mexican philosopher Jose Vasconcelo that imagines a “fifth race” in the Americas. Inspired by pre-Columbian iconography, Menchaca deconstructs Vasconcelo’s mestizo identity theory with animated animals.\u003c/p>\n\u003cfigure id=\"attachment_13859675\" class=\"wp-caption aligncenter\" style=\"max-width: 858px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13859675\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/RS37715_Double20Ass20Coyotl20-20Javier20Martinez-qut.jpg\" alt='\"Double Ass Coyotl\" by Javier Martinez. \"No matter what way you turn, your past is going to be following you,\" says MACLA’s Visual Arts Engagement Coordinator Maryela Perez.' width=\"858\" height=\"589\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37715_Double20Ass20Coyotl20-20Javier20Martinez-qut.jpg 858w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37715_Double20Ass20Coyotl20-20Javier20Martinez-qut-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37715_Double20Ass20Coyotl20-20Javier20Martinez-qut-800x549.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37715_Double20Ass20Coyotl20-20Javier20Martinez-qut-768x527.jpg 768w\" sizes=\"(max-width: 858px) 100vw, 858px\">\u003cfigcaption class=\"wp-caption-text\">“Double Ass Coyotl” by Javier Martinez. “No matter what way you turn, your past is going to be following you,” says MACLA’s Visual Arts Engagement Coordinator Maryela Perez. \u003ccite>(Courtesy of MACLA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cats, clowns, bears and elephants dance about in the multi-media video installation, at once cartoonish and fantastical. With multi-layered humor, Menchaca is essentially thumbing his nose at Spanish racism as it’s played out in the New World.\u003c/p>\n\u003cp>Even lowrider culture gets a spacey nod from Javier Martinez, who explores fantastical combinations of machine, machine and animal in three pieces on view in the gallery. Each one is funny, but also a little bit disturbing, provocative.\u003c/p>\n\u003cp>Have you noticed? Latinx sci fi is having a moment right now: in \u003ca href=\"http://www.comicosity.com/tag/comix-latinx/\" target=\"_blank\" rel=\"noopener\">comic books\u003c/a>, \u003ca href=\"https://queensmuseum.org/2018/09/mundos-alternos\" target=\"_blank\" rel=\"noopener\">museums\u003c/a>, even \u003ci>Black Mirror \u003c/i>on Netflix, which just produced a series of \u003ca href=\"https://www.youtube.com/channel/UC5ZiUaIJ2b5dYBYGf5iEUrA\" target=\"_blank\" rel=\"noopener\">YouTube\u003c/a> shorts in Spanish , featuring a cast of Latinx social media stars.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/RqATb20dO34'\n title='//www.youtube.com/embed/RqATb20dO34'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cem>\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/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>\u003ci>Unicorns, Aliens, and Futuristic Cities \u003c/i>\u003c/strong>runs June 5 – August 19, 2019 at Movimiento de Arte y Cultura Latino Americana (MACLA) in San Jose. For more information, click \u003cstrong>\u003ca href=\"https://maclaarte.org/programs/visual-arts/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>\u003c/strong>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Diaspora in Bloom: Assyrian-American Art on View in San Jose",
"headTitle": "Diaspora in Bloom: Assyrian-American Art on View in San Jose | KQED",
"content": "\u003cp>How much do you know about Assyrians? For many Americans, it’s news we have members of the ancient Middle Eastern ethnic group living here in the U.S. today.\u003c/p>\n\u003cp>Members of the Assyrian diaspora are spread out all over world, most in Iraq, Syria, Turkey and Iran. But conflicts \u003ca href=\"https://www.csmonitor.com/World/Middle-East/2019/0410/In-northeast-Syria-a-Christian-community-fights-for-survival\" target=\"_blank\" rel=\"noopener\">modern\u003c/a>, \u003ca href=\"https://www.bbc.co.uk/sounds/play/b00b7r71\" target=\"_blank\" rel=\"noopener\">ancient\u003c/a> and \u003ca href=\"https://en.wikipedia.org/wiki/Assyrian_genocide\" target=\"_blank\" rel=\"noopener\">in between\u003c/a> forced hundreds of thousands of predominantly Christian Assyrians to move further afield, and the most recent figures from the U.S. Census Bureau estimate roughly 100,000 live in the United States.\u003c/p>\n\u003cp>\u003ca href=\"https://www.svlg.org/about-us/our-staff/nardin-sarkis/\" target=\"_blank\" rel=\"noopener\">Nardin Sarkis\u003c/a> works in government relations at the Silicon Valley Leadership Group. He estimates 10,000 Assyrians live in this region alone. So it was he got to chatting with fellow Assyrian-American \u003ca href=\"https://www.plugandplaytechcenter.com/about/our-team/akadina-yadegar/\" target=\"_blank\" rel=\"noopener\">Akadina Yadegar\u003c/a>, who works at Plug and Play Tech Center, about the dearth of modern Assyrian art in museums and galleries.\u003c/p>\n\u003cp>Ancient art there’s plenty of. The Assyrian Empire of Mesopotamia flourished some 4,000 years ago. At its peak, the empire stretched from Cyprus to Iran, from present-day Armenia and Azerbaijan to the Arabian Peninsula, Egypt and eastern Libya.\u003c/p>\n\u003cp>Assyrian kings spent some of their fabulous wealth on palaces full of art, including iconic, muscular stonework. Archeologists continue to pour over the details of of the empire’s sophisticated bureaucracy, detailed in durable clay cuneiform tablets.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=7pa54hWROpQ][aside postID='news_10796779,news_2359,forum_2010101859436' label='Related Coverage']All of that said, Assyrians didn’t stop making art after that empire collapsed.\u003c/p>\n\u003cp>Neither Sarkis nor Yadegar is a professional art curator. But they wanted to show their own community and the wider Bay Area community that Assyrians have “more to offer” the world of visual arts than their admittedly impressive heritage from ancient times.\u003c/p>\n\u003cp>“The goal for the exhibit itself is to elevate the modern over the ancient, celebrate present Assyrian artists who are looking at contemporary issues,” explains Yadegar.\u003c/p>\n\u003cp>These two Millennials went looking — where else? — on Instagram, and found artists like \u003ca href=\"https://www.instagram.com/atra.givarkes/\" target=\"_blank\" rel=\"noopener\">Atra Givarkes\u003c/a> of Orange County, who gives neo-Aramaic calligraphy a bright, pop art face lift.\u003c/p>\n\u003cfigure id=\"attachment_13859296\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13859296\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/DSC_0619-Copy.jpeg\" alt=\"Tablet Series by artist Atra Givarkes\" width=\"2048\" height=\"1074\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/DSC_0619-Copy.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/DSC_0619-Copy-160x84.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/DSC_0619-Copy-800x419.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/DSC_0619-Copy-768x403.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/DSC_0619-Copy-1020x535.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/DSC_0619-Copy-1200x629.jpeg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/DSC_0619-Copy-1920x1006.jpeg 1920w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Tablet Series by artist Atra Givarkes \u003ccite>(Courtesy of Megan White)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then there’s \u003ca href=\"http://www.estherestheresther.com/index.html\" target=\"_blank\" rel=\"noopener\">Esther Elia\u003c/a> of San Francisco, who works in multiple mediums. Some of her most striking contributions to this show include paintings she based on her family’s photographs from the early 20th century.\u003c/p>\n\u003cp>Elia explores the refugee experience both as a psychological journey for generations of Assyrian-Americans, and as an emotionally laden lens through which to view the current state of anti-immigration sentiment in the United States and Western Europe.\u003c/p>\n\u003cp>“Assyrians that were forced out of their lands and came to America for a new life as so many do; came as refugees and look what we’ve created. We’ve created art. We’ve created culture to give back to our community,” Sarkis said.\u003c/p>\n\u003cfigure id=\"attachment_13859297\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13859297\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/Photo-Jun-06-10-28-50-AM.jpeg\" alt=\"Artist Esther Elia writes, "The picture shows my great-grandfather side by side with his brothers, all refugees fresh from Iran. While in Denmark recently, a taxi driver helpfully informed us that 'the refugees ruined Sweden.' What he said as pragmatic fact struck me as a personal rejection of my own people. It ultimately led me to ask, 'At what cost does the happiest place in the world maintain itself?'" Acrylic on canvas, 2018.\" width=\"2048\" height=\"1916\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Photo-Jun-06-10-28-50-AM.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Photo-Jun-06-10-28-50-AM-160x150.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Photo-Jun-06-10-28-50-AM-800x749.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Photo-Jun-06-10-28-50-AM-768x719.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Photo-Jun-06-10-28-50-AM-1020x954.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Photo-Jun-06-10-28-50-AM-1200x1123.jpeg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Photo-Jun-06-10-28-50-AM-1920x1797.jpeg 1920w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Artist Esther Elia writes, “The picture shows my great-grandfather side by side with his brothers, all refugees fresh from Iran. While in Denmark recently, a taxi driver helpfully informed us that ‘the refugees ruined Sweden.’ What he said as pragmatic fact struck me as a personal rejection of my own people. It ultimately led me to ask, ‘At what cost does the happiest place in the world maintain itself?'” Acrylic on canvas, 2018. \u003ccite>(Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s hard to argue, observing more than 30 works of painting, photography, pottery, graphic design and video in this exhibition.