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"slug": "its-horrifying-10-bay-area-artists-speak-out-on-child-detainment-at-the-border",
"title": "'It's Horrifying': 11 Bay Area Artists Speak Out on Child Detainment at the Border",
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"headTitle": "‘It’s Horrifying’: 11 Bay Area Artists Speak Out on Child Detainment at the Border | KQED",
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"content": "\u003cp>This week, we learned that the U.S. has \u003ca href=\"https://www.npr.org/2018/06/19/621065383/what-we-know-family-separation-and-zero-tolerance-at-the-border\" target=\"_blank\" rel=\"noopener noreferrer\">separated over 2,300 children from their parents\u003c/a> at the U.S.-Mexico border and placed them in \u003ca href=\"https://twitter.com/DavidBegnaud/status/1008704668816560128\" target=\"_blank\" rel=\"noopener noreferrer\">chain-link cages\u003c/a>, tent camps and other detainment centers. Audio circulated of \u003ca href=\"https://www.propublica.org/article/children-separated-from-parents-border-patrol-cbp-trump-immigration-policy\" target=\"_blank\" rel=\"noopener noreferrer\">crying children begging for their moms and dads\u003c/a>, and allegations surfaced of border patrol agents \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/05/23/613907893/aclu-report-detained-immigrant-children-subjected-to-widespread-abuse-by-officia\" target=\"_blank\" rel=\"noopener noreferrer\">kicking migrant children and threatening them with sexual abuse\u003c/a>.\u003c/p>\n\u003cp>Meanwhile, President Trump reversed course and signed an executive order for “\u003ca href=\"https://www.kqed.org/news/11675975/speaker-ryan-plans-immigration-votes-amid-doubts-that-bills-can-pass\" target=\"_blank\" rel=\"noopener noreferrer\">detaining alien families together\u003c/a>,” stopping his policy of family separations while allowing for indefinite detainment and providing \u003ca href=\"https://www.kqed.org/news/11675975/speaker-ryan-plans-immigration-votes-amid-doubts-that-bills-can-pass\" target=\"_blank\" rel=\"noopener noreferrer\">no plan for reuniting children\u003c/a> already separated from their parents. Those children include a \u003ca href=\"https://www.washingtonpost.com/world/the_americas/international-outrage-grows-over-separating-migrant-children-from-parents/2018/06/19/13d0332e-73cb-11e8-bda1-18e53a448a14_story.html?utm_term=.e66e009751b2\" target=\"_blank\" rel=\"noopener noreferrer\">10-year-old girl with Down syndrome\u003c/a>, and \u003ca href=\"https://www.nytimes.com/2018/06/20/us/tender-age-shelters-family-separation-immigration.html\" target=\"_blank\" rel=\"noopener noreferrer\">“tender age” detainees as young as 12 months old\u003c/a>. The Pentagon has been asked to prepare \u003ca href=\"https://www.kqed.org/news/11676360/military-asked-to-provide-20000-beds-for-detained-immigrant-children\" target=\"_blank\" rel=\"noopener noreferrer\">additional housing for up to 20,000 children\u003c/a>, while thus far, images of detainment camps show only boys. \u003ca href=\"https://www.npr.org/2018/06/19/621065383/what-we-know-family-separation-and-zero-tolerance-at-the-border\" target=\"_blank\" rel=\"noopener noreferrer\">No one knows where the girls are\u003c/a>.\u003c/p>\n\u003cp>Which is to say: if you’re fatigued, you’re \u003ca href=\"https://twitter.com/edyong209/status/1009805404954615808\" target=\"_blank\" rel=\"noopener noreferrer\">not alone\u003c/a>. To get some clarity, catharsis and—yes—comfort on the subject, KQED Arts checked in with 11 different Bay Area artists who work with themes of immigration and detainment. They spend hours pondering borders, laws, family aspirations, deportations, and human rights in their art, music and other creative endeavors.\u003c/p>\n\u003cp>We knew they’d have insight, and advice. We were not wrong. Read below for their input.\u003cem>—Gabe Meline\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13835776\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835776\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/GuillermoGalindo.CRED_.Miche_-800x500.jpg\" alt=\"Guillermo Galindo, who makes instruments from objects found along the U.S.-Mexico border.\" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/GuillermoGalindo.CRED_.Miche_-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/GuillermoGalindo.CRED_.Miche_-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/GuillermoGalindo.CRED_.Miche_-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/GuillermoGalindo.CRED_.Miche_-1020x638.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/GuillermoGalindo.CRED_.Miche_-1200x750.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/GuillermoGalindo.CRED_.Miche_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/GuillermoGalindo.CRED_.Miche_-1180x738.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/GuillermoGalindo.CRED_.Miche_-960x600.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/GuillermoGalindo.CRED_.Miche_-240x150.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/GuillermoGalindo.CRED_.Miche_-375x234.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/GuillermoGalindo.CRED_.Miche_-520x325.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Guillermo Galindo, who makes instruments from objects found along the U.S.-Mexico border. \u003ccite>(Michelle Wetzler)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Guillermo Galindo\u003c/h2>\n\u003cp>\u003cem>Musician and composer who \u003ca href=\"https://www.kqed.org/arts/11301274/guillermo-galindo-border-cantos-instruments-interview\" target=\"_blank\" rel=\"noopener noreferrer\">builds instruments from objects left behind by migrants along the border\u003c/a>\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It’s been heartbreaking. Especially hearing the children crying in \u003ca href=\"https://www.propublica.org/article/children-separated-from-parents-border-patrol-cbp-trump-immigration-policy\" target=\"_blank\" rel=\"noopener noreferrer\">the recording\u003c/a>, it’s unbearable. It’s something that’s impossible to describe, the feeling it gave me. It brings so many images of suffering, and of the past, of history. I’m afraid that history could be repeating itself: we have the memories of the Jewish holocaust, and the indigenous holocaust, things that have happened to immigrants, black people, Japanese people in concentration camps.\u003c/p>\n\u003cp>But this is maybe one of the few times where it’s out in the open, where it’s visible what is happening. In general, as a society, we have become less sensitive to our intuition, and to our spirituality, and to our feelings of human beings. And I don’t know why that’s been happening. Seeing this so much in the open should bother anybody who’s a human being.\u003c/p>\n\u003cp>The thing now is talk to representatives in your government, taking into account that this is an emergency. This is not a joke. Worse and worse things will happen if you don’t talk to your government. Help \u003ca href=\"https://www.npr.org/2018/06/20/621890664/facebook-fundraiser-for-separated-immigrant-families-raises-12-million-in-5-days\" target=\"_blank\" rel=\"noopener noreferrer\">humanitarian organizations\u003c/a> that are supporting the children and the families. And to the artists: it’s about this, it’s about something that has a meaning. We’re not in a time when we’re supposed to do art about ourselves and nobody else. This is a time when art is supposed to speak the words that politics and religion are not speaking.\u003c/p>\n\u003cfigure id=\"attachment_13835748\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835748\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/FloraNinomiya.WEB_-800x530.jpg\" alt=\"Flora Ninomiya was taken to a Japanese-American internment camp at age 7.\" width=\"800\" height=\"530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/FloraNinomiya.WEB_-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/FloraNinomiya.WEB_-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/FloraNinomiya.WEB_-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/FloraNinomiya.WEB_-1020x676.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/FloraNinomiya.WEB_-1200x795.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/FloraNinomiya.WEB_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/FloraNinomiya.WEB_-1180x782.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/FloraNinomiya.WEB_-960x636.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/FloraNinomiya.WEB_-240x159.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/FloraNinomiya.WEB_-375x248.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/FloraNinomiya.WEB_-520x345.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Flora Ninomiya was taken to a Japanese-American internment camp at age 7. \u003ccite>(Courtesy Flora Ninomiya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Flora Ninomiya\u003c/h2>\n\u003cp>\u003cem>Survivor of the Granada Relocation Center, a Japanese-American internment camp, knitter, and \u003ca href=\"https://www.eastbaytimes.com/2017/02/10/richmond-japanese-american-incarceration-to-be-focus-of-special-presentation/\" target=\"_blank\" rel=\"noopener noreferrer\">docent at the Rosie the Riveter Museum\u003c/a> in Richmond\u003c/em>\u003c/p>\n\u003cp>I’m appalled that this is happening—that the president is so callous in how he is carrying out his programs. As a Japanese-American whose family was interned, we were powerless too, like those young children. I was 7 years old and I can still remember that long train trip going to this very isolated desert area and living in the barracks that were built by the United States Army. My father was sent to a separate prison camp from my mother and my siblings and I, and my mother was always sending letters to the government asking to release him. My father, it was really painful for him—he felt betrayed and ashamed.\u003c/p>\n\u003cp>During that time, there were people who helped us, the Quakers, our neighbors, but they had to do so quietly, or they would be marginalized. Today, it’s hopeful that we do see so many Americans speaking out against separating families. It took the American public’s pressure to get the president to issue an executive order.\u003c/p>\n\u003cp>I’m going to keep talking about my family’s experience, and to me it’s very important to support other groups that are being targeted by the government.\u003c/p>\n\u003cfigure id=\"attachment_13835747\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835747\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/DianaGameros.computer.CRED_.Clau_.WEB_-800x450.jpg\" alt=\"Diana Gameros' songs tell of her experience living in the U.S. as an immigrant from Juarez, Mexico.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/DianaGameros.computer.CRED_.Clau_.WEB_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/DianaGameros.computer.CRED_.Clau_.WEB_-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/DianaGameros.computer.CRED_.Clau_.WEB_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/DianaGameros.computer.CRED_.Clau_.WEB_-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/DianaGameros.computer.CRED_.Clau_.WEB_-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/DianaGameros.computer.CRED_.Clau_.WEB_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/DianaGameros.computer.CRED_.Clau_.WEB_-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/DianaGameros.computer.CRED_.Clau_.WEB_-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/DianaGameros.computer.CRED_.Clau_.WEB_-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/DianaGameros.computer.CRED_.Clau_.WEB_-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/DianaGameros.computer.CRED_.Clau_.WEB_-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Diana Gameros’ songs tell of her experience living in the U.S. as an immigrant from Juarez, Mexico. \u003ccite>(Claudia Escobar)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Diana Gameros\u003c/h2>\n\u003cp>\u003cem>Musician and songwriter from Juarez, Mexico, whose recent album, ‘Arrullo,’ \u003ca href=\"https://www.kqed.org/arts/11514186/women-to-watch-diana-gameros\" target=\"_blank\" rel=\"noopener noreferrer\">expresses the immigrant experience\u003c/a>\u003c/em>\u003c/p>\n\u003cp>My first reaction is to think that it is not possible that this is happening, but it is… it’s horrifying. I feel like in the past two years we get less surprised at what happens, and it’s sad that we are not getting surprised. It is alarming.\u003c/p>\n\u003cp>My advice for other artists is first to be informed, to really know what is happening, and reach out to organizations, and let them know that you are available, that you are willing to help. As artists we have such a visible platform that we can reach many people, and we should use those platforms, especially if you are a well known artist.\u003c/p>\n\u003cp>I can’t stop thinking about the children, and how every minute that goes by, they are in pain. I ask myself: what if that would have happened to me? I know the feeling of what it is to leave your homeland behind. I really hope that people know how much bravery is involved in this process, of leaving your home. I have so much admiration for the people who have this courage to leave their homeland, and carry all that sadness, and all that hope. They have so much love, and want the best for their kids, they are being good parents. It is disgusting that we are separating them, when we should be welcoming them.\u003c/p>\n\u003cfigure id=\"attachment_13835750\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835750\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/CalebDuarte.CRED_.Farrin.WEB_-800x540.jpg\" alt=\"Caleb Duarte at San Antonio Park in Oakland, leading a performance with youth who came to the U.S. without parents.\" width=\"800\" height=\"540\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CalebDuarte.CRED_.Farrin.WEB_-800x540.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CalebDuarte.CRED_.Farrin.WEB_-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CalebDuarte.CRED_.Farrin.WEB_-768x518.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CalebDuarte.CRED_.Farrin.WEB_-1020x688.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CalebDuarte.CRED_.Farrin.WEB_.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CalebDuarte.CRED_.Farrin.WEB_-960x648.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CalebDuarte.CRED_.Farrin.WEB_-240x162.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CalebDuarte.CRED_.Farrin.WEB_-375x253.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CalebDuarte.CRED_.Farrin.WEB_-520x351.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Caleb Duarte at San Antonio Park in Oakland, leading a performance with youth who came to the U.S. without parents. \u003ccite>(Farrin Abbott)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Caleb Duarte\u003c/h2>\n\u003cp>\u003cem>\u003ca href=\"http://www.calebduarte.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Artist and educator\u003c/a> who leads \u003ca href=\"https://www.kqed.org/arts/13375958/on-being-young-alone-and-crossing-into-the-united-states\" target=\"_blank\" rel=\"noopener noreferrer\">art workshops with undocumented Central American minors\u003c/a> at Fremont High School\u003c/em>\u003c/p>\n\u003cp>It’s the worst kind of nightmare for a parent. That journey is 3,000 miles of hardship. Knowing the back history and the violence these people face, only to reach the United States and have your children taken away by authorities—that is really hard to take in.\u003c/p>\n\u003cp>And social media is unleashing a lot of support for this kind of act. It leads me to reflect on how any country can support these kinds of actions. We need to step back and understand the suffering and fear of those who support these actions.\u003c/p>\n\u003cp>Art in different times has different purposes. At certain moments art is there to shake us up, and sometimes it’s there to gather us back. Right now I think art is there to create logic and reason rather than challenge it. More than anything, it’s important to speak out. We’d be surprised by who, in our immediate circles, our colleagues and family, think differently than us. I’m trying to find ways to have conversations with people who think otherwise.\u003c/p>\n\u003cfigure id=\"attachment_13835778\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835778\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/Erendina.OMCA_.CRED_800-800x516.jpg\" alt=\"A detail from the Oakland Museum of California's 'Sent Away' exhibition, showing tools left behind by a man affected by Mexican repatriations in the 1930s.\" width=\"800\" height=\"516\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Erendina.OMCA_.CRED_800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Erendina.OMCA_.CRED_800-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Erendina.OMCA_.CRED_800-768x495.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Erendina.OMCA_.CRED_800-240x155.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Erendina.OMCA_.CRED_800-375x242.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Erendina.OMCA_.CRED_800-520x335.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A detail from the Oakland Museum of California’s ‘Sent Away’ exhibition, showing tools left behind in the Mexican repatriations in the 1930s. \u003ccite>(Erendina Delgadillo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Erendina Delgadillo\u003c/h2>\n\u003cp>\u003cem>Associate Curator of History at the Oakland Museum of California, host of recent exhibitions on internment, ‘\u003ca href=\"https://www.kqed.org/arts/13156032/once-suppressed-dorothea-lange-photographs-capture-wartime-paranoia\" target=\"_blank\" rel=\"noopener noreferrer\">Dorothea Lange: Politics of Seeing\u003c/a>‘ and ‘\u003ca href=\"http://museumca.org/blog/sent-away-not-forgotten\" target=\"_blank\" rel=\"noopener noreferrer\">Sent Away\u003c/a>‘\u003c/em>\u003c/p>\n\u003cp>It’s been pretty horrifying. But one thing we know is family separations have happened before—with Native Americans, with Japanese families, or with Mexican repatriation in the 1930s. With the recent ‘Sent Away’ installation in our permanent history gallery, we’ve been paying attention to whether the visitors really understand, and if it’s properly conveying the trajectory of racialized communities in moments of political and social stress. In my social media circles, I see people saying, “This is insane! This is not America! This is not who we are!” And I wrestle with it, because the fact is that this has happened before.\u003c/p>\n\u003cp>In the deportations in the ’30s, people were responding to the depression. But the Mexican people deported were not relying on welfare as much as others thought they were. And today, when you hear that they’re causing unprecedented crime, or taking away jobs from “real” Americans, being a drain on the system—that’s not true, but turning them into a specter of those problems is easier than fixing the problem. It’s been very disheartening looking at the pattern of how easily people can be manipulated in very simple ways. You take a feeling, you blow it up, and it obscures the need to delve into really complex issues.\u003c/p>\n\u003cp>It’s a terrible moment. It’s too easy to despair. You’re only shooting yourself by despairing before the fight starts, so donate to organizations, and find those small moments to realize why humanity is valuable, and why we fight for humanity. Remind yourself why life is good.\u003c/p>\n\u003cfigure id=\"attachment_13835737\" class=\"wp-caption aligncenter\" style=\"max-width: 758px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13835737\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/AniRivera.withCuratorialStaff2016.CREO_.jpg\" alt=\"Ani Rivera, bottom right, with Galería de la Raza'a curatorial staff in 2016.\" width=\"758\" height=\"426\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/AniRivera.withCuratorialStaff2016.CREO_.jpg 758w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/AniRivera.withCuratorialStaff2016.CREO_-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/AniRivera.withCuratorialStaff2016.CREO_-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/AniRivera.withCuratorialStaff2016.CREO_-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/AniRivera.withCuratorialStaff2016.CREO_-520x292.jpg 520w\" sizes=\"(max-width: 758px) 100vw, 758px\">\u003cfigcaption class=\"wp-caption-text\">Ani Rivera, bottom right, with Galería de la Raza’a curatorial staff in 2016. \u003ccite>(Creo Noveno)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Ani Rivera\u003c/h2>\n\u003cp>\u003cem>Executive Director for \u003ca href=\"https://kqed.org/arts/tag/galeria-de-la-raza\" target=\"_blank\" rel=\"noopener noreferrer\">Galería de La Raza\u003c/a> in the Mission District, hub for San Francisco’s Latino artist community\u003c/em>\u003c/p>\n\u003cp>It’s just appalling to see how the administration doesn’t value humanity, nor the families that are coming here searching for a better life. They’re being used as pawns to push an agenda. I think our work is not done yet. We need to keep demanding that they close the detention centers. I think that’s where we want to focus: ending the criminalization. We need to stop all profits made from keeping people in cages.\u003c/p>\n\u003cp>We’re definitely contributing to the organized marches and protests being planned for June 30. We will also be at this Friday’s rally in Embarcadero Plaza. We know that art plays a role in creating dialogue and engaging hearts, and we’ll be holding a series of screen-printing demonstrations at these events.\u003c/p>\n\u003cp>The legacy of Galería and René (Yañez, the gallery’s co-founder) and all of the individuals that have contributed and created this space was to address these issues. This is history repeating itself. We’ve been dealing with the criminalization of immigrants for decades. The goal of Galería as an institution is to be a platform for artists to organize. The founders needed to create a community that allowed and provided a path for self-determination. They expect us to be out there.\u003c/p>\n\u003cfigure id=\"attachment_13835744\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835744\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/RabbitInThemoon.EmikoinPostonwMom-800x457.jpg\" alt=\"A still from 'Rabbit in the Moon' showing Emiko Omori and her mother in the Poston War Relocation Center in Arizona.\" width=\"800\" height=\"457\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RabbitInThemoon.EmikoinPostonwMom-800x457.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RabbitInThemoon.EmikoinPostonwMom-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RabbitInThemoon.EmikoinPostonwMom-768x439.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RabbitInThemoon.EmikoinPostonwMom-960x549.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RabbitInThemoon.EmikoinPostonwMom-240x137.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RabbitInThemoon.EmikoinPostonwMom-375x214.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RabbitInThemoon.EmikoinPostonwMom-520x297.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RabbitInThemoon.EmikoinPostonwMom.jpg 980w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A still from ‘Rabbit in the Moon’ showing Emiko Omori and her mother in the Poston War Relocation Center in Arizona. \u003ccite>(Courtesy Chizu Omori)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Chizu Omori\u003c/h2>\n\u003cp>\u003cem>Bay Area journalist and co-producer of the documentary ‘Rabbit in the Moon’ who, in 1942 at the age of 12, \u003ca href=\"https://caamedia.org/blog/2017/02/16/emiko-and-chizu-omori-on-lessons-from-wwii-incarceration/\" target=\"_blank\" rel=\"noopener noreferrer\">was sent with her sister Emiko Omori and their family to the Poston War Relocation Center\u003c/a> in Arizona \u003c/em>\u003c/p>\n\u003cp>The fact that they would implement this policy is so inhumane. There’s a great deal of interest now in what happened to us during WWII to us Japanese Americans. A precedent was set when Roosevelt issued EO 9066, and even though it’s been condemned as a big mistake, that precedent has been used by the Trump administration to justify some of the things they’ve been doing. So of course, I feel an obligation to speak out against what’s happening as something very reminiscent of what happened to us 75 years ago.\u003c/p>\n\u003cp>It’s happened with the travel ban against Muslims, and this general discrimination against people of Muslim faith or people from the Middle East in general. It’s part of the current of racism that’s been part of our history from the very beginning, directed towards people of color. Now it’s against people from Central and South America who are not white people. It’s a language that our president uses to reemphasize this bias against people of color. He refers to us as infestations, or awful characterizations like rapists and murderers. It’s dehumanizing for him to be using this language.\u003c/p>\n\u003cp>Children being separated from their parents at the border is something that I don’t think any of us had contemplated. To take infants… what’s the purpose in doing this? There’s no rationale for it. If you’re going to ask people to stand up and be counted, how many people are for this? Why do they justify doing this thing?\u003c/p>\n\u003cp>I belong to a group called Nikkei Resisters. Our slogan is “Never Again.” Detention and internment are really un-American and we need to speak out and say “It happened to us. And we don’t want to see it happening again.”\u003c/p>\n\u003cfigure id=\"attachment_13835738\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835738\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/BrianMoss.CRED_.GM_-800x533.jpg\" alt=\"Brian Moss teaches a student population that's 85-percent Latino; 'their fear has been validated,' he says.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/BrianMoss.CRED_.GM_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/BrianMoss.CRED_.GM_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/BrianMoss.CRED_.GM_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/BrianMoss.CRED_.GM_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/BrianMoss.CRED_.GM_-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/BrianMoss.CRED_.GM_-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/BrianMoss.CRED_.GM_-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/BrianMoss.CRED_.GM_-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/BrianMoss.CRED_.GM_-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/BrianMoss.CRED_.GM_-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/BrianMoss.CRED_.GM_.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brian Moss teaches a student population that’s 85-percent Latino; ‘their fear has been validated,’ he says. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Brian Moss\u003c/h2>\n\u003cp>\u003cem>San Francisco songwriter (Hanalei, Great Apes) and schoolteacher who \u003ca href=\"https://hanalei.bandcamp.com/track/cross-crossing\" target=\"_blank\" rel=\"noopener noreferrer\">released the song “Cross Crossing”\u003c/a> this week in reaction to abuses at the border\u003c/em>\u003c/p>\n\u003cp>Separating families and children seems so immoral and deplorable, it’s shocking, but with this presidency and this administration the bar has been so low it didn’t completely catch me off-guard. And being a teacher, and given the population of my school, which is 85-percent Latino, it’s something I’ve seen the effects of the whole time. For many of my students, the fear they were already facing rose drastically when he was elected, and now that fear has been validated. It’s happening to them. It’s disturbing and hard to witness.\u003c/p>\n\u003cp>The issue of separating families is so immoral to me that some sort of response, either though song, or \u003ca href=\"https://www.npr.org/2018/06/20/621890664/facebook-fundraiser-for-separated-immigrant-families-raises-12-million-in-5-days\" target=\"_blank\" rel=\"noopener noreferrer\">donating\u003c/a>, or protesting, or going down there volunteering with an organization that’s trying to provide legal aid—anything you can do is a start.\u003c/p>\n\u003cfigure id=\"attachment_13835800\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835800\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/NaimaShalhoub.Inline-800x527.jpg\" alt=\"Naima Shalhoub: 'we must cry out with each other through our art, together, to respond to this madness.'\" width=\"800\" height=\"527\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NaimaShalhoub.Inline-800x527.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NaimaShalhoub.Inline-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NaimaShalhoub.Inline-768x505.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NaimaShalhoub.Inline-1020x671.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NaimaShalhoub.Inline-960x632.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NaimaShalhoub.Inline-240x158.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NaimaShalhoub.Inline-375x247.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NaimaShalhoub.Inline-520x342.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NaimaShalhoub.Inline.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Naima Shalhoub: ‘we must cry out with each other through our art, together, to respond to this madness.’ \u003ccite>(Sarah Deragon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Naima Shalhoub\u003c/h2>\n\u003cp>\u003cem>Oakland songwriter whose song “\u003ca href=\"https://www.youtube.com/watch?v=I9TqmZPXJX8\" target=\"_blank\" rel=\"noopener noreferrer\">Borderlands\u003c/a>” tells of “\u003ca href=\"https://www.youtube.com/watch?v=I9TqmZPXJX8\" target=\"_blank\" rel=\"noopener noreferrer\">a constructed order of things that decides what and who is more valuable\u003c/a>”\u003c/em>\u003c/p>\n\u003cp>What strikes me the most is how conditioned we are becoming to see people through the lenses of our fear, our politics, our scarcity mindsets rather than insisting that all people under the sun are treated with dignity and love. We are forgetting that we have the power to create systems that reflect justice and love, not fear and confinement. We are becoming dismembered from any semblance of connection to land, to spirit, to honor, to respect and instead bowing down to new gods of greed, patriarchy, racism—so much so that a child’s cry does not waken the heart to compassion. Or at least, this is my worry. For our souls, collectively.\u003c/p>\n\u003cp>What is happening is a reflection of what has been buried under the soil of what is now called the United States. The sorrow, the unheard cries, and histories ghosts are truly rising until we all wake to its truth. We must do better by committing to our collective memory—all of it—and holding accountable the leaders who do not. The privilege of forgetting becomes manifest in institutions that create walls separating families, unable to share with the public where our girls and babies are. This is about our responsibility to our children’s future and their safety and dignity by allowing the past to speak.\u003c/p>\n\u003cp>If Nina Simone’s call to action was “it is an artist’s duty to reflect the times,” then we must cry out with each other through our art, together, to respond to this madness.\u003c/p>\n\u003cfigure id=\"attachment_13835934\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835934\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/HAKIM-Horizons-800x179.jpg\" alt=\"'Horizons,' by Najib Joe Hakim.\" width=\"800\" height=\"179\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/HAKIM-Horizons-800x179.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/HAKIM-Horizons-160x36.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/HAKIM-Horizons-768x172.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/HAKIM-Horizons-1020x228.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/HAKIM-Horizons-960x215.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/HAKIM-Horizons-240x54.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/HAKIM-Horizons-375x84.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/HAKIM-Horizons-520x116.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/HAKIM-Horizons.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Horizons,’ by Najib Joe Hakim. \u003ccite>(Najib Joe Hakim)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Najib Joe Hakim\u003c/h2>\n\u003cp>\u003cem>San Francisco photographer and YBCA fellow whose current project, ‘\u003ca href=\"https://electronicintifada.net/content/palestinian-america-najib-joe-hakims-home-away-home/14073\" target=\"_blank\" rel=\"noopener noreferrer\">Home Away From Home\u003c/a>,’ pairs oral histories of 26 Bay Area Palestinian Americans with their portraits\u003c/em>\u003c/p>\n\u003cp>My own family immigrated to the U.S. in the 1950s from Lebanon. Except for the details, ours is a very common story, which most Americans share. Refugees out of Palestine, my parents then left Beirut on a ship with two very young kids and $5 in their pocket. In the coming years, through hard work, education and uncountable sacrifices, we became thriving American citizens.\u003c/p>\n\u003cp>I hate to think what might have become of us had we not snared four of only 100 immigration visas. Would I be staring down a machine gun barrel held by a 20-year-old Israeli soldier? Would we have been caught up in one of the many massacres of the 20-year Lebanese Civil War? Would my kids now be desperately trying to leave Syria on a dinghy with their own children?\u003c/p>\n\u003cp>What I see happening today to immigrant families is the writing of yet another chapter of American history in which the country’s values do not line up with its reality. When people say “I don’t recognize this country anymore,” they are expressing the profound contradictions between what we’ve all been taught about this country and what we see being done in our name.\u003c/p>\n\u003cp>We live in a new dark age in which civilian lives are dehumanized; science and nature are scoffed at; and atavistic fears send us scurrying toward our basest natures. In such times, we artists are challenged to help remind us of our loftier, sacred and shared aspirations.\u003c/p>\n\u003cfigure id=\"attachment_13835745\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835745\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/YosimarReyes-800x450.jpg\" alt=\"Yosimar Reyes: 'If you’re standing in sidelines, you’re part of the problem.'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/YosimarReyes-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/YosimarReyes-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/YosimarReyes-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/YosimarReyes-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/YosimarReyes-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/YosimarReyes-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/YosimarReyes-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/YosimarReyes.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Yosimar Reyes: ‘If you’re standing in sidelines, you’re part of the problem.’ \u003ccite>(Courtesy Yosimar Reyes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Yosimar Reyes\u003c/h2>\n\u003cp>\u003cem>\u003ca href=\"http://yosimarreyes.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Poet, educator, and founder of La Maricolectiva\u003c/a>, a community based performance group of queer undocumented poets\u003c/em>\u003c/p>\n\u003cp>This week has been a lot. I think it’s great that it’s getting national visibility and a lot of people are learning about these atrocities—I think it’s a really positive thing. People are blatantly stating that we need to abolish immigrant prisons. But for me, it’s more like, it’s always been like this so I’m not surprised. I’m just glad people are realizing the reality of how it is and people are mobilizing and opening their eyes to the fact that this is how it’s been for a lot of folks.\u003c/p>\n\u003cp>With immigration, everything moves so fast and it escalates after a short amount of time. I’m curious to see how it’s going to influence a lot of the writing that I’m doing, but I’m still processing. Organizations on the ground in Texas are doing really good work, they’re giving people legal aid, and I think people should support them. This is happening because we put this person in office and we’re accountable for these actions. If you’re standing in sidelines, you’re part of the problem.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Lina Blanco, Claudia Escobar, Sarah Hotchkiss, Kevin L. Jones, Gabe Meline, Nastia Voynovskaya and Kelly Whalen contributed reporting to this story.\u003c/em>\u003c/p>\n\n",
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"excerpt": "After a tumultuous week, Bay Area artists working with immigration issues provide insight and advice.",
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"title": "'It's Horrifying': 11 Bay Area Artists Speak Out on Child Detainment at the Border | KQED",
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"headline": "'It's Horrifying': 11 Bay Area Artists Speak Out on Child Detainment at the Border",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This week, we learned that the U.S. has \u003ca href=\"https://www.npr.org/2018/06/19/621065383/what-we-know-family-separation-and-zero-tolerance-at-the-border\" target=\"_blank\" rel=\"noopener noreferrer\">separated over 2,300 children from their parents\u003c/a> at the U.S.-Mexico border and placed them in \u003ca href=\"https://twitter.com/DavidBegnaud/status/1008704668816560128\" target=\"_blank\" rel=\"noopener noreferrer\">chain-link cages\u003c/a>, tent camps and other detainment centers. Audio circulated of \u003ca href=\"https://www.propublica.org/article/children-separated-from-parents-border-patrol-cbp-trump-immigration-policy\" target=\"_blank\" rel=\"noopener noreferrer\">crying children begging for their moms and dads\u003c/a>, and allegations surfaced of border patrol agents \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/05/23/613907893/aclu-report-detained-immigrant-children-subjected-to-widespread-abuse-by-officia\" target=\"_blank\" rel=\"noopener noreferrer\">kicking migrant children and threatening them with sexual abuse\u003c/a>.\u003c/p>\n\u003cp>Meanwhile, President Trump reversed course and signed an executive order for “\u003ca href=\"https://www.kqed.org/news/11675975/speaker-ryan-plans-immigration-votes-amid-doubts-that-bills-can-pass\" target=\"_blank\" rel=\"noopener noreferrer\">detaining alien families together\u003c/a>,” stopping his policy of family separations while allowing for indefinite detainment and providing \u003ca href=\"https://www.kqed.org/news/11675975/speaker-ryan-plans-immigration-votes-amid-doubts-that-bills-can-pass\" target=\"_blank\" rel=\"noopener noreferrer\">no plan for reuniting children\u003c/a> already separated from their parents. Those children include a \u003ca href=\"https://www.washingtonpost.com/world/the_americas/international-outrage-grows-over-separating-migrant-children-from-parents/2018/06/19/13d0332e-73cb-11e8-bda1-18e53a448a14_story.html?utm_term=.e66e009751b2\" target=\"_blank\" rel=\"noopener noreferrer\">10-year-old girl with Down syndrome\u003c/a>, and \u003ca href=\"https://www.nytimes.com/2018/06/20/us/tender-age-shelters-family-separation-immigration.html\" target=\"_blank\" rel=\"noopener noreferrer\">“tender age” detainees as young as 12 months old\u003c/a>. The Pentagon has been asked to prepare \u003ca href=\"https://www.kqed.org/news/11676360/military-asked-to-provide-20000-beds-for-detained-immigrant-children\" target=\"_blank\" rel=\"noopener noreferrer\">additional housing for up to 20,000 children\u003c/a>, while thus far, images of detainment camps show only boys. \u003ca href=\"https://www.npr.org/2018/06/19/621065383/what-we-know-family-separation-and-zero-tolerance-at-the-border\" target=\"_blank\" rel=\"noopener noreferrer\">No one knows where the girls are\u003c/a>.\u003c/p>\n\u003cp>Which is to say: if you’re fatigued, you’re \u003ca href=\"https://twitter.com/edyong209/status/1009805404954615808\" target=\"_blank\" rel=\"noopener noreferrer\">not alone\u003c/a>. To get some clarity, catharsis and—yes—comfort on the subject, KQED Arts checked in with 11 different Bay Area artists who work with themes of immigration and detainment. They spend hours pondering borders, laws, family aspirations, deportations, and human rights in their art, music and other creative endeavors.\u003c/p>\n\u003cp>We knew they’d have insight, and advice. We were not wrong. Read below for their input.\u003cem>—Gabe Meline\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13835776\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835776\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/GuillermoGalindo.CRED_.Miche_-800x500.jpg\" alt=\"Guillermo Galindo, who makes instruments from objects found along the U.S.-Mexico border.\" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/GuillermoGalindo.CRED_.Miche_-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/GuillermoGalindo.CRED_.Miche_-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/GuillermoGalindo.CRED_.Miche_-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/GuillermoGalindo.CRED_.Miche_-1020x638.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/GuillermoGalindo.CRED_.Miche_-1200x750.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/GuillermoGalindo.CRED_.Miche_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/GuillermoGalindo.CRED_.Miche_-1180x738.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/GuillermoGalindo.CRED_.Miche_-960x600.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/GuillermoGalindo.CRED_.Miche_-240x150.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/GuillermoGalindo.CRED_.Miche_-375x234.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/GuillermoGalindo.CRED_.Miche_-520x325.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Guillermo Galindo, who makes instruments from objects found along the U.S.-Mexico border. \u003ccite>(Michelle Wetzler)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Guillermo Galindo\u003c/h2>\n\u003cp>\u003cem>Musician and composer who \u003ca href=\"https://www.kqed.org/arts/11301274/guillermo-galindo-border-cantos-instruments-interview\" target=\"_blank\" rel=\"noopener noreferrer\">builds instruments from objects left behind by migrants along the border\u003c/a>\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s been heartbreaking. Especially hearing the children crying in \u003ca href=\"https://www.propublica.org/article/children-separated-from-parents-border-patrol-cbp-trump-immigration-policy\" target=\"_blank\" rel=\"noopener noreferrer\">the recording\u003c/a>, it’s unbearable. It’s something that’s impossible to describe, the feeling it gave me. It brings so many images of suffering, and of the past, of history. I’m afraid that history could be repeating itself: we have the memories of the Jewish holocaust, and the indigenous holocaust, things that have happened to immigrants, black people, Japanese people in concentration camps.\u003c/p>\n\u003cp>But this is maybe one of the few times where it’s out in the open, where it’s visible what is happening. In general, as a society, we have become less sensitive to our intuition, and to our spirituality, and to our feelings of human beings. And I don’t know why that’s been happening. Seeing this so much in the open should bother anybody who’s a human being.\u003c/p>\n\u003cp>The thing now is talk to representatives in your government, taking into account that this is an emergency. This is not a joke. Worse and worse things will happen if you don’t talk to your government. Help \u003ca href=\"https://www.npr.org/2018/06/20/621890664/facebook-fundraiser-for-separated-immigrant-families-raises-12-million-in-5-days\" target=\"_blank\" rel=\"noopener noreferrer\">humanitarian organizations\u003c/a> that are supporting the children and the families. And to the artists: it’s about this, it’s about something that has a meaning. We’re not in a time when we’re supposed to do art about ourselves and nobody else. This is a time when art is supposed to speak the words that politics and religion are not speaking.\u003c/p>\n\u003cfigure id=\"attachment_13835748\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835748\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/FloraNinomiya.WEB_-800x530.jpg\" alt=\"Flora Ninomiya was taken to a Japanese-American internment camp at age 7.\" width=\"800\" height=\"530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/FloraNinomiya.WEB_-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/FloraNinomiya.WEB_-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/FloraNinomiya.WEB_-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/FloraNinomiya.WEB_-1020x676.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/FloraNinomiya.WEB_-1200x795.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/FloraNinomiya.WEB_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/FloraNinomiya.WEB_-1180x782.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/FloraNinomiya.WEB_-960x636.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/FloraNinomiya.WEB_-240x159.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/FloraNinomiya.WEB_-375x248.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/FloraNinomiya.WEB_-520x345.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Flora Ninomiya was taken to a Japanese-American internment camp at age 7. \u003ccite>(Courtesy Flora Ninomiya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Flora Ninomiya\u003c/h2>\n\u003cp>\u003cem>Survivor of the Granada Relocation Center, a Japanese-American internment camp, knitter, and \u003ca href=\"https://www.eastbaytimes.com/2017/02/10/richmond-japanese-american-incarceration-to-be-focus-of-special-presentation/\" target=\"_blank\" rel=\"noopener noreferrer\">docent at the Rosie the Riveter Museum\u003c/a> in Richmond\u003c/em>\u003c/p>\n\u003cp>I’m appalled that this is happening—that the president is so callous in how he is carrying out his programs. As a Japanese-American whose family was interned, we were powerless too, like those young children. I was 7 years old and I can still remember that long train trip going to this very isolated desert area and living in the barracks that were built by the United States Army. My father was sent to a separate prison camp from my mother and my siblings and I, and my mother was always sending letters to the government asking to release him. My father, it was really painful for him—he felt betrayed and ashamed.\u003c/p>\n\u003cp>During that time, there were people who helped us, the Quakers, our neighbors, but they had to do so quietly, or they would be marginalized. Today, it’s hopeful that we do see so many Americans speaking out against separating families. It took the American public’s pressure to get the president to issue an executive order.\u003c/p>\n\u003cp>I’m going to keep talking about my family’s experience, and to me it’s very important to support other groups that are being targeted by the government.\u003c/p>\n\u003cfigure id=\"attachment_13835747\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835747\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/DianaGameros.computer.CRED_.Clau_.WEB_-800x450.jpg\" alt=\"Diana Gameros' songs tell of her experience living in the U.S. as an immigrant from Juarez, Mexico.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/DianaGameros.computer.CRED_.Clau_.WEB_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/DianaGameros.computer.CRED_.Clau_.WEB_-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/DianaGameros.computer.CRED_.Clau_.WEB_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/DianaGameros.computer.CRED_.Clau_.WEB_-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/DianaGameros.computer.CRED_.Clau_.WEB_-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/DianaGameros.computer.CRED_.Clau_.WEB_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/DianaGameros.computer.CRED_.Clau_.WEB_-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/DianaGameros.computer.CRED_.Clau_.WEB_-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/DianaGameros.computer.CRED_.Clau_.WEB_-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/DianaGameros.computer.CRED_.Clau_.WEB_-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/DianaGameros.computer.CRED_.Clau_.WEB_-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Diana Gameros’ songs tell of her experience living in the U.S. as an immigrant from Juarez, Mexico. \u003ccite>(Claudia Escobar)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Diana Gameros\u003c/h2>\n\u003cp>\u003cem>Musician and songwriter from Juarez, Mexico, whose recent album, ‘Arrullo,’ \u003ca href=\"https://www.kqed.org/arts/11514186/women-to-watch-diana-gameros\" target=\"_blank\" rel=\"noopener noreferrer\">expresses the immigrant experience\u003c/a>\u003c/em>\u003c/p>\n\u003cp>My first reaction is to think that it is not possible that this is happening, but it is… it’s horrifying. I feel like in the past two years we get less surprised at what happens, and it’s sad that we are not getting surprised. It is alarming.\u003c/p>\n\u003cp>My advice for other artists is first to be informed, to really know what is happening, and reach out to organizations, and let them know that you are available, that you are willing to help. As artists we have such a visible platform that we can reach many people, and we should use those platforms, especially if you are a well known artist.\u003c/p>\n\u003cp>I can’t stop thinking about the children, and how every minute that goes by, they are in pain. I ask myself: what if that would have happened to me? I know the feeling of what it is to leave your homeland behind. I really hope that people know how much bravery is involved in this process, of leaving your home. I have so much admiration for the people who have this courage to leave their homeland, and carry all that sadness, and all that hope. They have so much love, and want the best for their kids, they are being good parents. It is disgusting that we are separating them, when we should be welcoming them.\u003c/p>\n\u003cfigure id=\"attachment_13835750\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835750\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/CalebDuarte.CRED_.Farrin.WEB_-800x540.jpg\" alt=\"Caleb Duarte at San Antonio Park in Oakland, leading a performance with youth who came to the U.S. without parents.\" width=\"800\" height=\"540\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CalebDuarte.CRED_.Farrin.WEB_-800x540.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CalebDuarte.CRED_.Farrin.WEB_-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CalebDuarte.CRED_.Farrin.WEB_-768x518.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CalebDuarte.CRED_.Farrin.WEB_-1020x688.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CalebDuarte.CRED_.Farrin.WEB_.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CalebDuarte.CRED_.Farrin.WEB_-960x648.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CalebDuarte.CRED_.Farrin.WEB_-240x162.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CalebDuarte.CRED_.Farrin.WEB_-375x253.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CalebDuarte.CRED_.Farrin.WEB_-520x351.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Caleb Duarte at San Antonio Park in Oakland, leading a performance with youth who came to the U.S. without parents. \u003ccite>(Farrin Abbott)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Caleb Duarte\u003c/h2>\n\u003cp>\u003cem>\u003ca href=\"http://www.calebduarte.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Artist and educator\u003c/a> who leads \u003ca href=\"https://www.kqed.org/arts/13375958/on-being-young-alone-and-crossing-into-the-united-states\" target=\"_blank\" rel=\"noopener noreferrer\">art workshops with undocumented Central American minors\u003c/a> at Fremont High School\u003c/em>\u003c/p>\n\u003cp>It’s the worst kind of nightmare for a parent. That journey is 3,000 miles of hardship. Knowing the back history and the violence these people face, only to reach the United States and have your children taken away by authorities—that is really hard to take in.\u003c/p>\n\u003cp>And social media is unleashing a lot of support for this kind of act. It leads me to reflect on how any country can support these kinds of actions. We need to step back and understand the suffering and fear of those who support these actions.\u003c/p>\n\u003cp>Art in different times has different purposes. At certain moments art is there to shake us up, and sometimes it’s there to gather us back. Right now I think art is there to create logic and reason rather than challenge it. More than anything, it’s important to speak out. We’d be surprised by who, in our immediate circles, our colleagues and family, think differently than us. I’m trying to find ways to have conversations with people who think otherwise.\u003c/p>\n\u003cfigure id=\"attachment_13835778\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835778\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/Erendina.OMCA_.CRED_800-800x516.jpg\" alt=\"A detail from the Oakland Museum of California's 'Sent Away' exhibition, showing tools left behind by a man affected by Mexican repatriations in the 1930s.\" width=\"800\" height=\"516\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Erendina.OMCA_.CRED_800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Erendina.OMCA_.CRED_800-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Erendina.OMCA_.CRED_800-768x495.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Erendina.OMCA_.CRED_800-240x155.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Erendina.OMCA_.CRED_800-375x242.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Erendina.OMCA_.CRED_800-520x335.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A detail from the Oakland Museum of California’s ‘Sent Away’ exhibition, showing tools left behind in the Mexican repatriations in the 1930s. \u003ccite>(Erendina Delgadillo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Erendina Delgadillo\u003c/h2>\n\u003cp>\u003cem>Associate Curator of History at the Oakland Museum of California, host of recent exhibitions on internment, ‘\u003ca href=\"https://www.kqed.org/arts/13156032/once-suppressed-dorothea-lange-photographs-capture-wartime-paranoia\" target=\"_blank\" rel=\"noopener noreferrer\">Dorothea Lange: Politics of Seeing\u003c/a>‘ and ‘\u003ca href=\"http://museumca.org/blog/sent-away-not-forgotten\" target=\"_blank\" rel=\"noopener noreferrer\">Sent Away\u003c/a>‘\u003c/em>\u003c/p>\n\u003cp>It’s been pretty horrifying. But one thing we know is family separations have happened before—with Native Americans, with Japanese families, or with Mexican repatriation in the 1930s. With the recent ‘Sent Away’ installation in our permanent history gallery, we’ve been paying attention to whether the visitors really understand, and if it’s properly conveying the trajectory of racialized communities in moments of political and social stress. In my social media circles, I see people saying, “This is insane! This is not America! This is not who we are!” And I wrestle with it, because the fact is that this has happened before.\u003c/p>\n\u003cp>In the deportations in the ’30s, people were responding to the depression. But the Mexican people deported were not relying on welfare as much as others thought they were. And today, when you hear that they’re causing unprecedented crime, or taking away jobs from “real” Americans, being a drain on the system—that’s not true, but turning them into a specter of those problems is easier than fixing the problem. It’s been very disheartening looking at the pattern of how easily people can be manipulated in very simple ways. You take a feeling, you blow it up, and it obscures the need to delve into really complex issues.\u003c/p>\n\u003cp>It’s a terrible moment. It’s too easy to despair. You’re only shooting yourself by despairing before the fight starts, so donate to organizations, and find those small moments to realize why humanity is valuable, and why we fight for humanity. Remind yourself why life is good.\u003c/p>\n\u003cfigure id=\"attachment_13835737\" class=\"wp-caption aligncenter\" style=\"max-width: 758px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13835737\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/AniRivera.withCuratorialStaff2016.CREO_.jpg\" alt=\"Ani Rivera, bottom right, with Galería de la Raza'a curatorial staff in 2016.\" width=\"758\" height=\"426\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/AniRivera.withCuratorialStaff2016.CREO_.jpg 758w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/AniRivera.withCuratorialStaff2016.CREO_-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/AniRivera.withCuratorialStaff2016.CREO_-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/AniRivera.withCuratorialStaff2016.CREO_-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/AniRivera.withCuratorialStaff2016.CREO_-520x292.jpg 520w\" sizes=\"(max-width: 758px) 100vw, 758px\">\u003cfigcaption class=\"wp-caption-text\">Ani Rivera, bottom right, with Galería de la Raza’a curatorial staff in 2016. \u003ccite>(Creo Noveno)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Ani Rivera\u003c/h2>\n\u003cp>\u003cem>Executive Director for \u003ca href=\"https://kqed.org/arts/tag/galeria-de-la-raza\" target=\"_blank\" rel=\"noopener noreferrer\">Galería de La Raza\u003c/a> in the Mission District, hub for San Francisco’s Latino artist community\u003c/em>\u003c/p>\n\u003cp>It’s just appalling to see how the administration doesn’t value humanity, nor the families that are coming here searching for a better life. They’re being used as pawns to push an agenda. I think our work is not done yet. We need to keep demanding that they close the detention centers. I think that’s where we want to focus: ending the criminalization. We need to stop all profits made from keeping people in cages.\u003c/p>\n\u003cp>We’re definitely contributing to the organized marches and protests being planned for June 30. We will also be at this Friday’s rally in Embarcadero Plaza. We know that art plays a role in creating dialogue and engaging hearts, and we’ll be holding a series of screen-printing demonstrations at these events.\u003c/p>\n\u003cp>The legacy of Galería and René (Yañez, the gallery’s co-founder) and all of the individuals that have contributed and created this space was to address these issues. This is history repeating itself. We’ve been dealing with the criminalization of immigrants for decades. The goal of Galería as an institution is to be a platform for artists to organize. The founders needed to create a community that allowed and provided a path for self-determination. They expect us to be out there.