\u003c/p>\n\u003cp>It took the two amateur curators a year to put \u003cem>Diaspora in Bloom\u003c/em> together. Naturally, I ask if they’re game to do something like this again. Yadegar pauses for a moment, smiling.\u003c/p>\n\u003cp>“It’s possible,” she replies.\u003c/p>\n\u003cp>\u003cem>\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/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Diaspora in Bloom: \u003c/strong>\u003cstrong>Assyrians in the 20th Century & Beyond\u003c/strong>\u003c/em>\u003cem>\u003cstrong> \u003c/strong>runs June 1, 7, 8 & 14: 6pm-9pm and June 2,9 & 15 noon-4pm at \u003ca href=\"https://www.artarkgallery.com\" target=\"_blank\" rel=\"noopener\">Art Ark Gallery\u003c/a> in San Jose. For more information, click \u003cstrong>\u003ca href=\"https://www.artarkgallery.com/current.html\" target=\"_blank\" rel=\"noopener\">here\u003c/a>\u003c/strong>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>How much do you know about Assyrians? For many Americans, it’s news we have members of the ancient Middle Eastern ethnic group living here in the U.S. today.\u003c/p>\n\u003cp>Members of the Assyrian diaspora are spread out all over world, most in Iraq, Syria, Turkey and Iran. But conflicts \u003ca href=\"https://www.csmonitor.com/World/Middle-East/2019/0410/In-northeast-Syria-a-Christian-community-fights-for-survival\" target=\"_blank\" rel=\"noopener\">modern\u003c/a>, \u003ca href=\"https://www.bbc.co.uk/sounds/play/b00b7r71\" target=\"_blank\" rel=\"noopener\">ancient\u003c/a> and \u003ca href=\"https://en.wikipedia.org/wiki/Assyrian_genocide\" target=\"_blank\" rel=\"noopener\">in between\u003c/a> forced hundreds of thousands of predominantly Christian Assyrians to move further afield, and the most recent figures from the U.S. Census Bureau estimate roughly 100,000 live in the United States.\u003c/p>\n\u003cp>\u003ca href=\"https://www.svlg.org/about-us/our-staff/nardin-sarkis/\" target=\"_blank\" rel=\"noopener\">Nardin Sarkis\u003c/a> works in government relations at the Silicon Valley Leadership Group. He estimates 10,000 Assyrians live in this region alone. So it was he got to chatting with fellow Assyrian-American \u003ca href=\"https://www.plugandplaytechcenter.com/about/our-team/akadina-yadegar/\" target=\"_blank\" rel=\"noopener\">Akadina Yadegar\u003c/a>, who works at Plug and Play Tech Center, about the dearth of modern Assyrian art in museums and galleries.\u003c/p>\n\u003cp>Ancient art there’s plenty of. The Assyrian Empire of Mesopotamia flourished some 4,000 years ago. At its peak, the empire stretched from Cyprus to Iran, from present-day Armenia and Azerbaijan to the Arabian Peninsula, Egypt and eastern Libya.\u003c/p>\n\u003cp>Assyrian kings spent some of their fabulous wealth on palaces full of art, including iconic, muscular stonework. Archeologists continue to pour over the details of of the empire’s sophisticated bureaucracy, detailed in durable clay cuneiform tablets.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>All of that said, Assyrians didn’t stop making art after that empire collapsed.\u003c/p>\n\u003cp>Neither Sarkis nor Yadegar is a professional art curator. But they wanted to show their own community and the wider Bay Area community that Assyrians have “more to offer” the world of visual arts than their admittedly impressive heritage from ancient times.\u003c/p>\n\u003cp>“The goal for the exhibit itself is to elevate the modern over the ancient, celebrate present Assyrian artists who are looking at contemporary issues,” explains Yadegar.\u003c/p>\n\u003cp>These two Millennials went looking — where else? — on Instagram, and found artists like \u003ca href=\"https://www.instagram.com/atra.givarkes/\" target=\"_blank\" rel=\"noopener\">Atra Givarkes\u003c/a> of Orange County, who gives neo-Aramaic calligraphy a bright, pop art face lift.\u003c/p>\n\u003cfigure id=\"attachment_13859296\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13859296\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/DSC_0619-Copy.jpeg\" alt=\"Tablet Series by artist Atra Givarkes\" width=\"2048\" height=\"1074\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/DSC_0619-Copy.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/DSC_0619-Copy-160x84.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/DSC_0619-Copy-800x419.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/DSC_0619-Copy-768x403.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/DSC_0619-Copy-1020x535.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/DSC_0619-Copy-1200x629.jpeg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/DSC_0619-Copy-1920x1006.jpeg 1920w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Tablet Series by artist Atra Givarkes \u003ccite>(Courtesy of Megan White)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then there’s \u003ca href=\"http://www.estherestheresther.com/index.html\" target=\"_blank\" rel=\"noopener\">Esther Elia\u003c/a> of San Francisco, who works in multiple mediums. Some of her most striking contributions to this show include paintings she based on her family’s photographs from the early 20th century.\u003c/p>\n\u003cp>Elia explores the refugee experience both as a psychological journey for generations of Assyrian-Americans, and as an emotionally laden lens through which to view the current state of anti-immigration sentiment in the United States and Western Europe.\u003c/p>\n\u003cp>“Assyrians that were forced out of their lands and came to America for a new life as so many do; came as refugees and look what we’ve created. We’ve created art. We’ve created culture to give back to our community,” Sarkis said.\u003c/p>\n\u003cfigure id=\"attachment_13859297\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13859297\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/Photo-Jun-06-10-28-50-AM.jpeg\" alt=\"Artist Esther Elia writes, "The picture shows my great-grandfather side by side with his brothers, all refugees fresh from Iran. While in Denmark recently, a taxi driver helpfully informed us that 'the refugees ruined Sweden.' What he said as pragmatic fact struck me as a personal rejection of my own people. It ultimately led me to ask, 'At what cost does the happiest place in the world maintain itself?'" Acrylic on canvas, 2018.\" width=\"2048\" height=\"1916\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Photo-Jun-06-10-28-50-AM.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Photo-Jun-06-10-28-50-AM-160x150.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Photo-Jun-06-10-28-50-AM-800x749.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Photo-Jun-06-10-28-50-AM-768x719.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Photo-Jun-06-10-28-50-AM-1020x954.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Photo-Jun-06-10-28-50-AM-1200x1123.jpeg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Photo-Jun-06-10-28-50-AM-1920x1797.jpeg 1920w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Artist Esther Elia writes, “The picture shows my great-grandfather side by side with his brothers, all refugees fresh from Iran. While in Denmark recently, a taxi driver helpfully informed us that ‘the refugees ruined Sweden.’ What he said as pragmatic fact struck me as a personal rejection of my own people. It ultimately led me to ask, ‘At what cost does the happiest place in the world maintain itself?'” Acrylic on canvas, 2018. \u003ccite>(Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s hard to argue, observing more than 30 works of painting, photography, pottery, graphic design and video in this exhibition.\u003c/p>\n\u003cp>It took the two amateur curators a year to put \u003cem>Diaspora in Bloom\u003c/em> together. Naturally, I ask if they’re game to do something like this again. Yadegar pauses for a moment, smiling.\u003c/p>\n\u003cp>“It’s possible,” she replies.\u003c/p>\n\u003cp>\u003cem>\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/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Diaspora in Bloom: \u003c/strong>\u003cstrong>Assyrians in the 20th Century & Beyond\u003c/strong>\u003c/em>\u003cem>\u003cstrong> \u003c/strong>runs June 1, 7, 8 & 14: 6pm-9pm and June 2,9 & 15 noon-4pm at \u003ca href=\"https://www.artarkgallery.com\" target=\"_blank\" rel=\"noopener\">Art Ark Gallery\u003c/a> in San Jose. For more information, click \u003cstrong>\u003ca href=\"https://www.artarkgallery.com/current.html\" target=\"_blank\" rel=\"noopener\">here\u003c/a>\u003c/strong>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "At the Wattis, the Aftermath of an Invasion and a Kaleidoscope of Black Experience",
"headTitle": "At the Wattis, the Aftermath of an Invasion and a Kaleidoscope of Black Experience | KQED",
"content": "\u003cp>Like Heraclitus’ river, you can’t step into the same Wattis Institute twice. Perhaps that’s because its no-frills, white box architecture doesn’t overpower the art. Or maybe it’s because the space has a propensity for nimble, daring exhibition design (led by Calen Barca-Hall), unobtrusively putting each show in its best light. The Wattis is chameleon-like, just like its GIF-filled, \u003ca href=\"https://wattis.org/index?alt=1\" target=\"_blank\" rel=\"noopener\">constantly-in-motion website\u003c/a> (which I think I finally appreciate, years after its debut).\u003c/p>\n\u003cp>During the \u003ca href=\"https://www.kqed.org/arts/13849305/imagine-yourself-a-spider-or-a-softball-catcher-in-two-wattis-shows\" target=\"_blank\" rel=\"noopener\">last set of exhibitions\u003c/a>, newspaper covering the space’s street-facing windows gave the main gallery a secretive, under construction feel. And now, with Abbas Akhavan’s \u003ci>\u003ca href=\"https://wattis.org/view?id=686\" rel=\"noopener\" target=\"_blank\">cast for a folly\u003c/a>\u003c/i> and Akosua Adoma Owusu’s \u003ci>\u003ca href=\"https://wattis.org/view?id=687\" rel=\"noopener\" target=\"_blank\">Welcome to the Jungle\u003c/a>\u003c/i>, the Wattis is transformed once again—through material and lighting choices in the former show and a kaleidoscopic video presentation in the latter.\u003c/p>\n\u003cp>Though vastly different in subject matter and execution (Akhavan’s show is a sculptural installation, Owusu’s an expanded cinematic experience), both solo shows tackle displacement and cultural loss—as they pertain to objects and people—in deeply affecting and sensorially rich ways.\u003c/p>\n\u003cfigure id=\"attachment_13858961\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13858961\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/Wattis_Akhavan_5-2019_006_1200.jpg\" alt=\"Abbas Akhavan, Installation view of 'cast for a folly,' 2019 at CCA Wattis Institute.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Wattis_Akhavan_5-2019_006_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Wattis_Akhavan_5-2019_006_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Wattis_Akhavan_5-2019_006_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Wattis_Akhavan_5-2019_006_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Wattis_Akhavan_5-2019_006_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Abbas Akhavan, Installation view of ‘cast for a folly,’ 2019 at CCA Wattis Institute. \u003ccite>(Courtesy of the artist; Catriona Jeffries, Vancouver; and The Third Line, Dubai; Photo: Johnna Arnold)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Warmly, dimly lit, Akhavan’s installation recreates a photograph taken in 2003 of the Iraq National Museum’s main lobby. After three days of looting during the Iraq War, thieves walked away with some 15,000 objects from the museum’s collection, including objects that were over 6,000 years old and heavier than 500 pounds. In addition to priceless artifacts, the looters took computers and office furniture, emptied a safe of employees’ salaries and stole the research director’s camera collection.\u003c/p>\n\u003cp>“It was a place of protection left exposed, cavernous and bare,” reads Wattis curator Kim Nguyen’s accompanying essay. Assembled within the main gallery, the photograph-turned-three-dimensional-space feels vast and hollow. Its emptiness is enhanced, not lessened, by the detritus Akhavan faithfully approximates, either because these objects are often so materially “off” or because they’re made from enlarged versions of low resolution images, dissolving into enormous pixels.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Pails, a folding chair, a cob sculpture of a lion (a time-honored building material made from soil, water and straw) and hunks of foam litter the gallery. Everything is coated in a discernible layer of dust. In one quadrant, a pile of grass cut from decommissioned military sites accumulates over the course of the exhibition’s run, the springy smell of which ebbs and flows depending on the date of the last deposit.\u003c/p>\n\u003cfigure id=\"attachment_13858962\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13858962\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/Wattis_Akhavan_5-2019_007_1200.jpg\" alt=\"Abbas Akhavan, Installation view of 'cast for a folly,' 2019 at CCA Wattis Institute.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Wattis_Akhavan_5-2019_007_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Wattis_Akhavan_5-2019_007_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Wattis_Akhavan_5-2019_007_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Wattis_Akhavan_5-2019_007_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Wattis_Akhavan_5-2019_007_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Abbas Akhavan, Installation view of ‘cast for a folly,’ 2019 at CCA Wattis Institute. \u003ccite>(Courtesy of the artist; Catriona Jeffries, Vancouver; and The Third Line, Dubai; Photo: Johnna Arnold)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Will Rumpelstiltskin arrive to spin the growing pile of “straw” into gold?\u003c/p>\n\u003cp>[pullquote size='medium' align='right']The collection’s fate and \u003ci>cast for a folly\u003c/i> become stand-ins for an even-larger failure: the Iraq War.[/pullquote]\u003c/p>\n\u003cp>With its moody lighting, gray walls and large-scale furniture, there’s a fairy-tale quality to the installation (of the Grimm variety, not a sanitized and sparkling Disney adaptation). It’s a fitting atmosphere for an show that presents, obliquely, the results of American hubris, the likes of which we see again and again. In this case, it’s American troops’ failure to protect the museum, and Donald Rumsfeld’s joking response to the looting: “My goodness, were there that many vases?” The collection’s fate and \u003ci>cast for a folly\u003c/i> become stand-ins for an even-larger failure: the Iraq War.\u003c/p>\n\u003cp>Meanwhile, Owusu’s exhibition gathers four films—\u003ci>Me Broni Ba\u003c/i>, \u003ci>Split Ends, I Feel Wonderful\u003c/i>, \u003ci>Pelourinho: They Don’t Really Care About Us\u003c/i> and \u003ci>White Afro\u003c/i>—a decade’s-worth of the Ghanaian-American artist’s work, and presents them as a gallery installation for the first time. The fractured display, with one large screen angled towards the back gallery’s entrance, an L-shaped series of projections fanning out behind it, perfectly echoes Owusu’s approach to her subject matter, which she describes as informed by her own “triple consciousness.”\u003c/p>\n\u003cp>This is the artist’s expansion on W.E.B. Du Bois’ idea of “double consciousness,” the sense, as a Black American, of “always looking at one’s self through the eyes of others.” For Owusu, the American-born child of Ghanaian expatriates, her viewpoint is shaped by, as Nguyen writes, being “too Ghanaian for America, and too American for Ghana.” Her films include viewpoints Du Bois omitted: feminism, queerness and immigrant consciousness.\u003c/p>\n\u003cfigure id=\"attachment_13858964\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13858964\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/Wattis_Owusu_5-2019_008_1200.jpg\" alt=\"Akosua Adoma Owusu, Installation view of 'Welcome to the Jungle,' 2019 at CCA Wattis Institute; 'White Afro' (detail), 2019.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Wattis_Owusu_5-2019_008_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Wattis_Owusu_5-2019_008_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Wattis_Owusu_5-2019_008_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Wattis_Owusu_5-2019_008_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Wattis_Owusu_5-2019_008_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Akosua Adoma Owusu, Installation view of ‘Welcome to the Jungle,’ 2019 at CCA Wattis Institute; ‘White Afro’ (detail), 2019. \u003ccite>(Courtesy of the artist; Photo: Johnna Arnold)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mingling documentary footage, personal narratives, American pop culture, advertisements, sound and special effects, Owusu’s pieces are mesmerizing—I dare you to stay for just one. In a section of \u003ci>Me Broni Ba\u003c/i>, an abstracted portrait of Ghanaian hair salons, Owusu spins in graceful slow motion, her braids flying, her necklaces tracing glittering arcs of centripetal force.\u003c/p>\n\u003cp>As Owusu maps the legacies of colonialism, colorism and racism across the United States, Ghana and Brazil, hair—and white notions of beauty—is a frequent focus. In Ghana, Black women learn to braid on white baby dolls imported from the West. In \u003ci>White Afro\u003c/i>, an archival instructional film demonstrates how to give a white, straight-haired woman an Afro. But alongside loss and appropriation there’s also celebration: \u003ci>Split Ends\u003c/i>, a dense collage of found footage, shows groups of Black women braiding each other’s hair, set to what’s described as a “funktastic soundtrack.”\u003c/p>\n\u003cp>For Akhavan and Owusu, spaces (like the Iraq National Museum or the Black hair salon) that have been subjected to injury and appropriation can also be spaces for healing. This healing happens in the third place: not the Iraq National Museum, nor in the new homes of its looted objects, but in the approximated space of the Wattis exhibition. Not in Black or white America, but in Owusu’s cinematic space. Their disconnect from reality, facilitated by the Wattis’ slippery shell, invites us all to engage in difficult conversations about complicity and responsibility, acknowledging different perspectives of a shared history—activities that might seem otherwise impossible outside those doors.\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>[ad floatright]\u003c/p>\n\u003cp>\u003ci>Abbas Akhavan’s ‘cast for a folly’ and Akosua Adoma Owusu’s \u003ci>Welcome to the Jungle\u003c/i> are on view at San Francisco’s Wattis Institute through July 27. \u003ca href=\"https://wattis.org/index?alt=1\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"excerpt": "Artists Abbas Akhavan and Akosua Adoma Owusu pull from disparate sources to create two shows that tackle displacement and cultural loss.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Like Heraclitus’ river, you can’t step into the same Wattis Institute twice. Perhaps that’s because its no-frills, white box architecture doesn’t overpower the art. Or maybe it’s because the space has a propensity for nimble, daring exhibition design (led by Calen Barca-Hall), unobtrusively putting each show in its best light. The Wattis is chameleon-like, just like its GIF-filled, \u003ca href=\"https://wattis.org/index?alt=1\" target=\"_blank\" rel=\"noopener\">constantly-in-motion website\u003c/a> (which I think I finally appreciate, years after its debut).