\u003c/p>\n\u003cfigure id=\"attachment_13835744\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835744\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/RabbitInThemoon.EmikoinPostonwMom-800x457.jpg\" alt=\"A still from 'Rabbit in the Moon' showing Emiko Omori and her mother in the Poston War Relocation Center in Arizona.\" width=\"800\" height=\"457\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RabbitInThemoon.EmikoinPostonwMom-800x457.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RabbitInThemoon.EmikoinPostonwMom-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RabbitInThemoon.EmikoinPostonwMom-768x439.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RabbitInThemoon.EmikoinPostonwMom-960x549.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RabbitInThemoon.EmikoinPostonwMom-240x137.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RabbitInThemoon.EmikoinPostonwMom-375x214.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RabbitInThemoon.EmikoinPostonwMom-520x297.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RabbitInThemoon.EmikoinPostonwMom.jpg 980w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A still from ‘Rabbit in the Moon’ showing Emiko Omori and her mother in the Poston War Relocation Center in Arizona. \u003ccite>(Courtesy Chizu Omori)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Chizu Omori\u003c/h2>\n\u003cp>\u003cem>Bay Area journalist and co-producer of the documentary ‘Rabbit in the Moon’ who, in 1942 at the age of 12, \u003ca href=\"https://caamedia.org/blog/2017/02/16/emiko-and-chizu-omori-on-lessons-from-wwii-incarceration/\" target=\"_blank\" rel=\"noopener noreferrer\">was sent with her sister Emiko Omori and their family to the Poston War Relocation Center\u003c/a> in Arizona \u003c/em>\u003c/p>\n\u003cp>The fact that they would implement this policy is so inhumane. There’s a great deal of interest now in what happened to us during WWII to us Japanese Americans. A precedent was set when Roosevelt issued EO 9066, and even though it’s been condemned as a big mistake, that precedent has been used by the Trump administration to justify some of the things they’ve been doing. So of course, I feel an obligation to speak out against what’s happening as something very reminiscent of what happened to us 75 years ago.\u003c/p>\n\u003cp>It’s happened with the travel ban against Muslims, and this general discrimination against people of Muslim faith or people from the Middle East in general. It’s part of the current of racism that’s been part of our history from the very beginning, directed towards people of color. Now it’s against people from Central and South America who are not white people. It’s a language that our president uses to reemphasize this bias against people of color. He refers to us as infestations, or awful characterizations like rapists and murderers. It’s dehumanizing for him to be using this language.\u003c/p>\n\u003cp>Children being separated from their parents at the border is something that I don’t think any of us had contemplated. To take infants… what’s the purpose in doing this? There’s no rationale for it. If you’re going to ask people to stand up and be counted, how many people are for this? Why do they justify doing this thing?\u003c/p>\n\u003cp>I belong to a group called Nikkei Resisters. Our slogan is “Never Again.” Detention and internment are really un-American and we need to speak out and say “It happened to us. And we don’t want to see it happening again.”\u003c/p>\n\u003cfigure id=\"attachment_13835738\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835738\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/BrianMoss.CRED_.GM_-800x533.jpg\" alt=\"Brian Moss teaches a student population that's 85-percent Latino; 'their fear has been validated,' he says.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/BrianMoss.CRED_.GM_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/BrianMoss.CRED_.GM_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/BrianMoss.CRED_.GM_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/BrianMoss.CRED_.GM_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/BrianMoss.CRED_.GM_-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/BrianMoss.CRED_.GM_-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/BrianMoss.CRED_.GM_-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/BrianMoss.CRED_.GM_-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/BrianMoss.CRED_.GM_-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/BrianMoss.CRED_.GM_-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/BrianMoss.CRED_.GM_.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brian Moss teaches a student population that’s 85-percent Latino; ‘their fear has been validated,’ he says. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Brian Moss\u003c/h2>\n\u003cp>\u003cem>San Francisco songwriter (Hanalei, Great Apes) and schoolteacher who \u003ca href=\"https://hanalei.bandcamp.com/track/cross-crossing\" target=\"_blank\" rel=\"noopener noreferrer\">released the song “Cross Crossing”\u003c/a> this week in reaction to abuses at the border\u003c/em>\u003c/p>\n\u003cp>Separating families and children seems so immoral and deplorable, it’s shocking, but with this presidency and this administration the bar has been so low it didn’t completely catch me off-guard. And being a teacher, and given the population of my school, which is 85-percent Latino, it’s something I’ve seen the effects of the whole time. For many of my students, the fear they were already facing rose drastically when he was elected, and now that fear has been validated. It’s happening to them. It’s disturbing and hard to witness.\u003c/p>\n\u003cp>The issue of separating families is so immoral to me that some sort of response, either though song, or \u003ca href=\"https://www.npr.org/2018/06/20/621890664/facebook-fundraiser-for-separated-immigrant-families-raises-12-million-in-5-days\" target=\"_blank\" rel=\"noopener noreferrer\">donating\u003c/a>, or protesting, or going down there volunteering with an organization that’s trying to provide legal aid—anything you can do is a start.\u003c/p>\n\u003cfigure id=\"attachment_13835800\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835800\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/NaimaShalhoub.Inline-800x527.jpg\" alt=\"Naima Shalhoub: 'we must cry out with each other through our art, together, to respond to this madness.'\" width=\"800\" height=\"527\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NaimaShalhoub.Inline-800x527.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NaimaShalhoub.Inline-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NaimaShalhoub.Inline-768x505.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NaimaShalhoub.Inline-1020x671.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NaimaShalhoub.Inline-960x632.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NaimaShalhoub.Inline-240x158.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NaimaShalhoub.Inline-375x247.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NaimaShalhoub.Inline-520x342.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NaimaShalhoub.Inline.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Naima Shalhoub: ‘we must cry out with each other through our art, together, to respond to this madness.’ \u003ccite>(Sarah Deragon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Naima Shalhoub\u003c/h2>\n\u003cp>\u003cem>Oakland songwriter whose song “\u003ca href=\"https://www.youtube.com/watch?v=I9TqmZPXJX8\" target=\"_blank\" rel=\"noopener noreferrer\">Borderlands\u003c/a>” tells of “\u003ca href=\"https://www.youtube.com/watch?v=I9TqmZPXJX8\" target=\"_blank\" rel=\"noopener noreferrer\">a constructed order of things that decides what and who is more valuable\u003c/a>”\u003c/em>\u003c/p>\n\u003cp>What strikes me the most is how conditioned we are becoming to see people through the lenses of our fear, our politics, our scarcity mindsets rather than insisting that all people under the sun are treated with dignity and love. We are forgetting that we have the power to create systems that reflect justice and love, not fear and confinement. We are becoming dismembered from any semblance of connection to land, to spirit, to honor, to respect and instead bowing down to new gods of greed, patriarchy, racism—so much so that a child’s cry does not waken the heart to compassion. Or at least, this is my worry. For our souls, collectively.\u003c/p>\n\u003cp>What is happening is a reflection of what has been buried under the soil of what is now called the United States. The sorrow, the unheard cries, and histories ghosts are truly rising until we all wake to its truth. We must do better by committing to our collective memory—all of it—and holding accountable the leaders who do not. The privilege of forgetting becomes manifest in institutions that create walls separating families, unable to share with the public where our girls and babies are. This is about our responsibility to our children’s future and their safety and dignity by allowing the past to speak.\u003c/p>\n\u003cp>If Nina Simone’s call to action was “it is an artist’s duty to reflect the times,” then we must cry out with each other through our art, together, to respond to this madness.\u003c/p>\n\u003cfigure id=\"attachment_13835934\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835934\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/HAKIM-Horizons-800x179.jpg\" alt=\"'Horizons,' by Najib Joe Hakim.\" width=\"800\" height=\"179\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/HAKIM-Horizons-800x179.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/HAKIM-Horizons-160x36.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/HAKIM-Horizons-768x172.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/HAKIM-Horizons-1020x228.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/HAKIM-Horizons-960x215.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/HAKIM-Horizons-240x54.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/HAKIM-Horizons-375x84.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/HAKIM-Horizons-520x116.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/HAKIM-Horizons.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Horizons,’ by Najib Joe Hakim. \u003ccite>(Najib Joe Hakim)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Najib Joe Hakim\u003c/h2>\n\u003cp>\u003cem>San Francisco photographer and YBCA fellow whose current project, ‘\u003ca href=\"https://electronicintifada.net/content/palestinian-america-najib-joe-hakims-home-away-home/14073\" target=\"_blank\" rel=\"noopener noreferrer\">Home Away From Home\u003c/a>,’ pairs oral histories of 26 Bay Area Palestinian Americans with their portraits\u003c/em>\u003c/p>\n\u003cp>My own family immigrated to the U.S. in the 1950s from Lebanon. Except for the details, ours is a very common story, which most Americans share. Refugees out of Palestine, my parents then left Beirut on a ship with two very young kids and $5 in their pocket. In the coming years, through hard work, education and uncountable sacrifices, we became thriving American citizens.\u003c/p>\n\u003cp>I hate to think what might have become of us had we not snared four of only 100 immigration visas. Would I be staring down a machine gun barrel held by a 20-year-old Israeli soldier? Would we have been caught up in one of the many massacres of the 20-year Lebanese Civil War? Would my kids now be desperately trying to leave Syria on a dinghy with their own children?\u003c/p>\n\u003cp>What I see happening today to immigrant families is the writing of yet another chapter of American history in which the country’s values do not line up with its reality. When people say “I don’t recognize this country anymore,” they are expressing the profound contradictions between what we’ve all been taught about this country and what we see being done in our name.\u003c/p>\n\u003cp>We live in a new dark age in which civilian lives are dehumanized; science and nature are scoffed at; and atavistic fears send us scurrying toward our basest natures. In such times, we artists are challenged to help remind us of our loftier, sacred and shared aspirations.\u003c/p>\n\u003cfigure id=\"attachment_13835745\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835745\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/YosimarReyes-800x450.jpg\" alt=\"Yosimar Reyes: 'If you’re standing in sidelines, you’re part of the problem.'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/YosimarReyes-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/YosimarReyes-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/YosimarReyes-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/YosimarReyes-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/YosimarReyes-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/YosimarReyes-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/YosimarReyes-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/YosimarReyes.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Yosimar Reyes: ‘If you’re standing in sidelines, you’re part of the problem.’ \u003ccite>(Courtesy Yosimar Reyes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Yosimar Reyes\u003c/h2>\n\u003cp>\u003cem>\u003ca href=\"http://yosimarreyes.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Poet, educator, and founder of La Maricolectiva\u003c/a>, a community based performance group of queer undocumented poets\u003c/em>\u003c/p>\n\u003cp>This week has been a lot. I think it’s great that it’s getting national visibility and a lot of people are learning about these atrocities—I think it’s a really positive thing. People are blatantly stating that we need to abolish immigrant prisons. But for me, it’s more like, it’s always been like this so I’m not surprised. I’m just glad people are realizing the reality of how it is and people are mobilizing and opening their eyes to the fact that this is how it’s been for a lot of folks.\u003c/p>\n\u003cp>With immigration, everything moves so fast and it escalates after a short amount of time. I’m curious to see how it’s going to influence a lot of the writing that I’m doing, but I’m still processing. Organizations on the ground in Texas are doing really good work, they’re giving people legal aid, and I think people should support them. This is happening because we put this person in office and we’re accountable for these actions. If you’re standing in sidelines, you’re part of the problem.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Lina Blanco, Claudia Escobar, Sarah Hotchkiss, Kevin L. Jones, Gabe Meline, Nastia Voynovskaya and Kelly Whalen contributed reporting to this story.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "frank-moore-berkeley-bampfa-way-bay-2",
"title": "Amidst 'Way Bay 2,' Rediscovering the Audacious Life of Frank Moore",
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"headTitle": "Amidst ‘Way Bay 2,’ Rediscovering the Audacious Life of Frank Moore | KQED",
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"content": "\u003cp>\u003cem>Way Bay 2\u003c/em>, the second installment of the Berkeley Art Museum and Pacific Film Archive’s Bay Area survey, opened on June 13 with some changes to the \u003ca href=\"https://www.kqed.org/arts/13819924/200-years-of-eclectic-bay-area-art-at-bampfa\" rel=\"noopener\" target=\"_blank\">previous show\u003c/a>. Part California history lesson and part fine art exhibit, the exhibition offers a marriage of known and unknown Bay Area artists, with nods to underground art trends and moving pictures from the museum’s film archives. \u003c/p>\n\u003cp>Highlights include a loudly ringing bell encased in plastic, silencing it for the outside world (Zarouhie Abdalian’s \u003cem>As a Demonstration\u003c/em>) and a painting portraying the impending extinction of the white rhino (William T. Wiley’s 1966 piece \u003cem>The White Rhino Injured\u003c/em>), a work that takes on special meaning now, a mere month after the last white male rhino died. In fact, much of \u003cem>Way Bay 2\u003c/em> is about preservation of memory, both past and present. \u003c/p>\n\u003cp>The show also features one of the late artist Frank Moore’s paintings, an aggressively abstract and eponymously titled portrait of \u003cem>Patti Smith\u003c/em>. BAMPFA director and Way Bay curator Larry Rinder sought out Moore’s paintings last year, securing a promised gift from the estate. But \u003cem>Patti Smith\u003c/em> arrived at BAMPFA earlier than planned; the estate needed to send the painting over post haste, they were moving. Frank Moore’s Berkeley home had gone on the market. \u003c/p>\n\u003cfigure id=\"attachment_13835718\" class=\"wp-caption aligncenter\" style=\"max-width: 756px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/FrankBedroom.jpg\" alt=\"Moore and Linda Mac in front of their purple Berkeley home; the bedroom gallery, featuring many of Moore's paintings.\" width=\"756\" height=\"500\" class=\"size-full wp-image-13835718\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/FrankBedroom.jpg 756w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/FrankBedroom-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/FrankBedroom-240x159.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/FrankBedroom-375x248.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/FrankBedroom-520x344.jpg 520w\" sizes=\"(max-width: 756px) 100vw, 756px\">\u003cfigcaption class=\"wp-caption-text\">Moore and Linda Mac in front of their purple Berkeley home; the bedroom gallery, featuring many of Moore’s paintings. \u003ccite>(Courtesy of Inter-Relations)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Born with cerebral palsy in 1946, Moore was unable to communicate without the assistance of a family member until age 17, when he invented his own speech board. Known for his exhibitionism and performance art pieces, rumors of him traveling the streets of Berkeley followed by naked women come up at the very mention of his name. \u003c/p>\n\u003cp>Moore, who passed away in 2013, led such an audacious life he is now the subject of a new documentary by local filmmaker Keith Wilson. \u003cem>\u003ca href=\"http://www.thefilmcollaborative.org/fiscalsponsorship/projects/deepinsidetheshamansden\" rel=\"noopener\" target=\"_blank\">Deep inside the Shaman’s Den\u003c/a>\u003c/em> is set to release in the summer of 2019 with support from the Bay Area Video Coalition. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Moore was many things—a shaman, a punk singer, a radio DJ, a writer, director and a \u003ca href=\"http://www.frankmooreforpresident08.com/\" rel=\"noopener\" target=\"_blank\">2008 write-in presidential candidate\u003c/a> whose platform called for a minimum monthly income, universal health care and a ban on international arms sales. \u003c/p>\n\u003cfigure id=\"attachment_13835720\" class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/streetnumbers.jpg\" alt=\"The street number at Moore's former home.\" width=\"500\" height=\"375\" class=\"size-full wp-image-13835720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/streetnumbers.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/streetnumbers-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/streetnumbers-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/streetnumbers-375x281.jpg 375w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">The street number at Moore’s colorful home (inside and out). \u003ccite>(Courtesy of Inter-Relations)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With so much character to explore, Wilson aims to tell his story in a “Frank Moore” style: fast paced and colorful. Reflecting on his documentary, Wilson says, “I don’t plan on providing simple answers or easy takeaways for an artist who himself refused to be pigeon-holed. I want viewers to question their relationship to (dis)ability.” \u003c/p>\n\u003cp>“Easy was never an option for Frank,” says Wilson. Moore spent most of his daily life fighting against the limitations of an ableist society. Moore described himself as “spastic and lucky”—lucky to be born into a body fit for performance art with an extroverted personality ready to push boundaries. He even went so far as to express remorse for those born with the burden of being non-disabled. \u003c/p>\n\u003cp>Wilson first became aware of Moore during a working lunch with documentarian and performance artist \u003ca href=\"https://www.kqed.org/arts/11662657/ecosex-artists-transform-mother-earth-into-lover-earth\" rel=\"noopener\" target=\"_blank\">Annie Sprinkle\u003c/a>; she recalled the spectacle that dining with Moore always offered. Vaguely aware of Moore’s name, Wilson dug deeper and soon found himself spelunking, as he says, “deep into a cave of long and lusty performance videos that were both disturbing and alluring.”\u003c/p>\n\u003cfigure id=\"attachment_13835719\" class=\"wp-caption aligncenter\" style=\"max-width: 1133px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/FrontDoor.jpg\" alt=\"The front door of Moore's home before and after renovations to facilitate the sale of the house.\" width=\"1133\" height=\"500\" class=\"size-full wp-image-13835719\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/FrontDoor.jpg 1133w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/FrontDoor-160x71.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/FrontDoor-800x353.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/FrontDoor-768x339.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/FrontDoor-1020x450.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/FrontDoor-960x424.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/FrontDoor-240x106.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/FrontDoor-375x165.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/FrontDoor-520x229.jpg 520w\" sizes=\"(max-width: 1133px) 100vw, 1133px\">\u003cfigcaption class=\"wp-caption-text\">The front door of Moore’s home before and after renovations to facilitate the sale of the house. \u003ccite>(Courtesy of Inter-Relations and Keith Wilson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Frank’s life and work comes from his boundless and contagious belief in possibilities,” Wilson says. “Much of his work is about dismissing the limitations placed on us by society and by ourselves.” In his self-published 2011 autobiography, Moore recalls hitchhiking cross-country, executing “non-film productions” and performance art pieces that lasted through the night. \u003c/p>\n\u003cp>The plan to sell Moore’s house rattled Wilson at first. The house served as a character in both Moore’s life and Wilson’s documentary—it was a connection to the fading free love movement of the 1960s and Frank Moore’s creativity. Moore’s home was also his work space; subjects sat for paintings there, disciples arrived to study his spiritual teachings. The walls of the house were covered in large canvases, all painted by Moore with a brush affixed to his head. The house served as \u003ca href=\"http://quirkyberkeley.com/curtis-street-the-wounded-heros-home/\" rel=\"noopener\" target=\"_blank\">a museum\u003c/a> dedicated to a man who lived to overcome. \u003c/p>\n\u003cp>But Wilson took the sale of the house in stride. He’s now in the process of creating a virtual reality project where viewers will be able to interact with Moore’s work. Of this project, Wilson says, “It will serve as a new model for experiencing and researching archives.” \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>Frank Moore’s work is on view at the Berkeley Art Museum and Pacific Film Archive in ‘Way Bay 2’ through Sept. 2, \u003ca href=\"https://bampfa.org/program/way-bay-2\" rel=\"noopener\" target=\"_blank\">details here\u003c/a>. Keith Wilson speaks on Frank Moore’s life at 1:30pm on June 30 at BAMPFA, \u003ca href=\"https://bampfa.org/event/way-bay-days-tom-di-maria-sandra-phillips-keith-wilson-brett-goodroad-terry-cannon\" rel=\"noopener\" target=\"_blank\">details here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"excerpt": "The late Berkeley artist—a shaman, punk singer, radio DJ, writer, director and 2008 write-in presidential candidate—is now the subject of a forthcoming documentary.",
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"title": "Amidst 'Way Bay 2,' Rediscovering the Audacious Life of Frank Moore | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Way Bay 2\u003c/em>, the second installment of the Berkeley Art Museum and Pacific Film Archive’s Bay Area survey, opened on June 13 with some changes to the \u003ca href=\"https://www.kqed.org/arts/13819924/200-years-of-eclectic-bay-area-art-at-bampfa\" rel=\"noopener\" target=\"_blank\">previous show\u003c/a>. Part California history lesson and part fine art exhibit, the exhibition offers a marriage of known and unknown Bay Area artists, with nods to underground art trends and moving pictures from the museum’s film archives. \u003c/p>\n\u003cp>Highlights include a loudly ringing bell encased in plastic, silencing it for the outside world (Zarouhie Abdalian’s \u003cem>As a Demonstration\u003c/em>) and a painting portraying the impending extinction of the white rhino (William T. Wiley’s 1966 piece \u003cem>The White Rhino Injured\u003c/em>), a work that takes on special meaning now, a mere month after the last white male rhino died. In fact, much of \u003cem>Way Bay 2\u003c/em> is about preservation of memory, both past and present. \u003c/p>\n\u003cp>The show also features one of the late artist Frank Moore’s paintings, an aggressively abstract and eponymously titled portrait of \u003cem>Patti Smith\u003c/em>. BAMPFA director and Way Bay curator Larry Rinder sought out Moore’s paintings last year, securing a promised gift from the estate. But \u003cem>Patti Smith\u003c/em> arrived at BAMPFA earlier than planned; the estate needed to send the painting over post haste, they were moving. Frank Moore’s Berkeley home had gone on the market. \u003c/p>\n\u003cfigure id=\"attachment_13835718\" class=\"wp-caption aligncenter\" style=\"max-width: 756px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/FrankBedroom.jpg\" alt=\"Moore and Linda Mac in front of their purple Berkeley home; the bedroom gallery, featuring many of Moore's paintings.\" width=\"756\" height=\"500\" class=\"size-full wp-image-13835718\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/FrankBedroom.jpg 756w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/FrankBedroom-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/FrankBedroom-240x159.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/FrankBedroom-375x248.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/FrankBedroom-520x344.jpg 520w\" sizes=\"(max-width: 756px) 100vw, 756px\">\u003cfigcaption class=\"wp-caption-text\">Moore and Linda Mac in front of their purple Berkeley home; the bedroom gallery, featuring many of Moore’s paintings. \u003ccite>(Courtesy of Inter-Relations)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Born with cerebral palsy in 1946, Moore was unable to communicate without the assistance of a family member until age 17, when he invented his own speech board. Known for his exhibitionism and performance art pieces, rumors of him traveling the streets of Berkeley followed by naked women come up at the very mention of his name. \u003c/p>\n\u003cp>Moore, who passed away in 2013, led such an audacious life he is now the subject of a new documentary by local filmmaker Keith Wilson. \u003cem>\u003ca href=\"http://www.thefilmcollaborative.org/fiscalsponsorship/projects/deepinsidetheshamansden\" rel=\"noopener\" target=\"_blank\">Deep inside the Shaman’s Den\u003c/a>\u003c/em> is set to release in the summer of 2019 with support from the Bay Area Video Coalition. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Moore was many things—a shaman, a punk singer, a radio DJ, a writer, director and a \u003ca href=\"http://www.frankmooreforpresident08.com/\" rel=\"noopener\" target=\"_blank\">2008 write-in presidential candidate\u003c/a> whose platform called for a minimum monthly income, universal health care and a ban on international arms sales. \u003c/p>\n\u003cfigure id=\"attachment_13835720\" class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/streetnumbers.jpg\" alt=\"The street number at Moore's former home.\" width=\"500\" height=\"375\" class=\"size-full wp-image-13835720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/streetnumbers.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/streetnumbers-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/streetnumbers-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/streetnumbers-375x281.jpg 375w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">The street number at Moore’s colorful home (inside and out). \u003ccite>(Courtesy of Inter-Relations)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With so much character to explore, Wilson aims to tell his story in a “Frank Moore” style: fast paced and colorful. Reflecting on his documentary, Wilson says, “I don’t plan on providing simple answers or easy takeaways for an artist who himself refused to be pigeon-holed. I want viewers to question their relationship to (dis)ability.” \u003c/p>\n\u003cp>“Easy was never an option for Frank,” says Wilson. Moore spent most of his daily life fighting against the limitations of an ableist society. Moore described himself as “spastic and lucky”—lucky to be born into a body fit for performance art with an extroverted personality ready to push boundaries. He even went so far as to express remorse for those born with the burden of being non-disabled. \u003c/p>\n\u003cp>Wilson first became aware of Moore during a working lunch with documentarian and performance artist \u003ca href=\"https://www.kqed.org/arts/11662657/ecosex-artists-transform-mother-earth-into-lover-earth\" rel=\"noopener\" target=\"_blank\">Annie Sprinkle\u003c/a>; she recalled the spectacle that dining with Moore always offered. Vaguely aware of Moore’s name, Wilson dug deeper and soon found himself spelunking, as he says, “deep into a cave of long and lusty performance videos that were both disturbing and alluring.”\u003c/p>\n\u003cfigure id=\"attachment_13835719\" class=\"wp-caption aligncenter\" style=\"max-width: 1133px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/FrontDoor.jpg\" alt=\"The front door of Moore's home before and after renovations to facilitate the sale of the house.\" width=\"1133\" height=\"500\" class=\"size-full wp-image-13835719\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/FrontDoor.jpg 1133w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/FrontDoor-160x71.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/FrontDoor-800x353.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/FrontDoor-768x339.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/FrontDoor-1020x450.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/FrontDoor-960x424.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/FrontDoor-240x106.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/FrontDoor-375x165.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/FrontDoor-520x229.jpg 520w\" sizes=\"(max-width: 1133px) 100vw, 1133px\">\u003cfigcaption class=\"wp-caption-text\">The front door of Moore’s home before and after renovations to facilitate the sale of the house. \u003ccite>(Courtesy of Inter-Relations and Keith Wilson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Frank’s life and work comes from his boundless and contagious belief in possibilities,” Wilson says. “Much of his work is about dismissing the limitations placed on us by society and by ourselves.” In his self-published 2011 autobiography, Moore recalls hitchhiking cross-country, executing “non-film productions” and performance art pieces that lasted through the night. \u003c/p>\n\u003cp>The plan to sell Moore’s house rattled Wilson at first. The house served as a character in both Moore’s life and Wilson’s documentary—it was a connection to the fading free love movement of the 1960s and Frank Moore’s creativity. Moore’s home was also his work space; subjects sat for paintings there, disciples arrived to study his spiritual teachings. The walls of the house were covered in large canvases, all painted by Moore with a brush affixed to his head. The house served as \u003ca href=\"http://quirkyberkeley.com/curtis-street-the-wounded-heros-home/\" rel=\"noopener\" target=\"_blank\">a museum\u003c/a> dedicated to a man who lived to overcome. \u003c/p>\n\u003cp>But Wilson took the sale of the house in stride. He’s now in the process of creating a virtual reality project where viewers will be able to interact with Moore’s work. Of this project, Wilson says, “It will serve as a new model for experiencing and researching archives.” \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>Frank Moore’s work is on view at the Berkeley Art Museum and Pacific Film Archive in ‘Way Bay 2’ through Sept. 2, \u003ca href=\"https://bampfa.org/program/way-bay-2\" rel=\"noopener\" target=\"_blank\">details here\u003c/a>. Keith Wilson speaks on Frank Moore’s life at 1:30pm on June 30 at BAMPFA, \u003ca href=\"https://bampfa.org/event/way-bay-days-tom-di-maria-sandra-phillips-keith-wilson-brett-goodroad-terry-cannon\" rel=\"noopener\" target=\"_blank\">details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "it-was-hard-to-take-these-pictures-knowing-what-was-coming-next",