\u003c/p>\n\u003cp>During the \u003ca href=\"https://www.kqed.org/arts/13849305/imagine-yourself-a-spider-or-a-softball-catcher-in-two-wattis-shows\" target=\"_blank\" rel=\"noopener\">last set of exhibitions\u003c/a>, newspaper covering the space’s street-facing windows gave the main gallery a secretive, under construction feel. And now, with Abbas Akhavan’s \u003ci>\u003ca href=\"https://wattis.org/view?id=686\" rel=\"noopener\" target=\"_blank\">cast for a folly\u003c/a>\u003c/i> and Akosua Adoma Owusu’s \u003ci>\u003ca href=\"https://wattis.org/view?id=687\" rel=\"noopener\" target=\"_blank\">Welcome to the Jungle\u003c/a>\u003c/i>, the Wattis is transformed once again—through material and lighting choices in the former show and a kaleidoscopic video presentation in the latter.\u003c/p>\n\u003cp>Though vastly different in subject matter and execution (Akhavan’s show is a sculptural installation, Owusu’s an expanded cinematic experience), both solo shows tackle displacement and cultural loss—as they pertain to objects and people—in deeply affecting and sensorially rich ways.\u003c/p>\n\u003cfigure id=\"attachment_13858961\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13858961\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/Wattis_Akhavan_5-2019_006_1200.jpg\" alt=\"Abbas Akhavan, Installation view of 'cast for a folly,' 2019 at CCA Wattis Institute.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Wattis_Akhavan_5-2019_006_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Wattis_Akhavan_5-2019_006_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Wattis_Akhavan_5-2019_006_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Wattis_Akhavan_5-2019_006_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Wattis_Akhavan_5-2019_006_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Abbas Akhavan, Installation view of ‘cast for a folly,’ 2019 at CCA Wattis Institute. \u003ccite>(Courtesy of the artist; Catriona Jeffries, Vancouver; and The Third Line, Dubai; Photo: Johnna Arnold)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Warmly, dimly lit, Akhavan’s installation recreates a photograph taken in 2003 of the Iraq National Museum’s main lobby. After three days of looting during the Iraq War, thieves walked away with some 15,000 objects from the museum’s collection, including objects that were over 6,000 years old and heavier than 500 pounds. In addition to priceless artifacts, the looters took computers and office furniture, emptied a safe of employees’ salaries and stole the research director’s camera collection.\u003c/p>\n\u003cp>“It was a place of protection left exposed, cavernous and bare,” reads Wattis curator Kim Nguyen’s accompanying essay. Assembled within the main gallery, the photograph-turned-three-dimensional-space feels vast and hollow. Its emptiness is enhanced, not lessened, by the detritus Akhavan faithfully approximates, either because these objects are often so materially “off” or because they’re made from enlarged versions of low resolution images, dissolving into enormous pixels.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Pails, a folding chair, a cob sculpture of a lion (a time-honored building material made from soil, water and straw) and hunks of foam litter the gallery. Everything is coated in a discernible layer of dust. In one quadrant, a pile of grass cut from decommissioned military sites accumulates over the course of the exhibition’s run, the springy smell of which ebbs and flows depending on the date of the last deposit.\u003c/p>\n\u003cfigure id=\"attachment_13858962\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13858962\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/Wattis_Akhavan_5-2019_007_1200.jpg\" alt=\"Abbas Akhavan, Installation view of 'cast for a folly,' 2019 at CCA Wattis Institute.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Wattis_Akhavan_5-2019_007_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Wattis_Akhavan_5-2019_007_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Wattis_Akhavan_5-2019_007_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Wattis_Akhavan_5-2019_007_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Wattis_Akhavan_5-2019_007_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Abbas Akhavan, Installation view of ‘cast for a folly,’ 2019 at CCA Wattis Institute. \u003ccite>(Courtesy of the artist; Catriona Jeffries, Vancouver; and The Third Line, Dubai; Photo: Johnna Arnold)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Will Rumpelstiltskin arrive to spin the growing pile of “straw” into gold?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "The collection’s fate and \u003ci>cast for a folly\u003c/i> become stand-ins for an even-larger failure: the Iraq War.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>With its moody lighting, gray walls and large-scale furniture, there’s a fairy-tale quality to the installation (of the Grimm variety, not a sanitized and sparkling Disney adaptation). It’s a fitting atmosphere for an show that presents, obliquely, the results of American hubris, the likes of which we see again and again. In this case, it’s American troops’ failure to protect the museum, and Donald Rumsfeld’s joking response to the looting: “My goodness, were there that many vases?” The collection’s fate and \u003ci>cast for a folly\u003c/i> become stand-ins for an even-larger failure: the Iraq War.\u003c/p>\n\u003cp>Meanwhile, Owusu’s exhibition gathers four films—\u003ci>Me Broni Ba\u003c/i>, \u003ci>Split Ends, I Feel Wonderful\u003c/i>, \u003ci>Pelourinho: They Don’t Really Care About Us\u003c/i> and \u003ci>White Afro\u003c/i>—a decade’s-worth of the Ghanaian-American artist’s work, and presents them as a gallery installation for the first time. The fractured display, with one large screen angled towards the back gallery’s entrance, an L-shaped series of projections fanning out behind it, perfectly echoes Owusu’s approach to her subject matter, which she describes as informed by her own “triple consciousness.”\u003c/p>\n\u003cp>This is the artist’s expansion on W.E.B. Du Bois’ idea of “double consciousness,” the sense, as a Black American, of “always looking at one’s self through the eyes of others.” For Owusu, the American-born child of Ghanaian expatriates, her viewpoint is shaped by, as Nguyen writes, being “too Ghanaian for America, and too American for Ghana.” Her films include viewpoints Du Bois omitted: feminism, queerness and immigrant consciousness.\u003c/p>\n\u003cfigure id=\"attachment_13858964\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13858964\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/Wattis_Owusu_5-2019_008_1200.jpg\" alt=\"Akosua Adoma Owusu, Installation view of 'Welcome to the Jungle,' 2019 at CCA Wattis Institute; 'White Afro' (detail), 2019.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Wattis_Owusu_5-2019_008_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Wattis_Owusu_5-2019_008_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Wattis_Owusu_5-2019_008_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Wattis_Owusu_5-2019_008_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Wattis_Owusu_5-2019_008_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Akosua Adoma Owusu, Installation view of ‘Welcome to the Jungle,’ 2019 at CCA Wattis Institute; ‘White Afro’ (detail), 2019. \u003ccite>(Courtesy of the artist; Photo: Johnna Arnold)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mingling documentary footage, personal narratives, American pop culture, advertisements, sound and special effects, Owusu’s pieces are mesmerizing—I dare you to stay for just one. In a section of \u003ci>Me Broni Ba\u003c/i>, an abstracted portrait of Ghanaian hair salons, Owusu spins in graceful slow motion, her braids flying, her necklaces tracing glittering arcs of centripetal force.\u003c/p>\n\u003cp>As Owusu maps the legacies of colonialism, colorism and racism across the United States, Ghana and Brazil, hair—and white notions of beauty—is a frequent focus. In Ghana, Black women learn to braid on white baby dolls imported from the West. In \u003ci>White Afro\u003c/i>, an archival instructional film demonstrates how to give a white, straight-haired woman an Afro. But alongside loss and appropriation there’s also celebration: \u003ci>Split Ends\u003c/i>, a dense collage of found footage, shows groups of Black women braiding each other’s hair, set to what’s described as a “funktastic soundtrack.”\u003c/p>\n\u003cp>For Akhavan and Owusu, spaces (like the Iraq National Museum or the Black hair salon) that have been subjected to injury and appropriation can also be spaces for healing. This healing happens in the third place: not the Iraq National Museum, nor in the new homes of its looted objects, but in the approximated space of the Wattis exhibition. Not in Black or white America, but in Owusu’s cinematic space. Their disconnect from reality, facilitated by the Wattis’ slippery shell, invites us all to engage in difficult conversations about complicity and responsibility, acknowledging different perspectives of a shared history—activities that might seem otherwise impossible outside those doors.\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>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>Abbas Akhavan’s ‘cast for a folly’ and Akosua Adoma Owusu’s \u003ci>Welcome to the Jungle\u003c/i> are on view at San Francisco’s Wattis Institute through July 27. \u003ca href=\"https://wattis.org/index?alt=1\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Summer Guide 2019: How the South Bay Plans to Party This Summer",