"title": "'It Was Hard to Take These Pictures, Knowing What Was Coming Next'",
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"headTitle": "‘It Was Hard to Take These Pictures, Knowing What Was Coming Next’ | KQED",
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"content": "\u003cp>Sometimes, an image breaks through and captures the essence of a story that we’ve all been hearing about. John Moore made one of those images last week, when he photographed a 2-year-old Honduran girl stopped by the Border Patrol after crossing the U.S.-Mexico border.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/620775153/620775154\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>The photo is taken from her vantage point. Adults loom over her in the dark out of frame, and she’s crying as her mother is searched.\u003c/p>\n\u003cp>Moore had been photographing Border Patrol agents in the Rio Grande Valley on June 12. On that moonless night, they encountered a group of people seeking to cross the border, most of them families.\u003c/p>\n\u003cp>“I could see the fear on their faces, in their eyes,” says Moore, an award-winning photographer with Getty Images. “As the Border Patrol took people’s names down, I could see a mother holding a young child.”\u003c/p>\n\u003cfigure id=\"attachment_13835491\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/gettyimages-107497219_custom-52190bdf156069dd96bada913b5267cee3e35dc3-800x515.jpg\" alt=\"A group of young men walk along the Mexican side of the border fence in a remote area of the Sonoran Desert in 2010 on the Tohono O'odham Reservation in Arizona\" width=\"800\" height=\"515\" class=\"size-medium wp-image-13835491\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-107497219_custom-52190bdf156069dd96bada913b5267cee3e35dc3-800x515.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-107497219_custom-52190bdf156069dd96bada913b5267cee3e35dc3-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-107497219_custom-52190bdf156069dd96bada913b5267cee3e35dc3-768x494.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-107497219_custom-52190bdf156069dd96bada913b5267cee3e35dc3-1020x656.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-107497219_custom-52190bdf156069dd96bada913b5267cee3e35dc3-1200x772.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-107497219_custom-52190bdf156069dd96bada913b5267cee3e35dc3-1920x1235.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-107497219_custom-52190bdf156069dd96bada913b5267cee3e35dc3-1180x759.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-107497219_custom-52190bdf156069dd96bada913b5267cee3e35dc3-960x618.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-107497219_custom-52190bdf156069dd96bada913b5267cee3e35dc3-240x154.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-107497219_custom-52190bdf156069dd96bada913b5267cee3e35dc3-375x241.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-107497219_custom-52190bdf156069dd96bada913b5267cee3e35dc3-520x335.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-107497219_custom-52190bdf156069dd96bada913b5267cee3e35dc3.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A group of young men walk along the Mexican side of the border fence in a remote area of the Sonoran Desert in 2010 on the Tohono O’odham Reservation in Arizona \u003ccite>(John Moore/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then, it was time for the undocumented immigrants to be searched before being transported to a processing center. The Border Patrol asked the mother to set down her daughter.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“At that moment, the young child broke into tears, and she started wailing,” Moore says. “I took a knee and had very few frames of that moment before it was over.”\u003c/p>\n\u003cp>Moore, who speaks Spanish, was able to talk with them briefly. The mother told him they were from Honduras and had been on the road for a month.\u003c/p>\n\u003cfigure id=\"attachment_13835505\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/Looking-through-fence-800x532.jpg\" alt=\"A man looks through the U.S.-Mexico border fence into the United States from Tijuana, Mexico, in 2016. Friendship Park on the border is one of the few places on the 2,000-mile border where separated families are allowed to meet.\" width=\"800\" height=\"532\" class=\"size-medium wp-image-13835505\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Looking-through-fence-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Looking-through-fence-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Looking-through-fence-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Looking-through-fence-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Looking-through-fence-1200x798.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Looking-through-fence-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Looking-through-fence-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Looking-through-fence-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Looking-through-fence-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Looking-through-fence-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Looking-through-fence.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A man looks through the U.S.-Mexico border fence into the United States from Tijuana, Mexico, in 2016. Friendship Park on the border is one of the few places on the 2,000-mile border where separated families are allowed to meet. \u003ccite>(John Moore/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“And I knew at that moment that this point in their journey, which was very emotional for me to see them being detained, for them was just part of a very, very long journey,” says Moore, who has covered the U.S.-Mexico border for a decade.\u003c/p>\n\u003cp>After that, he says, the mother picked up her daughter. They got in a van and were taken away.\u003c/p>\n\u003cp>“I do not know what happened to them. I would very much like to know,” he says. “Ever since I took those pictures, I think about that moment often. And it’s emotional for me every time.”\u003c/p>\n\u003cfigure id=\"attachment_13835494\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/gettyimages-635353292_custom-055a100f60aa30f9d16e876793de25039b36e655-800x533.jpe\" alt=\"Families attend a memorial service for two boys who were kidnapped and killed on Feb. 14, 2017, in San Juan Sacatepequez, Guatemala. Such crimes have driven emigration from Guatemala to the United States, as families seek refuge from the violence.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13835494\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-635353292_custom-055a100f60aa30f9d16e876793de25039b36e655-800x533.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-635353292_custom-055a100f60aa30f9d16e876793de25039b36e655-160x107.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-635353292_custom-055a100f60aa30f9d16e876793de25039b36e655-768x511.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-635353292_custom-055a100f60aa30f9d16e876793de25039b36e655-1020x679.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-635353292_custom-055a100f60aa30f9d16e876793de25039b36e655-1200x799.jpe 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-635353292_custom-055a100f60aa30f9d16e876793de25039b36e655-1920x1279.jpe 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-635353292_custom-055a100f60aa30f9d16e876793de25039b36e655-1180x786.jpe 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-635353292_custom-055a100f60aa30f9d16e876793de25039b36e655-960x639.jpe 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-635353292_custom-055a100f60aa30f9d16e876793de25039b36e655-240x160.jpe 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-635353292_custom-055a100f60aa30f9d16e876793de25039b36e655-375x250.jpe 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-635353292_custom-055a100f60aa30f9d16e876793de25039b36e655-520x346.jpe 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-635353292_custom-055a100f60aa30f9d16e876793de25039b36e655.jpe 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Families attend a memorial service for two boys who were kidnapped and killed on Feb. 14, 2017, in San Juan Sacatepequez, Guatemala. Such crimes have driven emigration from Guatemala to the United States, as families seek refuge from the violence. \u003ccite>(John Moore/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On how recent political developments have changed the story at the border\u003c/strong>\u003c/p>\n\u003cp>Having covered this story for the last 10 years, I’ve seen a lot along the way. But in this case, this last week, it was different because I knew that what happened after these pictures were taken was going to be something very different. Most of us here had heard the news that the [Trump] administration had planned to separate families. And these people [coming across the border] really had no idea about this news. And it was hard to take these pictures, knowing what was coming next.\u003c/p>\n\u003cfigure id=\"attachment_13835492\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/gettyimages-521334010_custom-6d936fd10f6b093fd71bf997cf0fb4c6091ba0ae-800x542.jpe\" alt=\"Undocumented immigrants comfort each other after being caught by Border Patrol agents near the U.S.-Mexico border in 2016 in Weslaco, Texas.\" width=\"800\" height=\"542\" class=\"size-medium wp-image-13835492\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-521334010_custom-6d936fd10f6b093fd71bf997cf0fb4c6091ba0ae-800x542.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-521334010_custom-6d936fd10f6b093fd71bf997cf0fb4c6091ba0ae-160x108.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-521334010_custom-6d936fd10f6b093fd71bf997cf0fb4c6091ba0ae-768x521.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-521334010_custom-6d936fd10f6b093fd71bf997cf0fb4c6091ba0ae-1020x692.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-521334010_custom-6d936fd10f6b093fd71bf997cf0fb4c6091ba0ae-1200x814.jpe 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-521334010_custom-6d936fd10f6b093fd71bf997cf0fb4c6091ba0ae-1920x1302.jpe 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-521334010_custom-6d936fd10f6b093fd71bf997cf0fb4c6091ba0ae-1180x800.jpe 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-521334010_custom-6d936fd10f6b093fd71bf997cf0fb4c6091ba0ae-960x651.jpe 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-521334010_custom-6d936fd10f6b093fd71bf997cf0fb4c6091ba0ae-240x163.jpe 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-521334010_custom-6d936fd10f6b093fd71bf997cf0fb4c6091ba0ae-375x254.jpe 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-521334010_custom-6d936fd10f6b093fd71bf997cf0fb4c6091ba0ae-520x353.jpe 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-521334010_custom-6d936fd10f6b093fd71bf997cf0fb4c6091ba0ae.jpe 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Undocumented immigrants comfort each other after being caught by Border Patrol agents near the U.S.-Mexico border in 2016 in Weslaco, Texas. \u003ccite>(John Moore/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>On what Border Patrol officials say about this new policy\u003c/strong>\u003c/p>\n\u003cp>I think with Border Patrol agents, it’s all on an individual basis. Some of them are very supportive of President Trump’s policies and others probably a little bit less so.\u003c/p>\n\u003cp>And I think it’s important to note that the laws have not changed since President Trump came into office. It’s really \u003ca href=\"https://www.npr.org/2018/05/29/615211215/fact-check-are-democrats-responsible-for-dhs-separating-children-from-their-pare\">the administration’s policies that have changed\u003c/a>. In the past, most families who sought political asylum would be processed and then released, pending a court date in the future. And, of course, that policy has changed in recent months, and we’re seeing the results of that now.\u003c/p>\n\u003cfigure id=\"attachment_13835493\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/gettyimages-458329272_custom-2bb2cd09823b9723598ccde7a6f3ab5fecb896c2-800x547.jpe\" alt=\"A boy from Honduras watches a movie at a detention facility run by the U.S. Border Patrol in McAllen, Texas, in 2014. The Border Patrol opened the holding center to temporarily house the children after tens of thousands of families and unaccompanied minors from Central America crossed the border illegally into the United States during the spring and summer.\" width=\"800\" height=\"547\" class=\"size-medium wp-image-13835493\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-458329272_custom-2bb2cd09823b9723598ccde7a6f3ab5fecb896c2-800x547.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-458329272_custom-2bb2cd09823b9723598ccde7a6f3ab5fecb896c2-160x109.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-458329272_custom-2bb2cd09823b9723598ccde7a6f3ab5fecb896c2-768x525.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-458329272_custom-2bb2cd09823b9723598ccde7a6f3ab5fecb896c2-1020x697.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-458329272_custom-2bb2cd09823b9723598ccde7a6f3ab5fecb896c2-1200x820.jpe 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-458329272_custom-2bb2cd09823b9723598ccde7a6f3ab5fecb896c2-1920x1312.jpe 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-458329272_custom-2bb2cd09823b9723598ccde7a6f3ab5fecb896c2-1180x806.jpe 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-458329272_custom-2bb2cd09823b9723598ccde7a6f3ab5fecb896c2-960x656.jpe 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-458329272_custom-2bb2cd09823b9723598ccde7a6f3ab5fecb896c2-240x164.jpe 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-458329272_custom-2bb2cd09823b9723598ccde7a6f3ab5fecb896c2-375x256.jpe 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-458329272_custom-2bb2cd09823b9723598ccde7a6f3ab5fecb896c2-520x355.jpe 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-458329272_custom-2bb2cd09823b9723598ccde7a6f3ab5fecb896c2.jpe 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A boy from Honduras watches a movie at a detention facility run by the U.S. Border Patrol in McAllen, Texas, in 2014. The Border Patrol opened the holding center to temporarily house the children after tens of thousands of families and unaccompanied minors from Central America crossed the border illegally into the United States during the spring and summer. \u003ccite>(John Moore/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>On how this story has affected him \u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As a photojournalist, it’s my role to keep going, even when it’s hard. But as a father — and I have a toddler myself — it was very difficult to see what was happening in front of my lens and thinking what it would be like for my kids to be separated from me. \u003c/p>\n\u003cfigure id=\"attachment_13835507\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/Border-Wall-Moore-800x532.jpeg\" alt=\"U.S. Border Patrol agent Sal De Leon stands near a section of the U.S.- Mexico border fence while stopping on patrol in 2013 in La Joya, Texas.\" width=\"800\" height=\"532\" class=\"size-medium wp-image-13835507\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Border-Wall-Moore-800x532.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Border-Wall-Moore-160x106.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Border-Wall-Moore-768x511.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Border-Wall-Moore-1020x679.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Border-Wall-Moore-1200x798.jpeg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Border-Wall-Moore-1180x785.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Border-Wall-Moore-960x639.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Border-Wall-Moore-240x160.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Border-Wall-Moore-375x250.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Border-Wall-Moore-520x346.jpeg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Border-Wall-Moore.jpeg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">U.S. Border Patrol agent Sal De Leon stands near a section of the U.S.- Mexico border fence while stopping on patrol in 2013 in La Joya, Texas. \u003ccite>(John Moore/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27It+Was+Hard+To+Take+These+Pictures%2C+Knowing+What+Was+Coming+Next%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "John Moore describes photographing the distressed Honduran toddler, whose mother was being searched by U.S. Border Patrol. That moment, he says, \"was just part of a very, very long journey\" for them.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Sometimes, an image breaks through and captures the essence of a story that we’ve all been hearing about. John Moore made one of those images last week, when he photographed a 2-year-old Honduran girl stopped by the Border Patrol after crossing the U.S.-Mexico border.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/620775153/620775154\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>The photo is taken from her vantage point. Adults loom over her in the dark out of frame, and she’s crying as her mother is searched.\u003c/p>\n\u003cp>Moore had been photographing Border Patrol agents in the Rio Grande Valley on June 12. On that moonless night, they encountered a group of people seeking to cross the border, most of them families.\u003c/p>\n\u003cp>“I could see the fear on their faces, in their eyes,” says Moore, an award-winning photographer with Getty Images. “As the Border Patrol took people’s names down, I could see a mother holding a young child.”\u003c/p>\n\u003cfigure id=\"attachment_13835491\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/gettyimages-107497219_custom-52190bdf156069dd96bada913b5267cee3e35dc3-800x515.jpg\" alt=\"A group of young men walk along the Mexican side of the border fence in a remote area of the Sonoran Desert in 2010 on the Tohono O'odham Reservation in Arizona\" width=\"800\" height=\"515\" class=\"size-medium wp-image-13835491\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-107497219_custom-52190bdf156069dd96bada913b5267cee3e35dc3-800x515.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-107497219_custom-52190bdf156069dd96bada913b5267cee3e35dc3-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-107497219_custom-52190bdf156069dd96bada913b5267cee3e35dc3-768x494.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-107497219_custom-52190bdf156069dd96bada913b5267cee3e35dc3-1020x656.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-107497219_custom-52190bdf156069dd96bada913b5267cee3e35dc3-1200x772.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-107497219_custom-52190bdf156069dd96bada913b5267cee3e35dc3-1920x1235.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-107497219_custom-52190bdf156069dd96bada913b5267cee3e35dc3-1180x759.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-107497219_custom-52190bdf156069dd96bada913b5267cee3e35dc3-960x618.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-107497219_custom-52190bdf156069dd96bada913b5267cee3e35dc3-240x154.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-107497219_custom-52190bdf156069dd96bada913b5267cee3e35dc3-375x241.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-107497219_custom-52190bdf156069dd96bada913b5267cee3e35dc3-520x335.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-107497219_custom-52190bdf156069dd96bada913b5267cee3e35dc3.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A group of young men walk along the Mexican side of the border fence in a remote area of the Sonoran Desert in 2010 on the Tohono O’odham Reservation in Arizona \u003ccite>(John Moore/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then, it was time for the undocumented immigrants to be searched before being transported to a processing center. The Border Patrol asked the mother to set down her daughter.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“At that moment, the young child broke into tears, and she started wailing,” Moore says. “I took a knee and had very few frames of that moment before it was over.”\u003c/p>\n\u003cp>Moore, who speaks Spanish, was able to talk with them briefly. The mother told him they were from Honduras and had been on the road for a month.\u003c/p>\n\u003cfigure id=\"attachment_13835505\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/Looking-through-fence-800x532.jpg\" alt=\"A man looks through the U.S.-Mexico border fence into the United States from Tijuana, Mexico, in 2016. Friendship Park on the border is one of the few places on the 2,000-mile border where separated families are allowed to meet.\" width=\"800\" height=\"532\" class=\"size-medium wp-image-13835505\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Looking-through-fence-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Looking-through-fence-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Looking-through-fence-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Looking-through-fence-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Looking-through-fence-1200x798.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Looking-through-fence-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Looking-through-fence-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Looking-through-fence-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Looking-through-fence-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Looking-through-fence-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Looking-through-fence.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A man looks through the U.S.-Mexico border fence into the United States from Tijuana, Mexico, in 2016. Friendship Park on the border is one of the few places on the 2,000-mile border where separated families are allowed to meet. \u003ccite>(John Moore/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“And I knew at that moment that this point in their journey, which was very emotional for me to see them being detained, for them was just part of a very, very long journey,” says Moore, who has covered the U.S.-Mexico border for a decade.\u003c/p>\n\u003cp>After that, he says, the mother picked up her daughter. They got in a van and were taken away.\u003c/p>\n\u003cp>“I do not know what happened to them. I would very much like to know,” he says. “Ever since I took those pictures, I think about that moment often. And it’s emotional for me every time.”\u003c/p>\n\u003cfigure id=\"attachment_13835494\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/gettyimages-635353292_custom-055a100f60aa30f9d16e876793de25039b36e655-800x533.jpe\" alt=\"Families attend a memorial service for two boys who were kidnapped and killed on Feb. 14, 2017, in San Juan Sacatepequez, Guatemala. Such crimes have driven emigration from Guatemala to the United States, as families seek refuge from the violence.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13835494\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-635353292_custom-055a100f60aa30f9d16e876793de25039b36e655-800x533.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-635353292_custom-055a100f60aa30f9d16e876793de25039b36e655-160x107.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-635353292_custom-055a100f60aa30f9d16e876793de25039b36e655-768x511.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-635353292_custom-055a100f60aa30f9d16e876793de25039b36e655-1020x679.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-635353292_custom-055a100f60aa30f9d16e876793de25039b36e655-1200x799.jpe 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-635353292_custom-055a100f60aa30f9d16e876793de25039b36e655-1920x1279.jpe 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-635353292_custom-055a100f60aa30f9d16e876793de25039b36e655-1180x786.jpe 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-635353292_custom-055a100f60aa30f9d16e876793de25039b36e655-960x639.jpe 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-635353292_custom-055a100f60aa30f9d16e876793de25039b36e655-240x160.jpe 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-635353292_custom-055a100f60aa30f9d16e876793de25039b36e655-375x250.jpe 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-635353292_custom-055a100f60aa30f9d16e876793de25039b36e655-520x346.jpe 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-635353292_custom-055a100f60aa30f9d16e876793de25039b36e655.jpe 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Families attend a memorial service for two boys who were kidnapped and killed on Feb. 14, 2017, in San Juan Sacatepequez, Guatemala. Such crimes have driven emigration from Guatemala to the United States, as families seek refuge from the violence. \u003ccite>(John Moore/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On how recent political developments have changed the story at the border\u003c/strong>\u003c/p>\n\u003cp>Having covered this story for the last 10 years, I’ve seen a lot along the way. But in this case, this last week, it was different because I knew that what happened after these pictures were taken was going to be something very different. Most of us here had heard the news that the [Trump] administration had planned to separate families. And these people [coming across the border] really had no idea about this news. And it was hard to take these pictures, knowing what was coming next.\u003c/p>\n\u003cfigure id=\"attachment_13835492\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/gettyimages-521334010_custom-6d936fd10f6b093fd71bf997cf0fb4c6091ba0ae-800x542.jpe\" alt=\"Undocumented immigrants comfort each other after being caught by Border Patrol agents near the U.S.-Mexico border in 2016 in Weslaco, Texas.\" width=\"800\" height=\"542\" class=\"size-medium wp-image-13835492\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-521334010_custom-6d936fd10f6b093fd71bf997cf0fb4c6091ba0ae-800x542.