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"content": "\u003cp>Summertime is the right time in the South Bay for getting outdoors, whether your jam is a movie, concert, or strolling after dinner through the art galleries and museums of downtown. People north of the Peninsula may wonder what’s worth driving so far south to see, but let them wonder. We’re drawing big crowds from the neighborhoods nearby as it is.\u003c/p>\n\u003cfigure id=\"attachment_13857558\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13857558\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/RS37171_citylights_silentsky_mariagieremarquis-qut.jpg\" alt=\"Henrietta (Maria Giere Marquis) is captivated by a look into the heavens.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37171_citylights_silentsky_mariagieremarquis-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37171_citylights_silentsky_mariagieremarquis-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37171_citylights_silentsky_mariagieremarquis-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37171_citylights_silentsky_mariagieremarquis-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37171_citylights_silentsky_mariagieremarquis-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37171_citylights_silentsky_mariagieremarquis-qut-1200x800.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Henrietta (Maria Giere Marquis) is captivated by a look into the heavens. \u003ccite>(Photo: Courtesy of Taylor Sanders)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Silent Sky\u003c/h2>\n\u003cp>\u003ci>May 16–June 16 \u003c/i>\u003cbr>\n\u003cem>City Lights Theater Company, San Jose\u003c/em>\u003cbr>\n\u003ca style=\"font-style: italic\" href=\"http://cltc.org/silent-sky/\" target=\"_blank\" rel=\"noopener\">More information\u003c/a>\u003c/p>\n\u003cp>The 2016 movie \u003cem>Hidden Figures\u003c/em> wasn’t the first to resurrect the previously underreported stories of lady giants of science. But now we’re definitely paying attention to what’s proving to be a rich and varied genre of entertainment, especially here in Silicon Valley. San Francisco playwright Lauren Gunderson’s \u003ca href=\"https://www.kqed.org/arts/13857555/silent-sky-shines-a-spotlight-on-a-woman-in-love-with-astronomy\" target=\"_blank\" rel=\"noopener\">\u003cem>Silent Sky\u003c/em>\u003c/a> focuses on a woman named Henrietta Swan Leavitt, whose scientific breakthroughs at the turn of the 20th century laid the ground for later revelations—like the idea that the universe is much bigger than our little solar system. The play is moving tribute to scientists of every stripe.\u003c/p>\n\u003cfigure id=\"attachment_13857666\" class=\"wp-caption aligncenter\" style=\"max-width: 638px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13857666\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/D60xfioW0AABYHA.jpg-large-2.jpeg\" alt=\"Future Win will be performing live at this year's subZERO Festival in San Jose.\" width=\"638\" height=\"479\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/D60xfioW0AABYHA.jpg-large-2.jpeg 638w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/D60xfioW0AABYHA.jpg-large-2-160x120.jpeg 160w\" sizes=\"(max-width: 638px) 100vw, 638px\">\u003cfigcaption class=\"wp-caption-text\">Future Win will perform live at this year’s subZERO Festival in San Jose. \u003ccite>(Courtesy of Future Win)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>SubZERO Festival\u003c/h2>\n\u003cp>\u003ci>June 7–8\u003c/i>\u003cbr>\n\u003cem>SoFA District, San Jose\u003c/em>\u003cbr>\n\u003ca style=\"font-style: italic\" href=\"https://www.subzerofestival.com\" target=\"_blank\" rel=\"noopener\">More information \u003c/a>\u003c/p>\n\u003cp>Produced by Two Fish Design, SubZERO is a “DIY, artistically bent, hi/lo-techno mashup where street meets geek.” Got it? Bands, dancers, visual artists and the people who love them will fill the streets of downtown San Jose with sound, as well as craft beer and food trucks. Also, there will be wood carving.\u003c/p>\n\u003cdiv class=\"mceTemp\">\u003c/div>\n\u003cp>[youtube https://www.youtube.com/watch?v=ilUCwLLdltQ]\u003c/p>\n\u003cp>[ad fullwidth]\u003cbr>\n\u003cstrong>Music in the Park\u003c/strong>\u003cbr>\n\u003cem>June 21–Aug. 23\u003cbr>\nPlaza de Caesar Chavez, San Jose\u003cbr>\n\u003ca href=\"https://sjdowntown.com/music-in-the-park/\" target=\"_blank\" rel=\"noopener\">More information\u003c/a>\u003c/em>\u003c/p>\n\u003cp>For Music in the Park, bring a blanket, sunglasses, a jacket (even San Jose can get chilly at night) and some pocket money for snacks. If you wear comfortable shoes, it’s an easy walk from the CalTrain station. This year’s line-up includes a range of artists, but they’re all chill, i.e. likely to please everybody in the family, from junior to grandma: The Delfonics, Ozomatli, Cuco and J Boog.\u003c/p>\n\u003cfigure id=\"attachment_13857659\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13857659\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/RS20453_Chidori_festival.jpg\" alt=\"The Chidori Band performs at the Obon festival in San Jose's Japantown on July 9, 2016.\" width=\"2048\" height=\"1368\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS20453_Chidori_festival.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS20453_Chidori_festival-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS20453_Chidori_festival-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS20453_Chidori_festival-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS20453_Chidori_festival-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS20453_Chidori_festival-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS20453_Chidori_festival-1920x1282.jpg 1920w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">The Chidori band performs at the Obon Festival in Japantown in San Jose on Saturday, July 9. \u003ccite>(James Tensuan/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>San Jose Obon Festival\u003c/h2>\n\u003cp>\u003cem>July 13–14\u003cbr>\nSan Jose Buddhist Church\u003cbr>\n\u003ca href=\"http://www.sjbetsuin.com\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/em>\u003c/p>\n\u003cp>In Japan, the Obon festival is one of year’s most significant religious and cultural events. In San Jose, it’s also a delightful opportunity for the South Bay’s Japanese Americans to celebrate one of the\u003ca href=\"https://www.kqed.org/forum/201503271000/125-years-of-history-and-culture-in-san-joses-japantown\" target=\"_blank\" rel=\"noopener\"> last remaining Japantowns\u003c/a> in the United States. Also, who doesn’t want to watch \u003ca href=\"https://taiko.org\" target=\"_blank\" rel=\"noopener\">San Jose Taiko\u003c/a> and the \u003ca href=\"https://chidoriband.com\" target=\"_blank\" rel=\"noopener\">San Jose Chidori Band\u003c/a> perform while eating teriyaki and tempura?\u003c/p>\n\u003cfigure id=\"attachment_13857661\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13857661\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/SantaLuciaWhite.png\" alt=\"Ceremonial huipil, Santa Lucía Utatlán, 1930’s/1940’s\" width=\"1000\" height=\"730\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/SantaLuciaWhite.png 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/SantaLuciaWhite-160x117.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/SantaLuciaWhite-800x584.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/SantaLuciaWhite-768x561.png 768w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">Ceremonial huipil, Santa Lucía Utatlán, 1930’s/1940’s \u003ccite>(Courtesy of Friends of the Ixchel Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Mayan Traje: A Tradition in Transition\u003c/h2>\n\u003cp>\u003cem>July 21–Oct. 13\u003cbr>\nSan Jose Museum of Quilts and Textiles\u003cbr>\n\u003ca href=\"https://www.sjquiltmuseum.org/upcoming-exhibitions\" target=\"_blank\" rel=\"noopener\">More information \u003c/a>\u003c/em>\u003c/p>\n\u003cp id=\"yui_3_17_2_1_1558317826563_414\" class=\"\">The Maya of Guatemala are known worldwide for their distinctive \u003cem>trajes\u003c/em> (traditional clothing). These were once 100% village-specific, to the extent your hometown could be pegged based on the clothes you wore. Those days have faded, but there’s still a lot of Mayan pride in the tradition and a keen regard for the fact it’s considered “wearable art”. This exhibit focuses on contemporary clothing as well as historical samples dating back to the early 20th century, drawing from the rarely-displayed collection of the \u003ca href=\"http://www.ixchelfriends.org\" target=\"_blank\" rel=\"noopener\">Friends of the Ixchel Museum\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13816938\" class=\"wp-caption aligncenter\" style=\"max-width: 2400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13816938 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/Gregory-Porter-e1512606114413.jpg\" alt=\"Gregory Porter is just one of a host of nationally known artists performing this year at the 30th annual San Jose Jazz Summer Fest.\" width=\"2400\" height=\"1734\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Gregory-Porter-e1512606114413.jpg 2400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Gregory-Porter-e1512606114413-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Gregory-Porter-e1512606114413-800x578.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Gregory-Porter-e1512606114413-768x555.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Gregory-Porter-e1512606114413-1020x737.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Gregory-Porter-e1512606114413-1920x1387.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Gregory-Porter-e1512606114413-1180x853.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Gregory-Porter-e1512606114413-960x694.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Gregory-Porter-e1512606114413-240x173.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Gregory-Porter-e1512606114413-375x271.