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-521334010_custom-6d936fd10f6b093fd71bf997cf0fb4c6091ba0ae-160x108.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-521334010_custom-6d936fd10f6b093fd71bf997cf0fb4c6091ba0ae-768x521.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-521334010_custom-6d936fd10f6b093fd71bf997cf0fb4c6091ba0ae-1020x692.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-521334010_custom-6d936fd10f6b093fd71bf997cf0fb4c6091ba0ae-1200x814.jpe 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-521334010_custom-6d936fd10f6b093fd71bf997cf0fb4c6091ba0ae-1920x1302.jpe 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-521334010_custom-6d936fd10f6b093fd71bf997cf0fb4c6091ba0ae-1180x800.jpe 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-521334010_custom-6d936fd10f6b093fd71bf997cf0fb4c6091ba0ae-960x651.jpe 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-521334010_custom-6d936fd10f6b093fd71bf997cf0fb4c6091ba0ae-240x163.jpe 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-521334010_custom-6d936fd10f6b093fd71bf997cf0fb4c6091ba0ae-375x254.jpe 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-521334010_custom-6d936fd10f6b093fd71bf997cf0fb4c6091ba0ae-520x353.jpe 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-521334010_custom-6d936fd10f6b093fd71bf997cf0fb4c6091ba0ae.jpe 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Undocumented immigrants comfort each other after being caught by Border Patrol agents near the U.S.-Mexico border in 2016 in Weslaco, Texas. \u003ccite>(John Moore/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>On what Border Patrol officials say about this new policy\u003c/strong>\u003c/p>\n\u003cp>I think with Border Patrol agents, it’s all on an individual basis. Some of them are very supportive of President Trump’s policies and others probably a little bit less so.\u003c/p>\n\u003cp>And I think it’s important to note that the laws have not changed since President Trump came into office. It’s really \u003ca href=\"https://www.npr.org/2018/05/29/615211215/fact-check-are-democrats-responsible-for-dhs-separating-children-from-their-pare\">the administration’s policies that have changed\u003c/a>. In the past, most families who sought political asylum would be processed and then released, pending a court date in the future. And, of course, that policy has changed in recent months, and we’re seeing the results of that now.\u003c/p>\n\u003cfigure id=\"attachment_13835493\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/gettyimages-458329272_custom-2bb2cd09823b9723598ccde7a6f3ab5fecb896c2-800x547.jpe\" alt=\"A boy from Honduras watches a movie at a detention facility run by the U.S. Border Patrol in McAllen, Texas, in 2014. The Border Patrol opened the holding center to temporarily house the children after tens of thousands of families and unaccompanied minors from Central America crossed the border illegally into the United States during the spring and summer.\" width=\"800\" height=\"547\" class=\"size-medium wp-image-13835493\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-458329272_custom-2bb2cd09823b9723598ccde7a6f3ab5fecb896c2-800x547.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-458329272_custom-2bb2cd09823b9723598ccde7a6f3ab5fecb896c2-160x109.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-458329272_custom-2bb2cd09823b9723598ccde7a6f3ab5fecb896c2-768x525.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-458329272_custom-2bb2cd09823b9723598ccde7a6f3ab5fecb896c2-1020x697.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-458329272_custom-2bb2cd09823b9723598ccde7a6f3ab5fecb896c2-1200x820.jpe 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-458329272_custom-2bb2cd09823b9723598ccde7a6f3ab5fecb896c2-1920x1312.jpe 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-458329272_custom-2bb2cd09823b9723598ccde7a6f3ab5fecb896c2-1180x806.jpe 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-458329272_custom-2bb2cd09823b9723598ccde7a6f3ab5fecb896c2-960x656.jpe 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-458329272_custom-2bb2cd09823b9723598ccde7a6f3ab5fecb896c2-240x164.jpe 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-458329272_custom-2bb2cd09823b9723598ccde7a6f3ab5fecb896c2-375x256.jpe 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-458329272_custom-2bb2cd09823b9723598ccde7a6f3ab5fecb896c2-520x355.jpe 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-458329272_custom-2bb2cd09823b9723598ccde7a6f3ab5fecb896c2.jpe 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A boy from Honduras watches a movie at a detention facility run by the U.S. Border Patrol in McAllen, Texas, in 2014. The Border Patrol opened the holding center to temporarily house the children after tens of thousands of families and unaccompanied minors from Central America crossed the border illegally into the United States during the spring and summer. \u003ccite>(John Moore/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>On how this story has affected him \u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As a photojournalist, it’s my role to keep going, even when it’s hard. But as a father — and I have a toddler myself — it was very difficult to see what was happening in front of my lens and thinking what it would be like for my kids to be separated from me. \u003c/p>\n\u003cfigure id=\"attachment_13835507\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/Border-Wall-Moore-800x532.jpeg\" alt=\"U.S. Border Patrol agent Sal De Leon stands near a section of the U.S.- Mexico border fence while stopping on patrol in 2013 in La Joya, Texas.\" width=\"800\" height=\"532\" class=\"size-medium wp-image-13835507\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Border-Wall-Moore-800x532.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Border-Wall-Moore-160x106.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Border-Wall-Moore-768x511.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Border-Wall-Moore-1020x679.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Border-Wall-Moore-1200x798.jpeg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Border-Wall-Moore-1180x785.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Border-Wall-Moore-960x639.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Border-Wall-Moore-240x160.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Border-Wall-Moore-375x250.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Border-Wall-Moore-520x346.jpeg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Border-Wall-Moore.jpeg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">U.S. Border Patrol agent Sal De Leon stands near a section of the U.S.- Mexico border fence while stopping on patrol in 2013 in La Joya, Texas. \u003ccite>(John Moore/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27It+Was+Hard+To+Take+These+Pictures%2C+Knowing+What+Was+Coming+Next%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"slug": "photos-and-recap-wine-bowties-feels-vi-at-the-craneway-pavilion",
"title": "Photos and Recap: Wine & Bowties' FEELS VI at the Craneway Pavilion",
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"headTitle": "Photos and Recap: Wine & Bowties’ FEELS VI at the Craneway Pavilion | KQED",
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"content": "\u003cp>After a two-year absence, the \u003ca href=\"http://wineandbowties.com/\" rel=\"noopener\" target=\"_blank\">Wine & Bowties\u003c/a> crew brought back its massive party/show/festival/celebration FEELS at the Craneway Pavilion in Richmond over the weekend. Though the venue may have been more formal than its previous locations (the \u003ca href=\"https://www.kqed.org/arts/11628892/photos-feels-v-oaklands-hottest-underground-warehouse-party\" rel=\"noopener\" target=\"_blank\">past two FEELS\u003c/a> were held at American Steel warehouse in West Oakland), the inclusive atmosphere and staggering creative heft of music and art exploded bigger than ever.\u003c/p>\n\u003cfigure id=\"attachment_13835347\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/MG_5721-800x450.jpg\" alt=\"Mykki Blanco plays FEELS 6 at The Craneway Pavilion in Richmond on Saturday, June 16. (Estefany Gonzalez)\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13835347\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5721-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5721-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5721-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5721-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5721-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5721.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5721-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5721-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5721-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5721-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5721-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mykki Blanco plays FEELS 6 at The Craneway Pavilion in Richmond on Saturday, June 16. (Estefany Gonzalez)\u003c/figcaption>\u003c/figure>\n\u003cp>Highlights near the end of the night included Mykki Blanco’s spastic run through the crowd to climb a warehouse scaffold, Bbymutha’s confident set of slaps on a side stage, and Princess Nokia’s festival-closing, stagedive-peppered set. Artwork from Jeffrey Cheung, Sadie Barnette, Yetunde Olagbaju, and many others filled the hall; Zachary Fox \u003ca href=\"https://www.instagram.com/p/BkIuaxwFox4/\" rel=\"noopener\" target=\"_blank\">recreated his teenage bedroom\u003c/a> next to a couch area. But overall, the cross-collaborative environment is what makes FEELS quintessentially Bay Area; I knew at least two people who flew in from across the country to celebrate its return. Even Kehlani came through.\u003c/p>\n\u003cfigure id=\"attachment_13835343\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/MG_5173-2-800x450.jpg\" alt=\"Kehlani attends FEELS 6 at The Craneway Pavilion in Richmond on Saturday, June 16. Estefany Gonzalez)\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13835343\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5173-2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5173-2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5173-2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5173-2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5173-2-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5173-2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5173-2-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5173-2-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5173-2-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5173-2-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5173-2-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kehlani attends FEELS 6 at The Craneway Pavilion in Richmond on Saturday, June 16. (Estefany Gonzalez) \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>By the time Kelis hit the stage, the whole warehouse was lit in a steady stream of movement. Princess Nokia’s closing set, stagedives and all, capped the night—one where, more than ever, \u003ca href=\"https://twitter.com/OGpenn/status/1008260676924477440\" rel=\"noopener\" target=\"_blank\">the people were the artwork\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Photos below\u003c/strong>. \u003c/p>\n\u003cp>[gallery type=\"slideshow\" size=\"full\" ids=\"13835288,13835285,13835273,13835276,13835259,13835284,13835251,13835281,13835236,13835226,13835228,13835231,13835233,13835238,13835241,13835243,13835244,13835252,13835246,13835287,13835286,13835283,13835279,13835280,13835282,13835277,13835275,13835274,13835272,13835271,13835270,13835269,13835268,13835262,13835265,13835266,13835267,13835261,13835260,13835256,13835255,13835249,13835250,13835253,13835248,13835247,13835239,13835240,13835242,13835237,13835234\" orderby=\"rand\"]\u003c/p>\n\u003cp>\u003cem>All photos by Estefany Gonzalez.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"title": "Photos and Recap: Wine & Bowties' FEELS VI at the Craneway Pavilion | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>After a two-year absence, the \u003ca href=\"http://wineandbowties.com/\" rel=\"noopener\" target=\"_blank\">Wine & Bowties\u003c/a> crew brought back its massive party/show/festival/celebration FEELS at the Craneway Pavilion in Richmond over the weekend. Though the venue may have been more formal than its previous locations (the \u003ca href=\"https://www.kqed.org/arts/11628892/photos-feels-v-oaklands-hottest-underground-warehouse-party\" rel=\"noopener\" target=\"_blank\">past two FEELS\u003c/a> were held at American Steel warehouse in West Oakland), the inclusive atmosphere and staggering creative heft of music and art exploded bigger than ever.\u003c/p>\n\u003cfigure id=\"attachment_13835347\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/MG_5721-800x450.jpg\" alt=\"Mykki Blanco plays FEELS 6 at The Craneway Pavilion in Richmond on Saturday, June 16. (Estefany Gonzalez)\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13835347\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5721-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5721-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5721-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5721-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5721-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5721.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5721-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5721-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5721-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5721-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5721-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mykki Blanco plays FEELS 6 at The Craneway Pavilion in Richmond on Saturday, June 16. (Estefany Gonzalez)\u003c/figcaption>\u003c/figure>\n\u003cp>Highlights near the end of the night included Mykki Blanco’s spastic run through the crowd to climb a warehouse scaffold, Bbymutha’s confident set of slaps on a side stage, and Princess Nokia’s festival-closing, stagedive-peppered set. Artwork from Jeffrey Cheung, Sadie Barnette, Yetunde Olagbaju, and many others filled the hall; Zachary Fox \u003ca href=\"https://www.instagram.com/p/BkIuaxwFox4/\" rel=\"noopener\" target=\"_blank\">recreated his teenage bedroom\u003c/a> next to a couch area. But overall, the cross-collaborative environment is what makes FEELS quintessentially Bay Area; I knew at least two people who flew in from across the country to celebrate its return. Even Kehlani came through.\u003c/p>\n\u003cfigure id=\"attachment_13835343\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/MG_5173-2-800x450.jpg\" alt=\"Kehlani attends FEELS 6 at The Craneway Pavilion in Richmond on Saturday, June 16. Estefany Gonzalez)\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13835343\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5173-2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5173-2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5173-2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5173-2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5173-2-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5173-2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5173-2-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5173-2-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5173-2-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5173-2-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5173-2-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kehlani attends FEELS 6 at The Craneway Pavilion in Richmond on Saturday, June 16. (Estefany Gonzalez) \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>By the time Kelis hit the stage, the whole warehouse was lit in a steady stream of movement. Princess Nokia’s closing set, stagedives and all, capped the night—one where, more than ever, \u003ca href=\"https://twitter.com/OGpenn/status/1008260676924477440\" rel=\"noopener\" target=\"_blank\">the people were the artwork\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Photos below\u003c/strong>. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Unidentified Thief Caught on Camera Stealing $45,000 Banksy Print from Exhibit",
"headTitle": "Unidentified Thief Caught on Camera Stealing $45,000 Banksy Print from Exhibit | KQED",
"content": "\u003cp>Right around dawn Sunday, an unidentified person stole into an art exhibition space in Toronto. Encased in a sweatshirt, with hands in armpits and face obscured by a camouflage cap, the dark-dressed lurker slinked into a room lined with works by Banksy.\u003c/p>\n\u003cp>Then, in the surveillance video \u003ca href=\"https://youtu.be/P4zBPo1L-gw\" blank=\"_blank\">released Thursday\u003c/a> by Toronto police, the person ducks into the camera’s blind spot and emerges with artwork in hand. The thief then quickly carries it out the door.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=P4zBPo1L-gw\u003c/p>\n\u003cp>The apparently burgled work is a print of a piece known as \u003cem>Trolley Hunters\u003c/em>, which had been featured in \u003ca href=\"https://www.banksyexhibit.com/\" blank=\"_blank\">The Art of Banksy\u003c/a>, an unauthorized exhibit of the street artist’s work.\u003c/p>\n\u003cp>Now, law enforcement is \u003ca href=\"http://www.torontopolice.on.ca/newsreleases/41343\" target=\"_blank\" rel=\"noopener\">seeking assistance\u003c/a> in finding a man “described as wearing glasses, black jacket, green camouflage baseball hat, blue jeans rolled at the cuff, grey running shoes, glasses.” They say the stolen work is worth about $45,000. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It bears mentioning that this isn’t the first time the Toronto exhibit — billed as “the largest Banksy exhibit ever assembled!” — has drawn widespread attention of the less-than-positive variety.\u003c/p>\n\u003cp>The show features privately owned art curated by Banksy’s former agent and collectively valued at over $35 million, according to organizers. It displays more than 80 works.\u003c/p>\n\u003cp>The originals tend to be graffiti on building facades, seen for free by passers-by, rather than pictures hung from studio walls. Meanwhile, a general-admission ticket to attend the exhibit costs about $25.\u003c/p>\n\u003cp>And that discrepancy was \u003ca href=\"https://twitter.com/i/moments/1007235669658398720\" target=\"_blank\" rel=\"noopener\">not lost\u003c/a> on \u003ca href=\"https://nowtoronto.com/culture/art-and-design/art-of-banksy-exhibit-toronto/\" target=\"_blank\" rel=\"noopener\">some skeptics\u003c/a>, many of whom have pointed out that one of the artist’s prevailing themes — seen most vividly in the 2010 Banksy film \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=126037446\" target=\"_blank\" rel=\"noopener\">Exit Through the Gift Shop\u003c/a> — has been the lambasting of the art world’s commercialization and cults of celebrity.\u003c/p>\n\u003cp>Just this week, in fact, Banksy spoke on this point, talking about submitting work to a Royal Academy exhibition under an anagrammed pseudonym and getting refused.\u003c/p>\n\u003cp>“Then a month later I got a mail from the co-ordinator Grayson Perry asking me to submit something so I sent it again,” Banksy said \u003ca href=\"https://www.instagram.com/p/Bj47OxbBUNj/?hl=en&taken-by=banksy\" target=\"_blank\" rel=\"noopener\">on Instagram\u003c/a>. “It’s now hanging in gallery 3.”\u003c/p>\n\u003cp>Partly for that reason, perhaps, and partly \u003ca href=\"https://www.youtube.com/watch?v=P4zBPo1L-gw&lc=UgwZUK02qHWKOoGadUB4AaABAg\" target=\"_blank\" rel=\"noopener\">out of a paranoia\u003c/a> that seems suitable when speaking of Banksy, \u003ca href=\"https://www.youtube.com/watch?v=P4zBPo1L-gw&lc=Ugxym6xoLPE7wHEqiTR4AaABAg\" target=\"_blank\" rel=\"noopener\">several commenters\u003c/a> on the police video and \u003ca href=\"https://twitter.com/alexbierk/status/1007080492548677633\" target=\"_blank\" rel=\"noopener\">elsewhere\u003c/a> on social media \u003ca href=\"https://www.youtube.com/watch?v=P4zBPo1L-gw&lc=Ugz4ciClDf0UXVZ9_m94AaABAg\" target=\"_blank\" rel=\"noopener\">appear to have agreed\u003c/a> on a \u003ca href=\"https://twitter.com/laurenonizzle/status/1007378965399515141\" target=\"_blank\" rel=\"noopener\">single culprit\u003c/a> for the \u003c/p>\n\u003cp>https://twitter.com/laurenonizzle/status/1007378965399515141theft: Banksy himself.\u003c/p>\n\u003cp>\u003ca href=\"http://www.cbc.ca/news/canada/toronto/banksy-art-reported-stolen-1.4706015\" target=\"_blank\" rel=\"noopener\">According to the Canadian Broadcasting Corp.\u003c/a>, though, the show’s publicist has “denied any suggestion the surveillance video was fake or a publicity stunt. She said the thief may have taken only one Banksy piece out of fear of discovery.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And Toronto police are taking the matter very seriously and are looking for suspects. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Unidentified+Thief+Caught+On+Camera+Stealing+%2445%2C000+Banksy+Print+From+Exhibit&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "Toronto police say 'Trolley Hunters' was stolen from the unauthorized show Sunday — and they've released surveillance video backing it up. That hasn't quieted conspiracy theorists, though.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Right around dawn Sunday, an unidentified person stole into an art exhibition space in Toronto. Encased in a sweatshirt, with hands in armpits and face obscured by a camouflage cap, the dark-dressed lurker slinked into a room lined with works by Banksy.\u003c/p>\n\u003cp>Then, in the surveillance video \u003ca href=\"https://youtu.be/P4zBPo1L-gw\" blank=\"_blank\">released Thursday\u003c/a> by Toronto police, the person ducks into the camera’s blind spot and emerges with artwork in hand. The thief then quickly carries it out the door.\u003c/p>\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/P4zBPo1L-gw'\n title='//www.youtube.com/embed/P4zBPo1L-gw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The apparently burgled work is a print of a piece known as \u003cem>Trolley Hunters\u003c/em>, which had been featured in \u003ca href=\"https://www.banksyexhibit.com/\" blank=\"_blank\">The Art of Banksy\u003c/a>, an unauthorized exhibit of the street artist’s work.\u003c/p>\n\u003cp>Now, law enforcement is \u003ca href=\"http://www.torontopolice.on.ca/newsreleases/41343\" target=\"_blank\" rel=\"noopener\">seeking assistance\u003c/a> in finding a man “described as wearing glasses, black jacket, green camouflage baseball hat, blue jeans rolled at the cuff, grey running shoes, glasses.” They say the stolen work is worth about $45,000. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It bears mentioning that this isn’t the first time the Toronto exhibit — billed as “the largest Banksy exhibit ever assembled!” — has drawn widespread attention of the less-than-positive variety.\u003c/p>\n\u003cp>The show features privately owned art curated by Banksy’s former agent and collectively valued at over $35 million, according to organizers. It displays more than 80 works.\u003c/p>\n\u003cp>The originals tend to be graffiti on building facades, seen for free by passers-by, rather than pictures hung from studio walls. Meanwhile, a general-admission ticket to attend the exhibit costs about $25.\u003c/p>\n\u003cp>And that discrepancy was \u003ca href=\"https://twitter.com/i/moments/1007235669658398720\" target=\"_blank\" rel=\"noopener\">not lost\u003c/a> on \u003ca href=\"https://nowtoronto.com/culture/art-and-design/art-of-banksy-exhibit-toronto/\" target=\"_blank\" rel=\"noopener\">some skeptics\u003c/a>, many of whom have pointed out that one of the artist’s prevailing themes — seen most vividly in the 2010 Banksy film \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=126037446\" target=\"_blank\" rel=\"noopener\">Exit Through the Gift Shop\u003c/a> — has been the lambasting of the art world’s commercialization and cults of celebrity.\u003c/p>\n\u003cp>Just this week, in fact, Banksy spoke on this point, talking about submitting work to a Royal Academy exhibition under an anagrammed pseudonym and getting refused.\u003c/p>\n\u003cp>“Then a month later I got a mail from the co-ordinator Grayson Perry asking me to submit something so I sent it again,” Banksy said \u003ca href=\"https://www.instagram.com/p/Bj47OxbBUNj/?hl=en&taken-by=banksy\" target=\"_blank\" rel=\"noopener\">on Instagram\u003c/a>. “It’s now hanging in gallery 3.”\u003c/p>\n\u003cp>Partly for that reason, perhaps, and partly \u003ca href=\"https://www.youtube.com/watch?v=P4zBPo1L-gw&lc=UgwZUK02qHWKOoGadUB4AaABAg\" target=\"_blank\" rel=\"noopener\">out of a paranoia\u003c/a> that seems suitable when speaking of Banksy, \u003ca href=\"https://www.youtube.com/watch?v=P4zBPo1L-gw&lc=Ugxym6xoLPE7wHEqiTR4AaABAg\" target=\"_blank\" rel=\"noopener\">several commenters\u003c/a> on the police video and \u003ca href=\"https://twitter.com/alexbierk/status/1007080492548677633\" target=\"_blank\" rel=\"noopener\">elsewhere\u003c/a> on social media \u003ca href=\"https://www.youtube.com/watch?v=P4zBPo1L-gw&lc=Ugz4ciClDf0UXVZ9_m94AaABAg\" target=\"_blank\" rel=\"noopener\">appear to have agreed\u003c/a> on a \u003ca href=\"https://twitter.com/laurenonizzle/status/1007378965399515141\" target=\"_blank\" rel=\"noopener\">single culprit\u003c/a> for the \u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>theft: Banksy himself.\u003c/p>\n\u003cp>\u003ca href=\"http://www.cbc.ca/news/canada/toronto/banksy-art-reported-stolen-1.4706015\" target=\"_blank\" rel=\"noopener\">According to the Canadian Broadcasting Corp.\u003c/a>, though, the show’s publicist has “denied any suggestion the surveillance video was fake or a publicity stunt. She said the thief may have taken only one Banksy piece out of fear of discovery.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And Toronto police are taking the matter very seriously and are looking for suspects. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Unidentified+Thief+Caught+On+Camera+Stealing+%2445%2C000+Banksy+Print+From+Exhibit&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cspan style=\"font-weight: 400\">\u003ca href=\"https://www.eventbrite.com/e/feels-6-with-kelis-princess-nokia-mykki-blanco-more-tickets-45007616994\" target=\"_blank\" rel=\"noopener\">Feels 6\u003c/a>, an Oakland-born art and music fest, is resurfacing in Richmond on June 16 after a two year lull, with headliners Kelis, Princess Nokia and Mykki Blanco. And Wine & Bowties, the creative collective behind the event, announced Friday morning that the visual art preview on June 15 will feature \u003ca href=\"https://www.eventbrite.com/e/janelle-monaes-dirty-computer-pop-up-screening-at-feels-6-tickets-47097938201\" target=\"_blank\" rel=\"noopener\">a screening\u003c/a> of Janelle Monáe’s “emotion picture,” or short film, \u003cem>Dirty Computer\u003c/em>, hosted by the artist herself.\u003c/span>\u003c/p>\n\u003cp>Previously, the June 15 art preview was for VIP ticket holders only, but there are now a limited number of free spots to attend the screening with Monáe, and \u003ca href=\"https://www.eventbrite.com/e/janelle-monaes-dirty-computer-pop-up-screening-at-feels-6-tickets-47097938201\" target=\"_blank\" rel=\"noopener\">RSVP\u003c/a> is required. The June 15 event also features a solo performance from experimental singer-songwriter Lonnie Holley and short film screenings from filmmakers Yetunde Olagbaju, Summer Mason, Mark Sabb, Laneya Billingsley and more.\u003c/p>\n\u003cp>This year’s Feels is unlike previous editions. Once held at the industrial warehouse American Steel in West Oakland, the party made the move to Craneway Pavilion, a glass-paneled, 45,000-square-foot concert hall with views of the San Francisco Bay, following the sale of its previous location.\u003c/p>\n\u003cfigure id=\"attachment_13829093\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13829093\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/spellling-at-feels-bampfa-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/spellling-at-feels-bampfa-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/spellling-at-feels-bampfa-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/spellling-at-feels-bampfa-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/spellling-at-feels-bampfa-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/spellling-at-feels-bampfa.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/spellling-at-feels-bampfa-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/spellling-at-feels-bampfa-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/spellling-at-feels-bampfa-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/spellling-at-feels-bampfa-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/spellling-at-feels-bampfa-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Spellling performs at Wine & Bowties’ Feels 6 announcement party at the Berkeley Art Museum and Pacific Film Archive on Apr. 10, 2018. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This year’s event has a notable majority of female and LGBTQ performers on its musical lineup. Rappers Queens D. Light and Siri; DJs Fela Kutchii, B-Side Brujas, Namaste Shawty and Russell E.L. Butler; and experimental singer-songwriter Spellling are featured on the bill, in addition to rising rappers Allblack and Rexx Life Raj and electronic musician Yves Tumor.