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Gregory-Porter-e1512606114413-520x376.jpg 520w\" sizes=\"(max-width: 2400px) 100vw, 2400px\">\u003cfigcaption class=\"wp-caption-text\">Gregory Porter is just one of a host of nationally known artists performing this year at the 30th annual San Jose Jazz Summer Fest. \u003ccite>(Photo: Courtesy of Gregory Porter)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>San Jose Jazz Summer Fest\u003c/h2>\n\u003cp>\u003cem>Aug. 9–11\u003cbr>\nVarious venues, San Jose\u003cbr>\n\u003ca href=\"https://summerfest.sanjosejazz.org\" target=\"_blank\" rel=\"noopener\">More information\u003c/a>\u003cbr>\n\u003c/em>\u003c/p>\n\u003cp>My, how Summer Fest has grown. The 30 year-old San Jose institution now features 100+ performances in jazz, blues, Latin, R&B and more, at venues throughout downtown. This year, headliners include Dianne Reeves, Gregory Porter, Pink Martini, The O’Jays, Sons of Kemet, Monty Alexander and the Harlem-Kingston Express, Ivan Lins, and the Oakland Interfaith Gospel Choir. Don’t be intimidated! Just try to enjoy as much as you can. Venerable music critic Andy Gilbert suggests a couple South Bay acts, in case you want to support local jazz talent: San Jose vocalist \u003ca href=\"https://www.youtube.com/channel/UCel_i6Vb1cxU2tCSGz0bn7A\" target=\"_blank\" rel=\"noopener\">Amy Dabalos\u003c/a> (aka Amy D), and the \u003ca href=\"https://www.youtube.com/channel/UCN2aaLfyY7rar2gSksq08GQ\" target=\"_blank\" rel=\"noopener\">7th Street Big Band\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13858407\" class=\"wp-caption aligncenter\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/NinaSky.jpg\" alt=\"Nina Sky headline this year's Sonido Clash festival in East Side San Jose.\" width=\"750\" height=\"464\" class=\"size-full wp-image-13858407\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/NinaSky.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/NinaSky-160x99.jpg 160w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">Nina Sky headline this year’s Sonido Clash festival in East Side San Jose.\u003c/figcaption>\u003c/figure>\n\u003ch2>Sonido Clash Music Fest\u003c/h2>\n\u003cp>\u003cem>Sept. 1\u003c/em>\u003cbr>\n\u003cem>School of Arts & Culture, Mexican Heritage Plaza\u003c/em>\u003cbr>\n\u003ca href=\"http://sonidoclash.com\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/p>\n\u003cp>This Latinx collective famous for “cumbia, soul, y más” never fails to deliver a pleasing, all-ages party mix on multiple stages. This year’s lineup includes Nina Sky, Katzo Oso, Ms Nina, Rudy Da Ana, San Cha, and many more. Also, word: this year, San Jose Jazz Summer Fest includes a Sonido Clash Stage. Really, there’s no excuse to miss these guys this summer.\u003c/p>\n\u003cfigure id=\"attachment_11911630\" class=\"wp-caption aligncenter\" style=\"max-width: 840px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11911630 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Royal-Tenenbaums.jpg\" alt=\"'The Royal Tenenbaums' is one of a series of Wes Anderson films featured at History Park in San Jose this summer.\" width=\"840\" height=\"356\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Royal-Tenenbaums.jpg 840w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Royal-Tenenbaums-400x170.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Royal-Tenenbaums-800x339.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Royal-Tenenbaums-768x325.jpg 768w\" sizes=\"(max-width: 840px) 100vw, 840px\">\u003cfigcaption class=\"wp-caption-text\">‘The Royal Tenenbaums’ is one of a series of Wes Anderson films featured at History Park in San Jose this summer. \u003ccite>(Courtesy of the Roxie)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Flicks and Grooves\u003c/h2>\n\u003cp>\u003cem>May 10–Oct. 25\u003cbr>\nHistory Park, San Jose\u003cbr>\n\u003ca href=\"https://www.eventbrite.com/e/flicks-and-grooves-a-summertime-film-music-series-tickets-60093563466\" target=\"_blank\" rel=\"noopener\">More information\u003c/a>\u003c/em>\u003c/p>\n\u003cp>\u003cdel datetime=\"2019-06-20T22:04:36+00:00\">History San Jose hosts movies and music under the stars, and this year’s outdoor cinema lineup showcases the idiosyncratic genius of director \u003ca href=\"https://www.youtube.com/watch?v=nqfRmceGwUs\" target=\"_blank\" rel=\"noopener\">Wes Anderson\u003c/a> the second Friday of each month. Even if you’ve already seen all of Anderson’s films, they bear a second viewing, given the rich, detailed universes he creates. Though the series is already underway at press time, still to come are \u003cem>The Life Aquatic With Steve Zissou\u003c/em>, \u003cem>Rushmore\u003c/em>, \u003cem>The Grand Budapest Hotel\u003c/em>, \u003cem>The Royal Tenenbaums\u003c/em> and \u003cem>The Fantastic Mr. Fox\u003c/em>.\u003c/del>\u003c/p>\n\u003cp>\u003cstrong>UPDATE: the majority of Flicks and Grooves events have been canceled. \u003c/strong>\u003cem>\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Summertime is the right time in the South Bay for getting outdoors, whether your jam is a movie, concert, or strolling after dinner through the art galleries and museums of downtown. People north of the Peninsula may wonder what’s worth driving so far south to see, but let them wonder. We’re drawing big crowds from the neighborhoods nearby as it is.\u003c/p>\n\u003cfigure id=\"attachment_13857558\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13857558\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/RS37171_citylights_silentsky_mariagieremarquis-qut.jpg\" alt=\"Henrietta (Maria Giere Marquis) is captivated by a look into the heavens.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37171_citylights_silentsky_mariagieremarquis-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37171_citylights_silentsky_mariagieremarquis-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37171_citylights_silentsky_mariagieremarquis-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37171_citylights_silentsky_mariagieremarquis-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37171_citylights_silentsky_mariagieremarquis-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37171_citylights_silentsky_mariagieremarquis-qut-1200x800.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Henrietta (Maria Giere Marquis) is captivated by a look into the heavens. \u003ccite>(Photo: Courtesy of Taylor Sanders)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Silent Sky\u003c/h2>\n\u003cp>\u003ci>May 16–June 16 \u003c/i>\u003cbr>\n\u003cem>City Lights Theater Company, San Jose\u003c/em>\u003cbr>\n\u003ca style=\"font-style: italic\" href=\"http://cltc.org/silent-sky/\" target=\"_blank\" rel=\"noopener\">More information\u003c/a>\u003c/p>\n\u003cp>The 2016 movie \u003cem>Hidden Figures\u003c/em> wasn’t the first to resurrect the previously underreported stories of lady giants of science. But now we’re definitely paying attention to what’s proving to be a rich and varied genre of entertainment, especially here in Silicon Valley. San Francisco playwright Lauren Gunderson’s \u003ca href=\"https://www.kqed.org/arts/13857555/silent-sky-shines-a-spotlight-on-a-woman-in-love-with-astronomy\" target=\"_blank\" rel=\"noopener\">\u003cem>Silent Sky\u003c/em>\u003c/a> focuses on a woman named Henrietta Swan Leavitt, whose scientific breakthroughs at the turn of the 20th century laid the ground for later revelations—like the idea that the universe is much bigger than our little solar system. The play is moving tribute to scientists of every stripe.\u003c/p>\n\u003cfigure id=\"attachment_13857666\" class=\"wp-caption aligncenter\" style=\"max-width: 638px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13857666\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/D60xfioW0AABYHA.jpg-large-2.jpeg\" alt=\"Future Win will be performing live at this year's subZERO Festival in San Jose.\" width=\"638\" height=\"479\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/D60xfioW0AABYHA.jpg-large-2.jpeg 638w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/D60xfioW0AABYHA.jpg-large-2-160x120.jpeg 160w\" sizes=\"(max-width: 638px) 100vw, 638px\">\u003cfigcaption class=\"wp-caption-text\">Future Win will perform live at this year’s subZERO Festival in San Jose. \u003ccite>(Courtesy of Future Win)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>SubZERO Festival\u003c/h2>\n\u003cp>\u003ci>June 7–8\u003c/i>\u003cbr>\n\u003cem>SoFA District, San Jose\u003c/em>\u003cbr>\n\u003ca style=\"font-style: italic\" href=\"https://www.subzerofestival.com\" target=\"_blank\" rel=\"noopener\">More information \u003c/a>\u003c/p>\n\u003cp>Produced by Two Fish Design, SubZERO is a “DIY, artistically bent, hi/lo-techno mashup where street meets geek.” Got it? Bands, dancers, visual artists and the people who love them will fill the streets of downtown San Jose with sound, as well as craft beer and food trucks. Also, there will be wood carving.\u003c/p>\n\u003cdiv class=\"mceTemp\">\u003c/div>\n\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/ilUCwLLdltQ'\n title='//www.youtube.com/embed/ilUCwLLdltQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cbr>\n\u003cstrong>Music in the Park\u003c/strong>\u003cbr>\n\u003cem>June 21–Aug. 23\u003cbr>\nPlaza de Caesar Chavez, San Jose\u003cbr>\n\u003ca href=\"https://sjdowntown.com/music-in-the-park/\" target=\"_blank\" rel=\"noopener\">More information\u003c/a>\u003c/em>\u003c/p>\n\u003cp>For Music in the Park, bring a blanket, sunglasses, a jacket (even San Jose can get chilly at night) and some pocket money for snacks. If you wear comfortable shoes, it’s an easy walk from the CalTrain station. This year’s line-up includes a range of artists, but they’re all chill, i.e. likely to please everybody in the family, from junior to grandma: The Delfonics, Ozomatli, Cuco and J Boog.\u003c/p>\n\u003cfigure id=\"attachment_13857659\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13857659\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/RS20453_Chidori_festival.jpg\" alt=\"The Chidori Band performs at the Obon festival in San Jose's Japantown on July 9, 2016.\" width=\"2048\" height=\"1368\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS20453_Chidori_festival.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS20453_Chidori_festival-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS20453_Chidori_festival-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS20453_Chidori_festival-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS20453_Chidori_festival-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS20453_Chidori_festival-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS20453_Chidori_festival-1920x1282.jpg 1920w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">The Chidori band performs at the Obon Festival in Japantown in San Jose on Saturday, July 9. \u003ccite>(James Tensuan/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>San Jose Obon Festival\u003c/h2>\n\u003cp>\u003cem>July 13–14\u003cbr>\nSan Jose Buddhist Church\u003cbr>\n\u003ca href=\"http://www.sjbetsuin.com\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/em>\u003c/p>\n\u003cp>In Japan, the Obon festival is one of year’s most significant religious and cultural events. In San Jose, it’s also a delightful opportunity for the South Bay’s Japanese Americans to celebrate one of the\u003ca href=\"https://www.kqed.org/forum/201503271000/125-years-of-history-and-culture-in-san-joses-japantown\" target=\"_blank\" rel=\"noopener\"> last remaining Japantowns\u003c/a> in the United States. Also, who doesn’t want to watch \u003ca href=\"https://taiko.org\" target=\"_blank\" rel=\"noopener\">San Jose Taiko\u003c/a> and the \u003ca href=\"https://chidoriband.com\" target=\"_blank\" rel=\"noopener\">San Jose Chidori Band\u003c/a> perform while eating teriyaki and tempura?\u003c/p>\n\u003cfigure id=\"attachment_13857661\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13857661\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/SantaLuciaWhite.png\" alt=\"Ceremonial huipil, Santa Lucía Utatlán, 1930’s/1940’s\" width=\"1000\" height=\"730\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/SantaLuciaWhite.png 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/SantaLuciaWhite-160x117.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/SantaLuciaWhite-800x584.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/SantaLuciaWhite-768x561.png 768w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">Ceremonial huipil, Santa Lucía Utatlán, 1930’s/1940’s \u003ccite>(Courtesy of Friends of the Ixchel Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Mayan Traje: A Tradition in Transition\u003c/h2>\n\u003cp>\u003cem>July 21–Oct. 13\u003cbr>\nSan Jose Museum of Quilts and Textiles\u003cbr>\n\u003ca href=\"https://www.sjquiltmuseum.org/upcoming-exhibitions\" target=\"_blank\" rel=\"noopener\">More information \u003c/a>\u003c/em>\u003c/p>\n\u003cp id=\"yui_3_17_2_1_1558317826563_414\" class=\"\">The Maya of Guatemala are known worldwide for their distinctive \u003cem>trajes\u003c/em> (traditional clothing). These were once 100% village-specific, to the extent your hometown could be pegged based on the clothes you wore. Those days have faded, but there’s still a lot of Mayan pride in the tradition and a keen regard for the fact it’s considered “wearable art”. This exhibit focuses on contemporary clothing as well as historical samples dating back to the early 20th century, drawing from the rarely-displayed collection of the \u003ca href=\"http://www.ixchelfriends.org\" target=\"_blank\" rel=\"noopener\">Friends of the Ixchel Museum\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13816938\" class=\"wp-caption aligncenter\" style=\"max-width: 2400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13816938 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/Gregory-Porter-e1512606114413.jpg\" alt=\"Gregory Porter is just one of a host of nationally known artists performing this year at the 30th annual San Jose Jazz Summer Fest.\" width=\"2400\" height=\"1734\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Gregory-Porter-e1512606114413.jpg 2400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Gregory-Porter-e1512606114413-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Gregory-Porter-e1512606114413-800x578.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Gregory-Porter-e1512606114413-768x555.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Gregory-Porter-e1512606114413-1020x737.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Gregory-Porter-e1512606114413-1920x1387.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Gregory-Porter-e1512606114413-1180x853.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Gregory-Porter-e1512606114413-960x694.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Gregory-Porter-e1512606114413-240x173.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Gregory-Porter-e1512606114413-375x271.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Gregory-Porter-e1512606114413-520x376.jpg 520w\" sizes=\"(max-width: 2400px) 100vw, 2400px\">\u003cfigcaption class=\"wp-caption-text\">Gregory Porter is just one of a host of nationally known artists performing this year at the 30th annual San Jose Jazz Summer Fest. \u003ccite>(Photo: Courtesy of Gregory Porter)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>San Jose Jazz Summer Fest\u003c/h2>\n\u003cp>\u003cem>Aug. 9–11\u003cbr>\nVarious venues, San Jose\u003cbr>\n\u003ca href=\"https://summerfest.sanjosejazz.org\" target=\"_blank\" rel=\"noopener\">More information\u003c/a>\u003cbr>\n\u003c/em>\u003c/p>\n\u003cp>My, how Summer Fest has grown. The 30 year-old San Jose institution now features 100+ performances in jazz, blues, Latin, R&B and more, at venues throughout downtown. This year, headliners include Dianne Reeves, Gregory Porter, Pink Martini, The O’Jays, Sons of Kemet, Monty Alexander and the Harlem-Kingston Express, Ivan Lins, and the Oakland Interfaith Gospel Choir. Don’t be intimidated! Just try to enjoy as much as you can. Venerable music critic Andy Gilbert suggests a couple South Bay acts, in case you want to support local jazz talent: San Jose vocalist \u003ca href=\"https://www.youtube.com/channel/UCel_i6Vb1cxU2tCSGz0bn7A\" target=\"_blank\" rel=\"noopener\">Amy Dabalos\u003c/a> (aka Amy D), and the \u003ca href=\"https://www.youtube.com/channel/UCN2aaLfyY7rar2gSksq08GQ\" target=\"_blank\" rel=\"noopener\">7th Street Big Band\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13858407\" class=\"wp-caption aligncenter\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/NinaSky.jpg\" alt=\"Nina Sky headline this year's Sonido Clash festival in East Side San Jose.\" width=\"750\" height=\"464\" class=\"size-full wp-image-13858407\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/NinaSky.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/NinaSky-160x99.jpg 160w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">Nina Sky headline this year’s Sonido Clash festival in East Side San Jose.\u003c/figcaption>\u003c/figure>\n\u003ch2>Sonido Clash Music Fest\u003c/h2>\n\u003cp>\u003cem>Sept. 1\u003c/em>\u003cbr>\n\u003cem>School of Arts & Culture, Mexican Heritage Plaza\u003c/em>\u003cbr>\n\u003ca href=\"http://sonidoclash.com\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/p>\n\u003cp>This Latinx collective famous for “cumbia, soul, y más” never fails to deliver a pleasing, all-ages party mix on multiple stages. This year’s lineup includes Nina Sky, Katzo Oso, Ms Nina, Rudy Da Ana, San Cha, and many more. Also, word: this year, San Jose Jazz Summer Fest includes a Sonido Clash Stage. Really, there’s no excuse to miss these guys this summer.\u003c/p>\n\u003cfigure id=\"attachment_11911630\" class=\"wp-caption aligncenter\" style=\"max-width: 840px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11911630 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Royal-Tenenbaums.jpg\" alt=\"'The Royal Tenenbaums' is one of a series of Wes Anderson films featured at History Park in San Jose this summer.\" width=\"840\" height=\"356\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Royal-Tenenbaums.jpg 840w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Royal-Tenenbaums-400x170.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Royal-Tenenbaums-800x339.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Royal-Tenenbaums-768x325.jpg 768w\" sizes=\"(max-width: 840px) 100vw, 840px\">\u003cfigcaption class=\"wp-caption-text\">‘The Royal Tenenbaums’ is one of a series of Wes Anderson films featured at History Park in San Jose this summer. \u003ccite>(Courtesy of the Roxie)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Flicks and Grooves\u003c/h2>\n\u003cp>\u003cem>May 10–Oct. 25\u003cbr>\nHistory Park, San Jose\u003cbr>\n\u003ca href=\"https://www.eventbrite.com/e/flicks-and-grooves-a-summertime-film-music-series-tickets-60093563466\" target=\"_blank\" rel=\"noopener\">More information\u003c/a>\u003c/em>\u003c/p>\n\u003cp>\u003cdel datetime=\"2019-06-20T22:04:36+00:00\">History San Jose hosts movies and music under the stars, and this year’s outdoor cinema lineup showcases the idiosyncratic genius of director \u003ca href=\"https://www.youtube.com/watch?v=nqfRmceGwUs\" target=\"_blank\" rel=\"noopener\">Wes Anderson\u003c/a> the second Friday of each month. Even if you’ve already seen all of Anderson’s films, they bear a second viewing, given the rich, detailed universes he creates. Though the series is already underway at press time, still to come are \u003cem>The Life Aquatic With Steve Zissou\u003c/em>, \u003cem>Rushmore\u003c/em>, \u003cem>The Grand Budapest Hotel\u003c/em>, \u003cem>The Royal Tenenbaums\u003c/em> and \u003cem>The Fantastic Mr. Fox\u003c/em>.\u003c/del>\u003c/p>\n\u003cp>\u003cstrong>UPDATE: the majority of Flicks and Grooves events have been canceled. \u003c/strong>\u003cem>\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"title": "San Francisco Museums are Free This Summer for Residents Who Receive Public Benefits",