\u003c/p>\n\u003cp>The visual arts lineup includes Chaz Bear, Kesh, Sadie Barnette, Zack Fox, Dicko Chan, Jeffrey Cheung, Sofía Córdova, Muae Sesay, Ali Madigan, Azha Ayanna Luckman, David Huffman, House of Milico, Sko Habibi, Ezra Miller, Mark Sabb, Oliva Krause, Rewina Beshue, Jjaahz, Laneya Billingsley and Flatspot. Details \u003ca href=\"http://feels6.tv/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">\u003ca href=\"https://www.eventbrite.com/e/feels-6-with-kelis-princess-nokia-mykki-blanco-more-tickets-45007616994\" target=\"_blank\" rel=\"noopener\">Feels 6\u003c/a>, an Oakland-born art and music fest, is resurfacing in Richmond on June 16 after a two year lull, with headliners Kelis, Princess Nokia and Mykki Blanco. And Wine & Bowties, the creative collective behind the event, announced Friday morning that the visual art preview on June 15 will feature \u003ca href=\"https://www.eventbrite.com/e/janelle-monaes-dirty-computer-pop-up-screening-at-feels-6-tickets-47097938201\" target=\"_blank\" rel=\"noopener\">a screening\u003c/a> of Janelle Monáe’s “emotion picture,” or short film, \u003cem>Dirty Computer\u003c/em>, hosted by the artist herself.\u003c/span>\u003c/p>\n\u003cp>Previously, the June 15 art preview was for VIP ticket holders only, but there are now a limited number of free spots to attend the screening with Monáe, and \u003ca href=\"https://www.eventbrite.com/e/janelle-monaes-dirty-computer-pop-up-screening-at-feels-6-tickets-47097938201\" target=\"_blank\" rel=\"noopener\">RSVP\u003c/a> is required. The June 15 event also features a solo performance from experimental singer-songwriter Lonnie Holley and short film screenings from filmmakers Yetunde Olagbaju, Summer Mason, Mark Sabb, Laneya Billingsley and more.\u003c/p>\n\u003cp>This year’s Feels is unlike previous editions. Once held at the industrial warehouse American Steel in West Oakland, the party made the move to Craneway Pavilion, a glass-paneled, 45,000-square-foot concert hall with views of the San Francisco Bay, following the sale of its previous location.\u003c/p>\n\u003cfigure id=\"attachment_13829093\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13829093\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/spellling-at-feels-bampfa-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/spellling-at-feels-bampfa-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/spellling-at-feels-bampfa-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/spellling-at-feels-bampfa-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/spellling-at-feels-bampfa-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/spellling-at-feels-bampfa.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/spellling-at-feels-bampfa-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/spellling-at-feels-bampfa-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/spellling-at-feels-bampfa-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/spellling-at-feels-bampfa-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/spellling-at-feels-bampfa-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Spellling performs at Wine & Bowties’ Feels 6 announcement party at the Berkeley Art Museum and Pacific Film Archive on Apr. 10, 2018. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This year’s event has a notable majority of female and LGBTQ performers on its musical lineup. Rappers Queens D. Light and Siri; DJs Fela Kutchii, B-Side Brujas, Namaste Shawty and Russell E.L. Butler; and experimental singer-songwriter Spellling are featured on the bill, in addition to rising rappers Allblack and Rexx Life Raj and electronic musician Yves Tumor.\u003c/p>\n\u003cp>The visual arts lineup includes Chaz Bear, Kesh, Sadie Barnette, Zack Fox, Dicko Chan, Jeffrey Cheung, Sofía Córdova, Muae Sesay, Ali Madigan, Azha Ayanna Luckman, David Huffman, House of Milico, Sko Habibi, Ezra Miller, Mark Sabb, Oliva Krause, Rewina Beshue, Jjaahz, Laneya Billingsley and Flatspot. Details \u003ca href=\"http://feels6.tv/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Activists urging the removal of a prominent 19th century statue in San Francisco depicting a Native American at the feet of a Spanish cowboy and a Catholic missionary will get another chance to make their case.\u003c/p>\n\u003cp>The \u003ca href=\"https://www.sfchronicle.com/bayarea/article/Proposal-to-remove-Early-Days-statue-in-SF-12992952.php\" rel=\"noopener\" target=\"_blank\">San Francisco Chronicle\u003c/a> reports the city’s Board of Appeals voted Wednesday to grant a rehearing on removing the “Early Days” statue near City Hall.\u003c/p>\n\u003cp>The San Francisco Arts Commission and Historic Preservation Commission decided to put the statue in storage amid complaints it was racist and demeaned Native Americans.\u003c/p>\n\u003cp>But the Board of Appeals in April overturned their decisions, saying the historic commission had overlooked its duty to preserve history.\u003c/p>\n\u003cp>Mayor Mark Farrell said he was embarrassed by the board’s decision, and the city’s Board of Supervisors unanimously called for the statue’s removal.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The board received more than a dozen letters and emails advocating the statue’s removal and two in support of its public display.\u003c/p>\n\u003cp>“If we wipe away the traces of injustice, we will forget that injustice and repeat it,” Eric Heisdorf wrote the board in support of the statue.\u003c/p>\n\u003cp>The issue gained momentum last year after sometime-violent debates erupted across the country over removing Confederate statues. The Southern Poverty Law Center, an Alabama civil rights legal clinic, reported that 47 Confederate monuments have been removed across the country since the June 2015\u003c/p>\n\u003cp>According to a new report from the Southern Poverty Law Center, 110 Confederate symbols — 47 of them monuments — have been removed across the nation since the Charleston murders.\u003c/p>\n\u003cp>Native American activists have advocated for the statue’s removal for decades.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The new hearing will be held later in the summer.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Activists urging the removal of a prominent 19th century statue in San Francisco depicting a Native American at the feet of a Spanish cowboy and a Catholic missionary will get another chance to make their case.\u003c/p>\n\u003cp>The \u003ca href=\"https://www.sfchronicle.com/bayarea/article/Proposal-to-remove-Early-Days-statue-in-SF-12992952.php\" rel=\"noopener\" target=\"_blank\">San Francisco Chronicle\u003c/a> reports the city’s Board of Appeals voted Wednesday to grant a rehearing on removing the “Early Days” statue near City Hall.\u003c/p>\n\u003cp>The San Francisco Arts Commission and Historic Preservation Commission decided to put the statue in storage amid complaints it was racist and demeaned Native Americans.\u003c/p>\n\u003cp>But the Board of Appeals in April overturned their decisions, saying the historic commission had overlooked its duty to preserve history.\u003c/p>\n\u003cp>Mayor Mark Farrell said he was embarrassed by the board’s decision, and the city’s Board of Supervisors unanimously called for the statue’s removal.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The board received more than a dozen letters and emails advocating the statue’s removal and two in support of its public display.\u003c/p>\n\u003cp>“If we wipe away the traces of injustice, we will forget that injustice and repeat it,” Eric Heisdorf wrote the board in support of the statue.\u003c/p>\n\u003cp>The issue gained momentum last year after sometime-violent debates erupted across the country over removing Confederate statues. The Southern Poverty Law Center, an Alabama civil rights legal clinic, reported that 47 Confederate monuments have been removed across the country since the June 2015\u003c/p>\n\u003cp>According to a new report from the Southern Poverty Law Center, 110 Confederate symbols — 47 of them monuments — have been removed across the nation since the Charleston murders.\u003c/p>\n\u003cp>Native American activists have advocated for the statue’s removal for decades.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The new hearing will be held later in the summer.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'Beyond The Streets,' and Far From Vandalism: Street Art Gets a Massive Show",
"headTitle": "‘Beyond The Streets,’ and Far From Vandalism: Street Art Gets a Massive Show | KQED",
"content": "\u003cp>Outlaws. That’s what they were considered when they spray-painted walls and bombed subway cars with modern-day hieroglyphics. They worked in alleys and train yards, bridges and tunnels. Now, many of them are being celebrated in a massive warehouse near Los Angeles’ Chinatown.\u003c/p>\n\u003cp>The exhibition “\u003ca href=\"https://www.beyondthestreets.com/\">Beyond the Streets\u003c/a>” focuses on the studio work street artists created later in their careers. It has more 40,000-square feet of paintings, murals, photos, installations and even old video games. (NPR gave “Beyond the Streets” a small amount of support as a media partner.)\u003c/p>\n\u003cp>“This is vandalism as contemporary art, or contemporary art as vandalism, depending on how you want to look at it,” says curator Roger Gastman, co-author of \u003cem>The History of American Graffiti\u003c/em>. “Street art has become such a buzzword, and lot of the motivation for doing a show like this was to show who the true artists respected by people inside the culture are.”\u003c/p>\n\u003cfigure id=\"attachment_13834860\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/lee-quin-ones_custom-759750522c6a94f80504482168b9ce2b07050ffb-1-800x533.jpg\" alt='New York artist Lee Quiñones painted a full-size handball court for \"Beyond the Streets.\"' width=\"800\" height=\"533\" class=\"size-medium wp-image-13834860\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/lee-quin-ones_custom-759750522c6a94f80504482168b9ce2b07050ffb-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/lee-quin-ones_custom-759750522c6a94f80504482168b9ce2b07050ffb-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/lee-quin-ones_custom-759750522c6a94f80504482168b9ce2b07050ffb-1-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/lee-quin-ones_custom-759750522c6a94f80504482168b9ce2b07050ffb-1-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/lee-quin-ones_custom-759750522c6a94f80504482168b9ce2b07050ffb-1-1200x799.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/lee-quin-ones_custom-759750522c6a94f80504482168b9ce2b07050ffb-1-1920x1279.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/lee-quin-ones_custom-759750522c6a94f80504482168b9ce2b07050ffb-1-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/lee-quin-ones_custom-759750522c6a94f80504482168b9ce2b07050ffb-1-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/lee-quin-ones_custom-759750522c6a94f80504482168b9ce2b07050ffb-1-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/lee-quin-ones_custom-759750522c6a94f80504482168b9ce2b07050ffb-1-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/lee-quin-ones_custom-759750522c6a94f80504482168b9ce2b07050ffb-1-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/lee-quin-ones_custom-759750522c6a94f80504482168b9ce2b07050ffb-1.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">New York artist Lee Quiñones painted a full-size handball court for ‘Beyond the Streets.’ \u003ccite>(Beau Roulette/Courtesy of Beyond The Streets)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The show includes 100 artists, living and deceased; “risk takers,” Gastman says, whose work connects with and inspires artists today. There are classic works by Keith Haring, TAKI 183, Jenny Holzer, SWOON, Jean-Michel Basquiat and photographers Henry Chalfant and Martha Cooper. There are also newer works by CRASH, FUTURA 2000, LADY PINK and Shepard Fairey.\u003c/p>\n\u003cfigure id=\"attachment_13834861\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/streets-composite-1-3b65e279386cdd3c7f0c097b1c625cb05180fe20-1-800x600.jpg\" alt=\"Left: Artist Ron Finley, aka the Gangsta Gardener, constructed one of his outdoor gardens for the exhibition. Right: Artist Kenny Scharf contributed a Day-Glo, black-lit room.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13834861\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/streets-composite-1-3b65e279386cdd3c7f0c097b1c625cb05180fe20-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/streets-composite-1-3b65e279386cdd3c7f0c097b1c625cb05180fe20-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/streets-composite-1-3b65e279386cdd3c7f0c097b1c625cb05180fe20-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/streets-composite-1-3b65e279386cdd3c7f0c097b1c625cb05180fe20-1-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/streets-composite-1-3b65e279386cdd3c7f0c097b1c625cb05180fe20-1-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/streets-composite-1-3b65e279386cdd3c7f0c097b1c625cb05180fe20-1-1920x1439.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/streets-composite-1-3b65e279386cdd3c7f0c097b1c625cb05180fe20-1-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/streets-composite-1-3b65e279386cdd3c7f0c097b1c625cb05180fe20-1-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/streets-composite-1-3b65e279386cdd3c7f0c097b1c625cb05180fe20-1-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/streets-composite-1-3b65e279386cdd3c7f0c097b1c625cb05180fe20-1-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/streets-composite-1-3b65e279386cdd3c7f0c097b1c625cb05180fe20-1-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/streets-composite-1-3b65e279386cdd3c7f0c097b1c625cb05180fe20-1.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Left: Artist Ron Finley, aka the Gangsta Gardener, constructed one of his outdoor gardens for the exhibition. Right: Artist Kenny Scharf contributed a Day-Glo, black-lit room. \u003ccite>(Beau Roulette/Courtesy of Beyond The Streets)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Artist Kenny Scharf\u003cstrong> \u003c/strong>has decked out a Day-Glo, black-lit room for this show, and Lee Quiñones has painted a full-size handball court. Some of L.A.’s legends are here too: street gardener/activist Ron Finley constructed one of his outdoor gardens, and tattoo and graffiti artist Mister Cartoon created his own chapel.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>“Our art criticizes the art system”\u003c/strong>\u003c/p>\n\u003cp>Then there are the Guerrilla Girls, a collective of artists who hide their faces with gorilla masks. The group formed 33 years ago in New York to protest the lack of women artists in museums and galleries, and the way women are represented in the art world.\u003c/p>\n\u003cfigure id=\"attachment_13834862\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/img_0032_wide-4d88d32904a8d058a02928cee87cda63b367b297-1-800x450.jpg\" alt=\"'Beyond the Streets' boasts one of the Guerrilla Girls' most well-known billboards — in Spanish. It translates to "Do women have to be naked to get into the Met? Less than 4 percent of the artists in the modern art sections are women, but 76 percent of the nudes are female."\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13834862\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/img_0032_wide-4d88d32904a8d058a02928cee87cda63b367b297-1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/img_0032_wide-4d88d32904a8d058a02928cee87cda63b367b297-1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/img_0032_wide-4d88d32904a8d058a02928cee87cda63b367b297-1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/img_0032_wide-4d88d32904a8d058a02928cee87cda63b367b297-1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/img_0032_wide-4d88d32904a8d058a02928cee87cda63b367b297-1-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/img_0032_wide-4d88d32904a8d058a02928cee87cda63b367b297-1-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/img_0032_wide-4d88d32904a8d058a02928cee87cda63b367b297-1-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/img_0032_wide-4d88d32904a8d058a02928cee87cda63b367b297-1-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/img_0032_wide-4d88d32904a8d058a02928cee87cda63b367b297-1-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/img_0032_wide-4d88d32904a8d058a02928cee87cda63b367b297-1-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/img_0032_wide-4d88d32904a8d058a02928cee87cda63b367b297-1-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/img_0032_wide-4d88d32904a8d058a02928cee87cda63b367b297-1.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Beyond the Streets’ boasts one of the Guerrilla Girls’ most well-known billboards — in Spanish. It translates to “Do women have to be naked to get into the Met? Less than 4 percent of the artists in the modern art sections are women, but 76 percent of the nudes are female.” \u003ccite>(Nicole Cohen/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>They plastered the streets with humorous, in-your-face posters, some of which are on display at “Beyond the Streets.” One of their most well-known billboards points out that less than 4 percent of the modern art on display at New York’s Metropolitan Museum of Art was created by women, while 76 percent of the nudes are female. Another huge poster depicts a gorilla head with crazy, spiral zombie eyes. It reads, “If you keep women out, they get resentful.”\u003c/p>\n\u003cfigure id=\"attachment_13834863\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/beauroulette_bts_5_1_18_guerrilla_girls_-img_6120-bea2e20593ffb222dd6813a76f9db0ae60d6e3a4-1-800x600.jpg\" alt='The Guerrilla Girls got the idea to hide their faces with gorilla masks after one of them misspelled \"guerrilla\" in a doodle.' width=\"800\" height=\"600\" class=\"size-medium wp-image-13834863\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/beauroulette_bts_5_1_18_guerrilla_girls_-img_6120-bea2e20593ffb222dd6813a76f9db0ae60d6e3a4-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/beauroulette_bts_5_1_18_guerrilla_girls_-img_6120-bea2e20593ffb222dd6813a76f9db0ae60d6e3a4-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/beauroulette_bts_5_1_18_guerrilla_girls_-img_6120-bea2e20593ffb222dd6813a76f9db0ae60d6e3a4-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/beauroulette_bts_5_1_18_guerrilla_girls_-img_6120-bea2e20593ffb222dd6813a76f9db0ae60d6e3a4-1-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/beauroulette_bts_5_1_18_guerrilla_girls_-img_6120-bea2e20593ffb222dd6813a76f9db0ae60d6e3a4-1-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/beauroulette_bts_5_1_18_guerrilla_girls_-img_6120-bea2e20593ffb222dd6813a76f9db0ae60d6e3a4-1-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/beauroulette_bts_5_1_18_guerrilla_girls_-img_6120-bea2e20593ffb222dd6813a76f9db0ae60d6e3a4-1-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/beauroulette_bts_5_1_18_guerrilla_girls_-img_6120-bea2e20593ffb222dd6813a76f9db0ae60d6e3a4-1-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/beauroulette_bts_5_1_18_guerrilla_girls_-img_6120-bea2e20593ffb222dd6813a76f9db0ae60d6e3a4-1-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/beauroulette_bts_5_1_18_guerrilla_girls_-img_6120-bea2e20593ffb222dd6813a76f9db0ae60d6e3a4-1-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/beauroulette_bts_5_1_18_guerrilla_girls_-img_6120-bea2e20593ffb222dd6813a76f9db0ae60d6e3a4-1-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/beauroulette_bts_5_1_18_guerrilla_girls_-img_6120-bea2e20593ffb222dd6813a76f9db0ae60d6e3a4-1.jpg 1998w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Guerrilla Girls got the idea to hide their faces with gorilla masks after one of them misspelled “guerrilla” in a doodle. \u003ccite>(Beau Roulette/Courtesy of Beyond The Streets)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of the group’s founders goes by the pseudonym Käthe Kollwitz, a name borrowed from a \u003ca href=\"https://www.moma.org/artists/3201\" target>German political artist\u003c/a> born in 1867. She says, “Our art criticizes the art system, and we thought this up in the first place because we loved what we saw on the streets of New York: political posters, graffiti, tagging, art on the streets.”\u003c/p>\n\u003cp>Their criticism has gotten their art into major museums around the world. But Kollwitz notes that, ironically, the number of women artists included in “Beyond the Streets” isn’t great.\u003c/p>\n\u003cp>“There have always been issues with women in graffiti art,” she says.\u003c/p>\n\u003cp>\u003cstrong>Red-light district\u003c/strong>\u003c/p>\n\u003cp>Tokyo-born street artist Aiko Nakagawa, who goes by Lady AIKO and AIKO, combines graffiti art techniques with 18th-century Japanese woodblock printing to make large-scale works. For “Beyond the Streets,” AIKO\u003cstrong> \u003c/strong>created a red-light district room filled with erotic, comic book-like images using layered stencils and spray paint. There are signs and billboards advertising peep shows, hostess dancers and a “rub parlor.”\u003c/p>\n\u003cfigure id=\"attachment_13834864\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/aiko-composite1_custom-d8aad23613f017860a1ef885bcce6bcc19b10284-1-800x473.jpg\" alt=\"Left: AIKO's red-light district room is filled with erotic, comic book-like images. Right: AIKO (pictured) has shown her work in Rome, Shanghai and New York, where she's now based.\" width=\"800\" height=\"473\" class=\"size-medium wp-image-13834864\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/aiko-composite1_custom-d8aad23613f017860a1ef885bcce6bcc19b10284-1-800x473.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/aiko-composite1_custom-d8aad23613f017860a1ef885bcce6bcc19b10284-1-160x95.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/aiko-composite1_custom-d8aad23613f017860a1ef885bcce6bcc19b10284-1-768x454.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/aiko-composite1_custom-d8aad23613f017860a1ef885bcce6bcc19b10284-1-1020x603.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/aiko-composite1_custom-d8aad23613f017860a1ef885bcce6bcc19b10284-1-1200x710.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/aiko-composite1_custom-d8aad23613f017860a1ef885bcce6bcc19b10284-1-1920x1135.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/aiko-composite1_custom-d8aad23613f017860a1ef885bcce6bcc19b10284-1-1180x698.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/aiko-composite1_custom-d8aad23613f017860a1ef885bcce6bcc19b10284-1-960x568.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/aiko-composite1_custom-d8aad23613f017860a1ef885bcce6bcc19b10284-1-240x142.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/aiko-composite1_custom-d8aad23613f017860a1ef885bcce6bcc19b10284-1-375x222.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/aiko-composite1_custom-d8aad23613f017860a1ef885bcce6bcc19b10284-1-520x307.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/aiko-composite1_custom-d8aad23613f017860a1ef885bcce6bcc19b10284-1.jpg 1994w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Left: AIKO’s red-light district room is filled with erotic, comic book-like images. Right: AIKO (pictured) has shown her work in Rome, Shanghai and New York, where she’s now based. \u003ccite>(Beau Roulette/Courtesy of Beyond The Streets)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>AIKO\u003cstrong> \u003c/strong>says her images are reminiscent of the old, X-rated Times Square, and Japanese shunga, or erotic art. “People used to draw really sexy stuff in my country, so I’m making this whole section sexual and pornographic,” she says. “But also it’s more about women. You see [in the work] more sexual energy from women than men. My red-light district is more about how women want to have good time. We also want to enjoy some sexuality.”\u003c/p>\n\u003cp>AIKO says she had a depressing childhood in Tokyo, and began making art as an escape from being misunderstood. In her 20s, she moved to New York without knowing anyone or speaking English. There, she worked as a studio apprentice for artist Takashi Murakami, and began wheat pasting images of herself all over the city. She helped start the artist collective FAILE and collaborated with the anonymous artist Banksy on his 2010 film, \u003cem>Exit Through the Gift Shop\u003c/em>. She even designed for Louis Vuitton.\u003c/p>\n\u003cp>“Don’t get me wrong,” she says. “I’m not always doing sex images. This is for a special occasion.”\u003c/p>\n\u003cp>\u003cstrong>“Writing graffiti is a literal rite of passage”\u003c/strong>\u003c/p>\n\u003cp>Since the early 1990s, Claudia Gold, who goes by CLAW and CLAW MONEY,\u003cstrong> \u003c/strong> has been spray-painting her nickname and her trademark cartoon paw all over New York City.\u003c/p>\n\u003cfigure id=\"attachment_13834865\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/claw-f4d5a0e134085f0f29741f913aa3f645babd9d04-1-800x600.jpg\" alt='CLAW started bombing New York subway cars with her signature paw in the 1990s. \"We knew that they wanted to come after you if you painted the trains,\" she says. \"So to keep myself safer, I would only do a train here and there.\"' width=\"800\" height=\"600\" class=\"size-medium wp-image-13834865\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/claw-f4d5a0e134085f0f29741f913aa3f645babd9d04-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/claw-f4d5a0e134085f0f29741f913aa3f645babd9d04-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/claw-f4d5a0e134085f0f29741f913aa3f645babd9d04-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/claw-f4d5a0e134085f0f29741f913aa3f645babd9d04-1-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/claw-f4d5a0e134085f0f29741f913aa3f645babd9d04-1-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/claw-f4d5a0e134085f0f29741f913aa3f645babd9d04-1-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/claw-f4d5a0e134085f0f29741f913aa3f645babd9d04-1-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/claw-f4d5a0e134085f0f29741f913aa3f645babd9d04-1-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/claw-f4d5a0e134085f0f29741f913aa3f645babd9d04-1-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/claw-f4d5a0e134085f0f29741f913aa3f645babd9d04-1-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/claw-f4d5a0e134085f0f29741f913aa3f645babd9d04-1.jpg 1815w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">CLAW started bombing New York subway cars with her signature paw in the 1990s. “We knew that they wanted to come after you if you painted the trains,” she says. “So to keep myself safer, I would only do a train here and there.” \u003ccite>(Beau Roulette/Courtesy of Beyond The Streets)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She began in her early 20s, at a time when fewer women were doing graffiti and the city was on a mission to eradicate graffiti tags. Bombing subway trains wasn’t considered art, she says. “It was more vandalism, and I’m one of the only sort of grimy, early ’90s women street bombers. We knew that they wanted to come after you if you painted the trains, so to keep myself safer, I would only do a train here and there. Then you’d ultimately paint over it. You’d try to get a picture of it with a disposable camera from CVS or something, and hope it’d come out. Then you’d paint over it so they wouldn’t come knocking on your door.”\u003c/p>\n\u003cp>She says graffiti flourished in that lawless, electric time. Back then, many graffiti writers were black or Puerto Rican and had a hip-hop vibe. But CLAW was white, and she sometimes got grief for that. She says, “I felt very rejected — rejected from hip-hop.” So she adopted a rock persona.\u003c/p>\n\u003cp>Three decades later, her graffiti is still scattered all around New York, but she’s also moved on. Now, she uses hand embroidery, silk screening and enamel to design clothing for her brand, CLAW, and she also runs her own boutique on the Lower East Side.\u003c/p>\n\u003cp>She says, “Writing graffiti is a literal rite of passage of kids growing up in New York City, and the ones that have artistic talents are the ones that shine in the streets; and the ones that shine in the streets are encouraged to continue with their artwork. It blossoms like that.”\u003c/p>\n\u003cp>\u003cstrong>“A Monet going 80 miles an hour”\u003c/strong>\u003c/p>\n\u003cp>In the 1980s, the artist Maripol made some of the most iconic images of New York’s street and club scene. She was an underground club kid who had moved to New York from France in 1977 after becoming fascinated with graffiti art.\u003c/p>\n\u003cfigure id=\"attachment_13834870\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/maripol-composite1_custom-8405e76a20832f22d07972acb724cebbd54d9728-s1300-c85-800x330.jpg\" alt=\"'Beyond the Streets' features blown-up prints of Maripol's Polaroids, some of which she has scratched and marked up to create new works of art. (Pictured, left to right: Boombox with Legs, 1978; DayGlo Splash, 1978; Self Portrait Little Red Riding, 1980)\" width=\"800\" height=\"330\" class=\"size-medium wp-image-13834870\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/maripol-composite1_custom-8405e76a20832f22d07972acb724cebbd54d9728-s1300-c85-800x330.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/maripol-composite1_custom-8405e76a20832f22d07972acb724cebbd54d9728-s1300-c85-160x66.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/maripol-composite1_custom-8405e76a20832f22d07972acb724cebbd54d9728-s1300-c85-768x317.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/maripol-composite1_custom-8405e76a20832f22d07972acb724cebbd54d9728-s1300-c85-1020x421.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/maripol-composite1_custom-8405e76a20832f22d07972acb724cebbd54d9728-s1300-c85-1200x496.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/maripol-composite1_custom-8405e76a20832f22d07972acb724cebbd54d9728-s1300-c85-1180x487.