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"content": "\u003cp>This summer, certain low-income San Francisco residents will be able to see de Young’s \u003ca href=\"https://deyoung.famsf.org/exhibitions/ed-hardy\" target=\"_blank\" rel=\"noopener\">Ed Hardy exhibit\u003c/a>, the Museum of the African Diaspora’s \u003ca href=\"https://www.moadsf.org/exhibition/coffee-rhum-sugar-gold-a-postcolonial-paradox/\" target=\"_blank\" rel=\"noopener\">post-colonial Caribbean art exhibit\u003c/a> and many, many others for free.\u003c/p>\n\u003cp>On Wednesday, Mayor London Breed announced her new \u003ca href=\"https://sfmayor.org/museumsforall\" target=\"_blank\" rel=\"noopener\">Museums for All\u003c/a> program, which offers free general admission to over a dozen museums and cultural centers for low-income San Francisco residents who receive public benefits such as Medi-Cal and CalFresh. Nearly one in four San Franciscans are eligible to participate, according to Breed’s office, as the new program covers over 210,000 residents. [aside postid=arts_13857445,arts_13857790]\u003c/p>\n\u003cp>“Research tells us that exposure to the arts increases health and educational outcomes for all people,” said the San Francisco Arts Commission’s Tom DeCaigny, in a statement. “We hope this program will have a lasting positive effect on the community and foster more participation in the arts across the city.”\u003c/p>\n\u003cp>The participating museums cover a vast range of artistic tastes and intellectual interests, and include the Asian Art Museum, the Botanical Garden, the Cartoon Art Museum, the Conservatory of Flowers, the Contemporary Jewish Museum, the de Young Museum, the Japanese Tea Garden, the Legion of Honor, the Museum of the African Diaspora, the Museum of Craft and Design, the Presidio Trust, the Randall Museum, the San Francisco Museum of Modern Art, and the Yerba Buena Center for the Arts.\u003c/p>\n\u003cp>To participate, residents must bring their Medi-Cal or EBT card in addition to proof of residence such as a driver’s license, student ID or library card. The program runs from June 1–Sept. 2.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For a preview of this summer’s most highly anticipated museum shows, check out our handy \u003ca href=\"https://www.kqed.org/arts/13857790/hot-summer-guide-2019-bay-area-visual-art\" target=\"_blank\" rel=\"noopener\">Summer Guide\u003c/a>. Learn more about the Museums for All program \u003ca href=\"https://sfmayor.org/museumsforall\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Correction: \u003c/strong>\u003c/em>This post has been updated to reflect that the Walt Disney Family Museum is not part of the Museums for All program. It was erroneously included in the program’s original announcement.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Research tells us that exposure to the arts increases health and educational outcomes for all people,” said the San Francisco Arts Commission’s Tom DeCaigny, in a statement. “We hope this program will have a lasting positive effect on the community and foster more participation in the arts across the city.”\u003c/p>\n\u003cp>The participating museums cover a vast range of artistic tastes and intellectual interests, and include the Asian Art Museum, the Botanical Garden, the Cartoon Art Museum, the Conservatory of Flowers, the Contemporary Jewish Museum, the de Young Museum, the Japanese Tea Garden, the Legion of Honor, the Museum of the African Diaspora, the Museum of Craft and Design, the Presidio Trust, the Randall Museum, the San Francisco Museum of Modern Art, and the Yerba Buena Center for the Arts.\u003c/p>\n\u003cp>To participate, residents must bring their Medi-Cal or EBT card in addition to proof of residence such as a driver’s license, student ID or library card. The program runs from June 1–Sept. 2.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For a preview of this summer’s most highly anticipated museum shows, check out our handy \u003ca href=\"https://www.kqed.org/arts/13857790/hot-summer-guide-2019-bay-area-visual-art\" target=\"_blank\" rel=\"noopener\">Summer Guide\u003c/a>. Learn more about the Museums for All program \u003ca href=\"https://sfmayor.org/museumsforall\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Correction: \u003c/strong>\u003c/em>This post has been updated to reflect that the Walt Disney Family Museum is not part of the Museums for All program. It was erroneously included in the program’s original announcement.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The work of Pamper Nail Gallery owner \u003ca href=\"https://www.instagram.com/vivxue/\">Vivian Xue Rahey\u003c/a> caught my attention a few months ago, when I saw an Instagram photo of someone’s nails: on each finger were images depicting the transatlantic slave trade.\u003c/p>\n\u003cp>Like, how in the hell do you tell a story that deep on a canvas so small?\u003c/p>\n\u003cfigure id=\"attachment_13858208\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13858208\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/LRG__DSC4488-800x535.jpg\" alt=\"Vivian Xue Rahey, owner of Pamper Nail Gallery, displays her latest nail art.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LRG__DSC4488-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LRG__DSC4488-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LRG__DSC4488-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LRG__DSC4488-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LRG__DSC4488-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LRG__DSC4488.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Vivian Xue Rahey, owner of Pamper Nail Gallery, displays her latest nail art. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When I asked a friend about Vivian’s nail salon, she affirmed that it’s one of the top places in the Bay Area to get your nails done. Since then, I’ve followed \u003ca href=\"https://www.instagram.com/pampernailgallery/\">Pamper Nail Gallery’s work\u003c/a>, and I’ve seen elaborate nails with sea-glass flowers, Nickelodeon characters, aliens, ice cream cones—even \u003ca href=\"https://www.instagram.com/p/Bw4_Wy4gNIV/\" target=\"_blank\" rel=\"noopener\">Nipsey Hussle\u003c/a>. A 2018 article referred to the shop as the “\u003ca href=\"https://www.nailsmag.com/article/121971/pamper-nail-gallery-like-disneyland-for-nails\">Disneyland for nails\u003c/a>,” and it’s easy to see why.\u003c/p>\n\u003cp>I recently visited the shop in Fremont to talk with Vivian about working within the confines of nails to create high-end wearable artwork.\u003c/p>\n\u003cp>To hear all about it, click the link above.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The work of Pamper Nail Gallery owner \u003ca href=\"https://www.instagram.com/vivxue/\">Vivian Xue Rahey\u003c/a> caught my attention a few months ago, when I saw an Instagram photo of someone’s nails: on each finger were images depicting the transatlantic slave trade.\u003c/p>\n\u003cp>Like, how in the hell do you tell a story that deep on a canvas so small?\u003c/p>\n\u003cfigure id=\"attachment_13858208\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13858208\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/LRG__DSC4488-800x535.jpg\" alt=\"Vivian Xue Rahey, owner of Pamper Nail Gallery, displays her latest nail art.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LRG__DSC4488-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LRG__DSC4488-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LRG__DSC4488-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LRG__DSC4488-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LRG__DSC4488-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LRG__DSC4488.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Vivian Xue Rahey, owner of Pamper Nail Gallery, displays her latest nail art. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When I asked a friend about Vivian’s nail salon, she affirmed that it’s one of the top places in the Bay Area to get your nails done. Since then, I’ve followed \u003ca href=\"https://www.instagram.com/pampernailgallery/\">Pamper Nail Gallery’s work\u003c/a>, and I’ve seen elaborate nails with sea-glass flowers, Nickelodeon characters, aliens, ice cream cones—even \u003ca href=\"https://www.instagram.com/p/Bw4_Wy4gNIV/\" target=\"_blank\" rel=\"noopener\">Nipsey Hussle\u003c/a>. A 2018 article referred to the shop as the “\u003ca href=\"https://www.nailsmag.com/article/121971/pamper-nail-gallery-like-disneyland-for-nails\">Disneyland for nails\u003c/a>,” and it’s easy to see why.\u003c/p>\n\u003cp>I recently visited the shop in Fremont to talk with Vivian about working within the confines of nails to create high-end wearable artwork.\u003c/p>\n\u003cp>To hear all about it, click the link above.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"order": 9
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"order": 18
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"marketplace": {
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"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
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"masters-of-scale": {
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"title": "Masters of Scale",
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"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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},
"mindshift": {
"id": "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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"morning-edition": {
"id": "morning-edition",
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"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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"onourwatch": {
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"title": "On Our Watch",
"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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"order": 11
},
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"on-the-media": {
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"title": "On The Media",
"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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},
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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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"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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