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/maripol-composite1_custom-8405e76a20832f22d07972acb724cebbd54d9728-s1300-c85-960x397.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/maripol-composite1_custom-8405e76a20832f22d07972acb724cebbd54d9728-s1300-c85-240x99.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/maripol-composite1_custom-8405e76a20832f22d07972acb724cebbd54d9728-s1300-c85-375x155.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/maripol-composite1_custom-8405e76a20832f22d07972acb724cebbd54d9728-s1300-c85-520x215.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/maripol-composite1_custom-8405e76a20832f22d07972acb724cebbd54d9728-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Beyond the Streets’ features blown-up prints of Maripol’s Polaroids, some of which she has scratched and marked up to create new works of art. (Pictured, left to right: Boombox with Legs, 1978; DayGlo Splash, 1978; Self Portrait Little Red Riding, 1980) \u003ccite>(Courtesy of Maripol)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I sat in the subway looking at the No. 5\u003cstrong> \u003c/strong>train going by, and it was kind of like looking at an amazing abstract painting,” she recalls. “It could have been a Monet going 80 miles an hour.”\u003c/p>\n\u003cp>When her photographer boyfriend gave her her first Polaroid camera, an SX-70, Maripol began photographing friends and downtown legends: Jean-Michel Basquiat, Madonna, Andy Warhol, Keith Haring, Fab 5 Freddy, Grace Jones, Debbie Harry. They hung out together before, during and after clubbing.\u003c/p>\n\u003cfigure id=\"attachment_13834880\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/maripol-actual-edit-920436dfdf60836d959158c638d0189810554bb9-s500-c85.jpg\" alt=\"Maripol styled Blondie for the Parallel Lines album cover and Madonna for the Like a Virgin album cover. She appears here in front of her photographs at 'Beyond the Streets.'\" width=\"500\" height=\"375\" class=\"size-full wp-image-13834880\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/maripol-actual-edit-920436dfdf60836d959158c638d0189810554bb9-s500-c85.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/maripol-actual-edit-920436dfdf60836d959158c638d0189810554bb9-s500-c85-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/maripol-actual-edit-920436dfdf60836d959158c638d0189810554bb9-s500-c85-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/maripol-actual-edit-920436dfdf60836d959158c638d0189810554bb9-s500-c85-375x281.jpg 375w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">Maripol styled Blondie for the Parallel Lines album cover and Madonna for the Like a Virgin album cover. She appears here in front of her photographs at ‘Beyond the Streets.’ \u003ccite>(Mandalit Del Barco/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I had a big downtown loft and it was easy for me to make a party or dinner because I was French and always cooking,” she recalls. “New York was bankrupt. And it was dangerous. You couldn’t even go to Washington Square Park. Madonna came to me because she wanted somebody to do her style, and then Jean-Michel Basquiat was staying with us. He lived with us, and I co-produced and art directed a movie called \u003cem>Downtown 81 \u003c/em>with him. He was 19 when I met him. A lot of time these kids’ parents either kicked them out, or, in Madonna’s case, her parents were in Michigan. I was kind of like a mother hen.”\u003c/p>\n\u003cp>“Beyond the Streets” features blown-up prints of Maripol’s 1980s Polaroids, some of which she has scratched and marked up to create new works of art.\u003c/p>\n\u003cp>\u003cstrong>“The new guard”\u003c/strong>\u003c/p>\n\u003cp>“Museums don’t often embrace this work, or they’ll embrace bits and pieces of it,” says curator Roger Gastman. He says “Beyond the Streets” was an experiment to see far they could get without a museum’s backing.\u003c/p>\n\u003cp>“We really said, ‘You know what? Let’s do this outside of a museum. Let’s do this on our own. Let’s make it work … and not have to follow the museum rules and create kind of the new guard.’ ”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“Beyond the Streets” is open through July 6. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Beyond+The+Streets%2C%27+And+Far+From+Vandalism%3A+Street+Art+Gets+A+Massive+Show&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "Outlaws. That's what they were called when they plastered their art on buildings and subway cars. Now, a Los Angeles exhibition looks at the studio work these artists created later in their careers. ",
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"description": "Outlaws. That's what they were called when they plastered their art on buildings and subway cars. Now, a Los Angeles exhibition looks at the studio work these artists created later in their careers. ",
"title": "'Beyond The Streets,' and Far From Vandalism: Street Art Gets a Massive Show | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Outlaws. That’s what they were considered when they spray-painted walls and bombed subway cars with modern-day hieroglyphics. They worked in alleys and train yards, bridges and tunnels. Now, many of them are being celebrated in a massive warehouse near Los Angeles’ Chinatown.\u003c/p>\n\u003cp>The exhibition “\u003ca href=\"https://www.beyondthestreets.com/\">Beyond the Streets\u003c/a>” focuses on the studio work street artists created later in their careers. It has more 40,000-square feet of paintings, murals, photos, installations and even old video games. (NPR gave “Beyond the Streets” a small amount of support as a media partner.)\u003c/p>\n\u003cp>“This is vandalism as contemporary art, or contemporary art as vandalism, depending on how you want to look at it,” says curator Roger Gastman, co-author of \u003cem>The History of American Graffiti\u003c/em>. “Street art has become such a buzzword, and lot of the motivation for doing a show like this was to show who the true artists respected by people inside the culture are.”\u003c/p>\n\u003cfigure id=\"attachment_13834860\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/lee-quin-ones_custom-759750522c6a94f80504482168b9ce2b07050ffb-1-800x533.jpg\" alt='New York artist Lee Quiñones painted a full-size handball court for \"Beyond the Streets.\"' width=\"800\" height=\"533\" class=\"size-medium wp-image-13834860\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/lee-quin-ones_custom-759750522c6a94f80504482168b9ce2b07050ffb-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/lee-quin-ones_custom-759750522c6a94f80504482168b9ce2b07050ffb-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/lee-quin-ones_custom-759750522c6a94f80504482168b9ce2b07050ffb-1-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/lee-quin-ones_custom-759750522c6a94f80504482168b9ce2b07050ffb-1-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/lee-quin-ones_custom-759750522c6a94f80504482168b9ce2b07050ffb-1-1200x799.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/lee-quin-ones_custom-759750522c6a94f80504482168b9ce2b07050ffb-1-1920x1279.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/lee-quin-ones_custom-759750522c6a94f80504482168b9ce2b07050ffb-1-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/lee-quin-ones_custom-759750522c6a94f80504482168b9ce2b07050ffb-1-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/lee-quin-ones_custom-759750522c6a94f80504482168b9ce2b07050ffb-1-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/lee-quin-ones_custom-759750522c6a94f80504482168b9ce2b07050ffb-1-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/lee-quin-ones_custom-759750522c6a94f80504482168b9ce2b07050ffb-1-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/lee-quin-ones_custom-759750522c6a94f80504482168b9ce2b07050ffb-1.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">New York artist Lee Quiñones painted a full-size handball court for ‘Beyond the Streets.’ \u003ccite>(Beau Roulette/Courtesy of Beyond The Streets)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The show includes 100 artists, living and deceased; “risk takers,” Gastman says, whose work connects with and inspires artists today. There are classic works by Keith Haring, TAKI 183, Jenny Holzer, SWOON, Jean-Michel Basquiat and photographers Henry Chalfant and Martha Cooper. There are also newer works by CRASH, FUTURA 2000, LADY PINK and Shepard Fairey.\u003c/p>\n\u003cfigure id=\"attachment_13834861\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/streets-composite-1-3b65e279386cdd3c7f0c097b1c625cb05180fe20-1-800x600.jpg\" alt=\"Left: Artist Ron Finley, aka the Gangsta Gardener, constructed one of his outdoor gardens for the exhibition. Right: Artist Kenny Scharf contributed a Day-Glo, black-lit room.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13834861\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/streets-composite-1-3b65e279386cdd3c7f0c097b1c625cb05180fe20-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/streets-composite-1-3b65e279386cdd3c7f0c097b1c625cb05180fe20-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/streets-composite-1-3b65e279386cdd3c7f0c097b1c625cb05180fe20-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/streets-composite-1-3b65e279386cdd3c7f0c097b1c625cb05180fe20-1-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/streets-composite-1-3b65e279386cdd3c7f0c097b1c625cb05180fe20-1-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/streets-composite-1-3b65e279386cdd3c7f0c097b1c625cb05180fe20-1-1920x1439.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/streets-composite-1-3b65e279386cdd3c7f0c097b1c625cb05180fe20-1-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/streets-composite-1-3b65e279386cdd3c7f0c097b1c625cb05180fe20-1-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/streets-composite-1-3b65e279386cdd3c7f0c097b1c625cb05180fe20-1-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/streets-composite-1-3b65e279386cdd3c7f0c097b1c625cb05180fe20-1-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/streets-composite-1-3b65e279386cdd3c7f0c097b1c625cb05180fe20-1-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/streets-composite-1-3b65e279386cdd3c7f0c097b1c625cb05180fe20-1.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Left: Artist Ron Finley, aka the Gangsta Gardener, constructed one of his outdoor gardens for the exhibition. Right: Artist Kenny Scharf contributed a Day-Glo, black-lit room. \u003ccite>(Beau Roulette/Courtesy of Beyond The Streets)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Artist Kenny Scharf\u003cstrong> \u003c/strong>has decked out a Day-Glo, black-lit room for this show, and Lee Quiñones has painted a full-size handball court. Some of L.A.’s legends are here too: street gardener/activist Ron Finley constructed one of his outdoor gardens, and tattoo and graffiti artist Mister Cartoon created his own chapel.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>“Our art criticizes the art system”\u003c/strong>\u003c/p>\n\u003cp>Then there are the Guerrilla Girls, a collective of artists who hide their faces with gorilla masks. The group formed 33 years ago in New York to protest the lack of women artists in museums and galleries, and the way women are represented in the art world.\u003c/p>\n\u003cfigure id=\"attachment_13834862\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/img_0032_wide-4d88d32904a8d058a02928cee87cda63b367b297-1-800x450.jpg\" alt=\"'Beyond the Streets' boasts one of the Guerrilla Girls' most well-known billboards — in Spanish. It translates to "Do women have to be naked to get into the Met? Less than 4 percent of the artists in the modern art sections are women, but 76 percent of the nudes are female."\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13834862\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/img_0032_wide-4d88d32904a8d058a02928cee87cda63b367b297-1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/img_0032_wide-4d88d32904a8d058a02928cee87cda63b367b297-1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/img_0032_wide-4d88d32904a8d058a02928cee87cda63b367b297-1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/img_0032_wide-4d88d32904a8d058a02928cee87cda63b367b297-1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/img_0032_wide-4d88d32904a8d058a02928cee87cda63b367b297-1-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/img_0032_wide-4d88d32904a8d058a02928cee87cda63b367b297-1-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/img_0032_wide-4d88d32904a8d058a02928cee87cda63b367b297-1-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/img_0032_wide-4d88d32904a8d058a02928cee87cda63b367b297-1-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/img_0032_wide-4d88d32904a8d058a02928cee87cda63b367b297-1-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/img_0032_wide-4d88d32904a8d058a02928cee87cda63b367b297-1-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/img_0032_wide-4d88d32904a8d058a02928cee87cda63b367b297-1-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/img_0032_wide-4d88d32904a8d058a02928cee87cda63b367b297-1.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Beyond the Streets’ boasts one of the Guerrilla Girls’ most well-known billboards — in Spanish. It translates to “Do women have to be naked to get into the Met? Less than 4 percent of the artists in the modern art sections are women, but 76 percent of the nudes are female.” \u003ccite>(Nicole Cohen/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>They plastered the streets with humorous, in-your-face posters, some of which are on display at “Beyond the Streets.” One of their most well-known billboards points out that less than 4 percent of the modern art on display at New York’s Metropolitan Museum of Art was created by women, while 76 percent of the nudes are female. Another huge poster depicts a gorilla head with crazy, spiral zombie eyes. It reads, “If you keep women out, they get resentful.”\u003c/p>\n\u003cfigure id=\"attachment_13834863\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/beauroulette_bts_5_1_18_guerrilla_girls_-img_6120-bea2e20593ffb222dd6813a76f9db0ae60d6e3a4-1-800x600.jpg\" alt='The Guerrilla Girls got the idea to hide their faces with gorilla masks after one of them misspelled \"guerrilla\" in a doodle.' width=\"800\" height=\"600\" class=\"size-medium wp-image-13834863\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/beauroulette_bts_5_1_18_guerrilla_girls_-img_6120-bea2e20593ffb222dd6813a76f9db0ae60d6e3a4-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/beauroulette_bts_5_1_18_guerrilla_girls_-img_6120-bea2e20593ffb222dd6813a76f9db0ae60d6e3a4-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/beauroulette_bts_5_1_18_guerrilla_girls_-img_6120-bea2e20593ffb222dd6813a76f9db0ae60d6e3a4-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/beauroulette_bts_5_1_18_guerrilla_girls_-img_6120-bea2e20593ffb222dd6813a76f9db0ae60d6e3a4-1-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/beauroulette_bts_5_1_18_guerrilla_girls_-img_6120-bea2e20593ffb222dd6813a76f9db0ae60d6e3a4-1-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/beauroulette_bts_5_1_18_guerrilla_girls_-img_6120-bea2e20593ffb222dd6813a76f9db0ae60d6e3a4-1-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/beauroulette_bts_5_1_18_guerrilla_girls_-img_6120-bea2e20593ffb222dd6813a76f9db0ae60d6e3a4-1-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/beauroulette_bts_5_1_18_guerrilla_girls_-img_6120-bea2e20593ffb222dd6813a76f9db0ae60d6e3a4-1-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/beauroulette_bts_5_1_18_guerrilla_girls_-img_6120-bea2e20593ffb222dd6813a76f9db0ae60d6e3a4-1-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/beauroulette_bts_5_1_18_guerrilla_girls_-img_6120-bea2e20593ffb222dd6813a76f9db0ae60d6e3a4-1-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/beauroulette_bts_5_1_18_guerrilla_girls_-img_6120-bea2e20593ffb222dd6813a76f9db0ae60d6e3a4-1-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/beauroulette_bts_5_1_18_guerrilla_girls_-img_6120-bea2e20593ffb222dd6813a76f9db0ae60d6e3a4-1.jpg 1998w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Guerrilla Girls got the idea to hide their faces with gorilla masks after one of them misspelled “guerrilla” in a doodle. \u003ccite>(Beau Roulette/Courtesy of Beyond The Streets)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of the group’s founders goes by the pseudonym Käthe Kollwitz, a name borrowed from a \u003ca href=\"https://www.moma.org/artists/3201\" target>German political artist\u003c/a> born in 1867. She says, “Our art criticizes the art system, and we thought this up in the first place because we loved what we saw on the streets of New York: political posters, graffiti, tagging, art on the streets.”\u003c/p>\n\u003cp>Their criticism has gotten their art into major museums around the world. But Kollwitz notes that, ironically, the number of women artists included in “Beyond the Streets” isn’t great.\u003c/p>\n\u003cp>“There have always been issues with women in graffiti art,” she says.\u003c/p>\n\u003cp>\u003cstrong>Red-light district\u003c/strong>\u003c/p>\n\u003cp>Tokyo-born street artist Aiko Nakagawa, who goes by Lady AIKO and AIKO, combines graffiti art techniques with 18th-century Japanese woodblock printing to make large-scale works. For “Beyond the Streets,” AIKO\u003cstrong> \u003c/strong>created a red-light district room filled with erotic, comic book-like images using layered stencils and spray paint. There are signs and billboards advertising peep shows, hostess dancers and a “rub parlor.”\u003c/p>\n\u003cfigure id=\"attachment_13834864\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/aiko-composite1_custom-d8aad23613f017860a1ef885bcce6bcc19b10284-1-800x473.jpg\" alt=\"Left: AIKO's red-light district room is filled with erotic, comic book-like images. Right: AIKO (pictured) has shown her work in Rome, Shanghai and New York, where she's now based.\" width=\"800\" height=\"473\" class=\"size-medium wp-image-13834864\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/aiko-composite1_custom-d8aad23613f017860a1ef885bcce6bcc19b10284-1-800x473.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/aiko-composite1_custom-d8aad23613f017860a1ef885bcce6bcc19b10284-1-160x95.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/aiko-composite1_custom-d8aad23613f017860a1ef885bcce6bcc19b10284-1-768x454.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/aiko-composite1_custom-d8aad23613f017860a1ef885bcce6bcc19b10284-1-1020x603.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/aiko-composite1_custom-d8aad23613f017860a1ef885bcce6bcc19b10284-1-1200x710.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/aiko-composite1_custom-d8aad23613f017860a1ef885bcce6bcc19b10284-1-1920x1135.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/aiko-composite1_custom-d8aad23613f017860a1ef885bcce6bcc19b10284-1-1180x698.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/aiko-composite1_custom-d8aad23613f017860a1ef885bcce6bcc19b10284-1-960x568.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/aiko-composite1_custom-d8aad23613f017860a1ef885bcce6bcc19b10284-1-240x142.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/aiko-composite1_custom-d8aad23613f017860a1ef885bcce6bcc19b10284-1-375x222.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/aiko-composite1_custom-d8aad23613f017860a1ef885bcce6bcc19b10284-1-520x307.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/aiko-composite1_custom-d8aad23613f017860a1ef885bcce6bcc19b10284-1.jpg 1994w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Left: AIKO’s red-light district room is filled with erotic, comic book-like images. Right: AIKO (pictured) has shown her work in Rome, Shanghai and New York, where she’s now based. \u003ccite>(Beau Roulette/Courtesy of Beyond The Streets)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>AIKO\u003cstrong> \u003c/strong>says her images are reminiscent of the old, X-rated Times Square, and Japanese shunga, or erotic art. “People used to draw really sexy stuff in my country, so I’m making this whole section sexual and pornographic,” she says. “But also it’s more about women. You see [in the work] more sexual energy from women than men. My red-light district is more about how women want to have good time. We also want to enjoy some sexuality.”\u003c/p>\n\u003cp>AIKO says she had a depressing childhood in Tokyo, and began making art as an escape from being misunderstood. In her 20s, she moved to New York without knowing anyone or speaking English. There, she worked as a studio apprentice for artist Takashi Murakami, and began wheat pasting images of herself all over the city. She helped start the artist collective FAILE and collaborated with the anonymous artist Banksy on his 2010 film, \u003cem>Exit Through the Gift Shop\u003c/em>. She even designed for Louis Vuitton.\u003c/p>\n\u003cp>“Don’t get me wrong,” she says. “I’m not always doing sex images. This is for a special occasion.”\u003c/p>\n\u003cp>\u003cstrong>“Writing graffiti is a literal rite of passage”\u003c/strong>\u003c/p>\n\u003cp>Since the early 1990s, Claudia Gold, who goes by CLAW and CLAW MONEY,\u003cstrong> \u003c/strong> has been spray-painting her nickname and her trademark cartoon paw all over New York City.\u003c/p>\n\u003cfigure id=\"attachment_13834865\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/claw-f4d5a0e134085f0f29741f913aa3f645babd9d04-1-800x600.jpg\" alt='CLAW started bombing New York subway cars with her signature paw in the 1990s. \"We knew that they wanted to come after you if you painted the trains,\" she says. \"So to keep myself safer, I would only do a train here and there.\"' width=\"800\" height=\"600\" class=\"size-medium wp-image-13834865\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/claw-f4d5a0e134085f0f29741f913aa3f645babd9d04-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/claw-f4d5a0e134085f0f29741f913aa3f645babd9d04-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/claw-f4d5a0e134085f0f29741f913aa3f645babd9d04-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/claw-f4d5a0e134085f0f29741f913aa3f645babd9d04-1-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/claw-f4d5a0e134085f0f29741f913aa3f645babd9d04-1-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/claw-f4d5a0e134085f0f29741f913aa3f645babd9d04-1-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/claw-f4d5a0e134085f0f29741f913aa3f645babd9d04-1-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/claw-f4d5a0e134085f0f29741f913aa3f645babd9d04-1-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/claw-f4d5a0e134085f0f29741f913aa3f645babd9d04-1-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/claw-f4d5a0e134085f0f29741f913aa3f645babd9d04-1-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/claw-f4d5a0e134085f0f29741f913aa3f645babd9d04-1.jpg 1815w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">CLAW started bombing New York subway cars with her signature paw in the 1990s. “We knew that they wanted to come after you if you painted the trains,” she says. “So to keep myself safer, I would only do a train here and there.” \u003ccite>(Beau Roulette/Courtesy of Beyond The Streets)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She began in her early 20s, at a time when fewer women were doing graffiti and the city was on a mission to eradicate graffiti tags. Bombing subway trains wasn’t considered art, she says. “It was more vandalism, and I’m one of the only sort of grimy, early ’90s women street bombers. We knew that they wanted to come after you if you painted the trains, so to keep myself safer, I would only do a train here and there. Then you’d ultimately paint over it. You’d try to get a picture of it with a disposable camera from CVS or something, and hope it’d come out. Then you’d paint over it so they wouldn’t come knocking on your door.”\u003c/p>\n\u003cp>She says graffiti flourished in that lawless, electric time. Back then, many graffiti writers were black or Puerto Rican and had a hip-hop vibe. But CLAW was white, and she sometimes got grief for that. She says, “I felt very rejected — rejected from hip-hop.” So she adopted a rock persona.\u003c/p>\n\u003cp>Three decades later, her graffiti is still scattered all around New York, but she’s also moved on. Now, she uses hand embroidery, silk screening and enamel to design clothing for her brand, CLAW, and she also runs her own boutique on the Lower East Side.\u003c/p>\n\u003cp>She says, “Writing graffiti is a literal rite of passage of kids growing up in New York City, and the ones that have artistic talents are the ones that shine in the streets; and the ones that shine in the streets are encouraged to continue with their artwork. It blossoms like that.”\u003c/p>\n\u003cp>\u003cstrong>“A Monet going 80 miles an hour”\u003c/strong>\u003c/p>\n\u003cp>In the 1980s, the artist Maripol made some of the most iconic images of New York’s street and club scene. She was an underground club kid who had moved to New York from France in 1977 after becoming fascinated with graffiti art.\u003c/p>\n\u003cfigure id=\"attachment_13834870\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/maripol-composite1_custom-8405e76a20832f22d07972acb724cebbd54d9728-s1300-c85-800x330.jpg\" alt=\"'Beyond the Streets' features blown-up prints of Maripol's Polaroids, some of which she has scratched and marked up to create new works of art. (Pictured, left to right: Boombox with Legs, 1978; DayGlo Splash, 1978; Self Portrait Little Red Riding, 1980)\" width=\"800\" height=\"330\" class=\"size-medium wp-image-13834870\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/maripol-composite1_custom-8405e76a20832f22d07972acb724cebbd54d9728-s1300-c85-800x330.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/maripol-composite1_custom-8405e76a20832f22d07972acb724cebbd54d9728-s1300-c85-160x66.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/maripol-composite1_custom-8405e76a20832f22d07972acb724cebbd54d9728-s1300-c85-768x317.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/maripol-composite1_custom-8405e76a20832f22d07972acb724cebbd54d9728-s1300-c85-1020x421.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/maripol-composite1_custom-8405e76a20832f22d07972acb724cebbd54d9728-s1300-c85-1200x496.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/maripol-composite1_custom-8405e76a20832f22d07972acb724cebbd54d9728-s1300-c85-1180x487.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/maripol-composite1_custom-8405e76a20832f22d07972acb724cebbd54d9728-s1300-c85-960x397.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/maripol-composite1_custom-8405e76a20832f22d07972acb724cebbd54d9728-s1300-c85-240x99.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/maripol-composite1_custom-8405e76a20832f22d07972acb724cebbd54d9728-s1300-c85-375x155.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/maripol-composite1_custom-8405e76a20832f22d07972acb724cebbd54d9728-s1300-c85-520x215.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/maripol-composite1_custom-8405e76a20832f22d07972acb724cebbd54d9728-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Beyond the Streets’ features blown-up prints of Maripol’s Polaroids, some of which she has scratched and marked up to create new works of art. (Pictured, left to right: Boombox with Legs, 1978; DayGlo Splash, 1978; Self Portrait Little Red Riding, 1980) \u003ccite>(Courtesy of Maripol)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I sat in the subway looking at the No. 5\u003cstrong> \u003c/strong>train going by, and it was kind of like looking at an amazing abstract painting,” she recalls. “It could have been a Monet going 80 miles an hour.”\u003c/p>\n\u003cp>When her photographer boyfriend gave her her first Polaroid camera, an SX-70, Maripol began photographing friends and downtown legends: Jean-Michel Basquiat, Madonna, Andy Warhol, Keith Haring, Fab 5 Freddy, Grace Jones, Debbie Harry. They hung out together before, during and after clubbing.\u003c/p>\n\u003cfigure id=\"attachment_13834880\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/maripol-actual-edit-920436dfdf60836d959158c638d0189810554bb9-s500-c85.jpg\" alt=\"Maripol styled Blondie for the Parallel Lines album cover and Madonna for the Like a Virgin album cover. She appears here in front of her photographs at 'Beyond the Streets.'\" width=\"500\" height=\"375\" class=\"size-full wp-image-13834880\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/maripol-actual-edit-920436dfdf60836d959158c638d0189810554bb9-s500-c85.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/maripol-actual-edit-920436dfdf60836d959158c638d0189810554bb9-s500-c85-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/maripol-actual-edit-920436dfdf60836d959158c638d0189810554bb9-s500-c85-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/maripol-actual-edit-920436dfdf60836d959158c638d0189810554bb9-s500-c85-375x281.jpg 375w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">Maripol styled Blondie for the Parallel Lines album cover and Madonna for the Like a Virgin album cover. She appears here in front of her photographs at ‘Beyond the Streets.’ \u003ccite>(Mandalit Del Barco/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I had a big downtown loft and it was easy for me to make a party or dinner because I was French and always cooking,” she recalls. “New York was bankrupt. And it was dangerous. You couldn’t even go to Washington Square Park. Madonna came to me because she wanted somebody to do her style, and then Jean-Michel Basquiat was staying with us. He lived with us, and I co-produced and art directed a movie called \u003cem>Downtown 81 \u003c/em>with him. He was 19 when I met him. A lot of time these kids’ parents either kicked them out, or, in Madonna’s case, her parents were in Michigan. I was kind of like a mother hen.”\u003c/p>\n\u003cp>“Beyond the Streets” features blown-up prints of Maripol’s 1980s Polaroids, some of which she has scratched and marked up to create new works of art.\u003c/p>\n\u003cp>\u003cstrong>“The new guard”\u003c/strong>\u003c/p>\n\u003cp>“Museums don’t often embrace this work, or they’ll embrace bits and pieces of it,” says curator Roger Gastman. He says “Beyond the Streets” was an experiment to see far they could get without a museum’s backing.\u003c/p>\n\u003cp>“We really said, ‘You know what? Let’s do this outside of a museum. Let’s do this on our own. Let’s make it work … and not have to follow the museum rules and create kind of the new guard.’ ”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Beyond the Streets” is open through July 6. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Beyond+The+Streets%2C%27+And+Far+From+Vandalism%3A+Street+Art+Gets+A+Massive+Show&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"slug": "jeff-marshall-tenderloin-painter-kite-maker",
"title": "Meet Jeff Marshall, the Kite Maker of the Tenderloin",
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"headTitle": "Meet Jeff Marshall, the Kite Maker of the Tenderloin | KQED",
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"content": "\u003cp>It was 1993 when Jeff Marshall, a 35-year-old born and raised Houstonian, had enough of the Texas heat. So he hitched up his motorcycle and headed for Seattle.\u003c/p>\n\u003cp>Except he never quite got there. Twenty-five years later, Jeff is an irreplaceable member of his Tenderloin community, a painter with a contagious passion for kites. When his creative impulses get bigger than his one-room apartment, he takes to the streets and flies his paintings across the San Francisco skies, proving art can thrive in even the most improbable places.\u003c/p>\n\u003cp>Initially, San Francisco offered a momentary break from his long-ago journey to the Northeast. “I was a little rattled by the time I got this far—I figured I’d find a redwood tree to take a nap under.” He found a job at the now-defunct Fox Photo lab, and never left. “That was a long time ago. But it was how San Francisco kind of sucked me in.”\u003c/p>\n\u003cfigure id=\"attachment_13833711\" class=\"wp-caption aligncenter\" style=\"max-width: 1836px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13833711\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/Screen-Shot-2018-05-29-at-9.56.30-AM.png\" alt=\"\" width=\"1836\" height=\"1388\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Screen-Shot-2018-05-29-at-9.56.30-AM.png 1836w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Screen-Shot-2018-05-29-at-9.56.30-AM-160x121.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Screen-Shot-2018-05-29-at-9.56.30-AM-800x605.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Screen-Shot-2018-05-29-at-9.56.30-AM-768x581.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Screen-Shot-2018-05-29-at-9.56.30-AM-1020x771.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Screen-Shot-2018-05-29-at-9.56.30-AM-1200x907.png 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Screen-Shot-2018-05-29-at-9.56.30-AM-1180x892.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Screen-Shot-2018-05-29-at-9.56.30-AM-960x726.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Screen-Shot-2018-05-29-at-9.56.30-AM-240x181.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Screen-Shot-2018-05-29-at-9.56.30-AM-375x283.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Screen-Shot-2018-05-29-at-9.56.30-AM-520x393.png 520w\" sizes=\"(max-width: 1836px) 100vw, 1836px\">\u003cfigcaption class=\"wp-caption-text\">(Samantha Shanahan/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>In the city, Jeff found inspiration for his work. And as he painted, his artistic vision transformed, shifting away from the technological demands of photography to more free-form paintings, informed by whatever catches his eye.\u003c/p>\n\u003cp>For Jeff, art is a compulsion, not a choice. “I continuously think of a different path to take,” he says. “I make more art than is very smart. It is part of my M.O.—to just keep creating.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Over the years, Jeff watched the city’s artistic character change. Even in 1993, San Francisco wasn’t cheap, but thanks to the current tech boom and sky-rocketing rents, it’s ever-harder for artists to make ends meet. As high-rise apartments and new restaurants move in, \u003ca href=\"https://www.kqed.org/arts/series/pricedout\" target=\"_blank\" rel=\"noopener\">artists are steadily priced out\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13834478\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13834478\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/JM-8.jpg\" alt=\"\" width=\"2048\" height=\"1365\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JM-8.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JM-8-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JM-8-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JM-8-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JM-8-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JM-8-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JM-8-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JM-8-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JM-8-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JM-8-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JM-8-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JM-8-520x347.jpg 520w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">(Samantha Shanahan/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>Jeff bounced around the city, renting $400-per-month office spaces and living in his studio until he finally found a home in the Tenderloin, one of San Francisco’s densest neighborhoods. Despite its reputation for crime, the Tenderloin has a rich history—entertainment and the arts are woven deeply into its cultural fabric. This, coupled with its low-cost housing options, allows the neighborhood to \u003ca href=\"https://www.kqed.org/news/11665527/why-hasnt-the-tenderloin-gentrified-like-the-rest-of-san-francisco\" target=\"_blank\" rel=\"noopener\">resist the gentrification\u003c/a> seen throughout the rest of San Francisco.\u003c/p>\n\u003cp>Jeff now lives in the Boyd Hotel, a single occupancy resident hotel, or an SRO. Such repurposed hotels make up a large portion of the Tenderloin’s housing stock; nonprofit housing programs and zoning laws keep rents below market rate and a viable option for artists like Jeff.\u003c/p>\n\u003cp>For many members of the city’s low-income communities, such as the formerly homeless, recovering addicts and disabled veterans, SROs are a vital affordable housing solution. As Jeff says, “All of the people who live in this building… they’re not here for no reason.”\u003c/p>\n\u003cfigure id=\"attachment_13834463\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13834463\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/JM-55.jpg\" alt=\"\" width=\"2048\" height=\"1365\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JM-55.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JM-55-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JM-55-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JM-55-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JM-55-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JM-55-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JM-55-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JM-55-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JM-55-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JM-55-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JM-55-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JM-55-520x347.jpg 520w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">(Samantha Shanahan/KQED) \u003ccite>((Samantha Shanahan/KQED))\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>SRO rooms are like a standard dorm room: a single bed, a sink and a desk. The Boyd has 79 units with a communal bathroom on each floor and a laundry facility to serve its residents.\u003c/p>\n\u003cp>Living at the Boyd was never supposed to be a long-term solution. “I was under the impression when I moved in here that this was interim housing, a step before public housing,” Jeff says. “But I haven’t got there yet.”\u003c/p>\n\u003cp>Even securing a room in an SRO is a long, tedious process. Obtaining a larger unit, like Section 8 public housing, takes even longer. Jeff has been on the San Francisco’s Housing Authority’s list for 13 years—since he first moved into the Boyd.\u003c/p>\n\u003cfigure id=\"attachment_13834568\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13834568\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/JM-57.jpg\" alt=\"\" width=\"2048\" height=\"1365\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JM-57.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JM-57-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JM-57-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JM-57-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JM-57-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JM-57-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JM-57-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JM-57-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JM-57-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JM-57-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JM-57-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JM-57-520x347.jpg 520w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">(Samantha Shanahan/KQED)\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13833713\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13833713\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/JM-4.jpg\" alt=\"\" width=\"2048\" height=\"1365\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JM-4.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JM-4-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JM-4-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JM-4-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JM-4-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JM-4-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JM-4-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JM-4-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JM-4-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JM-4-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JM-4-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JM-4-520x347.jpg 520w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">(Samantha Shanahan/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>But space limitations don’t quell his urge to create. Jeff’s walls are plastered with artwork: cartoon-like portraits of William Burroughs and Jimi Hendrix, abstract canvases of repeating number nines, and next to his single window, a burlesque-style portrait of two men, posing in lingerie.\u003c/p>\n\u003cp>“That’s Vladimir Putin and Erdogan; he’s the prime minister of Turkey. I saw that on Google Images.”\u003c/p>\n\u003cp>His small space also led him to get outside into nearby parks and revive a favorite childhood activity: kite flying.\u003c/p>\n\u003cfigure id=\"attachment_13833716\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13833716\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/JM-13.jpg\" alt=\"\" width=\"2048\" height=\"1365\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JM-13.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JM-13-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JM-13-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JM-13-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JM-13-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JM-13-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JM-13-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JM-13-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JM-13-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JM-13-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JM-13-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JM-13-520x347.jpg 520w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">(Samantha Shanahan/KQED)\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13833717\" class=\"wp-caption aligncenter\" style=\"max-width: 1545px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13833717\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/000025910023.jpg\" alt=\"\" width=\"1545\" height=\"1024\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/000025910023.jpg 1545w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/000025910023-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/000025910023-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/000025910023-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/000025910023-1020x676.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/000025910023-1200x795.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/000025910023-1180x782.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/000025910023-960x636.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/000025910023-240x159.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/000025910023-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/000025910023-520x345.jpg 520w\" sizes=\"(max-width: 1545px) 100vw, 1545px\">\u003cfigcaption class=\"wp-caption-text\">(Samantha Shanahan/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>“When I was a kid, I had to beg my dad for 50 cents. It cost 25 cents for string and 25 cents for kites. There was a company called Kite Flyer, out of Boulder, Colorado,” he says. “I remember the specific kites, diamond-shaped ones like this. And I would get hours of fun out them.”\u003c/p>\n\u003cp>In American culture, a diamond shaped kite, an “Eddy” kite, is the most iconic and recognizable style. These are also the quickest and easiest to create—Jeff can whip up an Eddy in less than 10 minutes. But after researching kite flying around the world, he realized the rectangular-shaped format of Chinese kites was the perfect surface for a piece of art.\u003c/p>\n\u003cp>Experimenting with bamboo sticks and tape, Jeff taught himself how to make rectangular kites. The format allows Jeff to combine his two passions, painting everyday objects and notable figures (like Barack Obama) on the three-dimensional “canvas” and flying them across San Francisco. But he didn’t stop there.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13833722\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/KiteMakingStrip.png\" alt=\"\" width=\"1920\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/KiteMakingStrip.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/KiteMakingStrip-160x36.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/KiteMakingStrip-800x178.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/KiteMakingStrip-768x171.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/KiteMakingStrip-1020x227.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/KiteMakingStrip-1200x267.png 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/KiteMakingStrip-1180x262.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/KiteMakingStrip-960x214.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/KiteMakingStrip-240x53.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/KiteMakingStrip-375x83.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/KiteMakingStrip-520x116.png 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/p>\n\u003cfigure id=\"attachment_13833723\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13833723\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/JM-11.jpg\" alt=\"\" width=\"2048\" height=\"1365\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JM-11.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JM-11-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JM-11-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JM-11-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JM-11-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JM-11-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JM-11-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JM-11-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JM-11-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JM-11-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JM-11-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JM-11-520x347.jpg 520w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">(Samantha Shanahan/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>“I discovered, in Japan, they have this giant kite-flying contest yearly,” he says. “These kites were two and three stories, ya know, huge. Fifty people pull on the end of the string with someone to direct them which way to go. So I thought ‘Wow, this makes my kites look puny!’”\u003c/p>\n\u003cp>Jeff realized the rectangular shape also enabled him to build and paint larger works, so he stepped up his game. His biggest kite to date is an 8-by-14-foot portrait of Harvey Milk, exhibited at the de Young during one of the museum’s community nights.\u003c/p>\n\u003cp>Jeff’s kite flying has earned him near-celebrity status in the Tenderloin. Rick Darnell, community arts manager at \u003ca href=\"https://www.counterpulse.org/\" target=\"_blank\" rel=\"noopener\">CounterPulse\u003c/a> and a long-time neighborhood resident, refers to Jeff as a “Tenderloin Treasure.” Eager to share his childhood joy of kite flying with others, Jeff hosts kite-making workshops at \u003ca href=\"http://hospitalityhouse.org/\" target=\"_blank\" rel=\"noopener\">Hospitality House\u003c/a>, a free community arts center in the Tenderloin.\u003c/p>\n\u003cp>Jeff’s favorite spot to fly? Just a few blocks away from the Tenderloin, right in front of San Francisco’s City Hall. “People always ask, “Why don’t you go to the beach? But I don’t want to go to the beach,” Jeff says. “This is my neighborhood.”\u003c/p>\n\u003cfigure id=\"attachment_13833726\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13833726\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/JM-9.jpg\" alt=\"\" width=\"2048\" height=\"1365\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JM-9.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JM-9-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JM-9-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JM-9-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JM-9-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JM-9-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JM-9-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JM-9-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JM-9-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JM-9-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JM-9-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JM-9-520x347.jpg 520w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">(Samantha Shanahan/KQED)\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13833734\" class=\"wp-caption aligncenter\" style=\"max-width: 1545px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13833734\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/000025910020.jpg\" alt=\"\" width=\"1545\" height=\"1024\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/000025910020.jpg 1545w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/000025910020-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/000025910020-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/000025910020-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/000025910020-1020x676.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/000025910020-1200x795.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/000025910020-1180x782.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/000025910020-960x636.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/000025910020-240x159.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/000025910020-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/000025910020-520x345.jpg 520w\" sizes=\"(max-width: 1545px) 100vw, 1545px\">\u003cfigcaption class=\"wp-caption-text\">(Samantha Shanahan/KQED)\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13833731\" class=\"wp-caption aligncenter\" style=\"max-width: 1545px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13833731 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/000025910025.jpg\" alt=\"\" width=\"1545\" height=\"1024\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/000025910025.jpg 1545w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/000025910025-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/000025910025-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/000025910025-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/000025910025-1020x676.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/000025910025-1200x795.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/000025910025-1180x782.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/000025910025-960x636.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/000025910025-240x159.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/000025910025-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/000025910025-520x345.jpg 520w\" sizes=\"(max-width: 1545px) 100vw, 1545px\">\u003cfigcaption class=\"wp-caption-text\">(Samantha Shanahan/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_13833732\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13833732 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/000025910034.jpg\" alt=\"\" width=\"1024\" height=\"1545\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/000025910034.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/000025910034-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/000025910034-800x1207.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/000025910034-768x1159.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/000025910034-1020x1539.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/000025910034-795x1200.jpg 795w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/000025910034-960x1448.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/000025910034-240x362.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/000025910034-375x566.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/000025910034-520x785.jpg 520w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">(Samantha Shanahan/KQED)\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13834567\" class=\"wp-caption aligncenter\" style=\"max-width: 1439px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13834567\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/000025910018.jpg\" alt=\"\" width=\"1439\" height=\"934\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/000025910018.jpg 1439w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/000025910018-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/000025910018-800x519.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/000025910018-768x498.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/000025910018-1020x662.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/000025910018-1200x779.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/000025910018-1180x766.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/000025910018-960x623.jpg 960w, 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"excerpt": "Jeff Marshall doesn't let the small size of his SRO apartment constrain his desire to create.",
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"title": "Meet Jeff Marshall, the Kite Maker of the Tenderloin | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It was 1993 when Jeff Marshall, a 35-year-old born and raised Houstonian, had enough of the Texas heat. So he hitched up his motorcycle and headed for Seattle.\u003c/p>\n\u003cp>Except he never quite got there. Twenty-five years later, Jeff is an irreplaceable member of his Tenderloin community, a painter with a contagious passion for kites. When his creative impulses get bigger than his one-room apartment, he takes to the streets and flies his paintings across the San Francisco skies, proving art can thrive in even the most improbable places.\u003c/p>\n\u003cp>Initially, San Francisco offered a momentary break from his long-ago journey to the Northeast. “I was a little rattled by the time I got this far—I figured I’d find a redwood tree to take a nap under.” He found a job at the now-defunct Fox Photo lab, and never left. “That was a long time ago. But it was how San Francisco kind of sucked me in.”\u003c/p>\n\u003cfigure id=\"attachment_13833711\" class=\"wp-caption aligncenter\" style=\"max-width: 1836px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13833711\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/Screen-Shot-2018-05-29-at-9.56.30-AM.png\" alt=\"\" width=\"1836\" height=\"1388\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Screen-Shot-2018-05-29-at-9.56.30-AM.png 1836w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Screen-Shot-2018-05-29-at-9.56.30-AM-160x121.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Screen-Shot-2018-05-29-at-9.56.30-AM-800x605.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Screen-Shot-2018-05-29-at-9.56.30-AM-768x581.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Screen-Shot-2018-05-29-at-9.56.30-AM-1020x771.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Screen-Shot-2018-05-29-at-9.56.30-AM-1200x907.png 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Screen-Shot-2018-05-29-at-9.56.30-AM-1180x892.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Screen-Shot-2018-05-29-at-9.56.30-AM-960x726.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Screen-Shot-2018-05-29-at-9.56.30-AM-240x181.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Screen-Shot-2018-05-29-at-9.56.30-AM-375x283.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Screen-Shot-2018-05-29-at-9.56.30-AM-520x393.png 520w\" sizes=\"(max-width: 1836px) 100vw, 1836px\">\u003cfigcaption class=\"wp-caption-text\">(Samantha Shanahan/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>In the city, Jeff found inspiration for his work. And as he painted, his artistic vision transformed, shifting away from the technological demands of photography to more free-form paintings, informed by whatever catches his eye.\u003c/p>\n\u003cp>For Jeff, art is a compulsion, not a choice. “I continuously think of a different path to take,” he says. “I make more art than is very smart. It is part of my M.O.—to just keep creating.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Over the years, Jeff watched the city’s artistic character change. Even in 1993, San Francisco wasn’t cheap, but thanks to the current tech boom and sky-rocketing rents, it’s ever-harder for artists to make ends meet. As high-rise apartments and new restaurants move in, \u003ca href=\"https://www.kqed.org/arts/series/pricedout\" target=\"_blank\" rel=\"noopener\">artists are steadily priced out\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13834478\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13834478\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/JM-8.jpg\" alt=\"\" width=\"2048\" height=\"1365\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JM-8.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JM-8-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JM-8-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JM-8-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JM-8-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JM-8-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JM-8-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JM-8-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JM-8-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JM-8-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JM-8-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JM-8-520x347.jpg 520w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">(Samantha Shanahan/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>Jeff bounced around the city, renting $400-per-month office spaces and living in his studio until he finally found a home in the Tenderloin, one of San Francisco’s densest neighborhoods. Despite its reputation for crime, the Tenderloin has a rich history—entertainment and the arts are woven deeply into its cultural fabric. This, coupled with its low-cost housing options, allows the neighborhood to \u003ca href=\"https://www.kqed.org/news/11665527/why-hasnt-the-tenderloin-gentrified-like-the-rest-of-san-francisco\" target=\"_blank\" rel=\"noopener\">resist the gentrification\u003c/a> seen throughout the rest of San Francisco.\u003c/p>\n\u003cp>Jeff now lives in the Boyd Hotel, a single occupancy resident hotel, or an SRO. Such repurposed hotels make up a large portion of the Tenderloin’s housing stock; nonprofit housing programs and zoning laws keep rents below market rate and a viable option for artists like Jeff.\u003c/p>\n\u003cp>For many members of the city’s low-income communities, such as the formerly homeless, recovering addicts and disabled veterans, SROs are a vital affordable housing solution. As Jeff says, “All of the people who live in this building… they’re not here for no reason.”\u003c/p>\n\u003cfigure id=\"attachment_13834463\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13834463\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/JM-55.jpg\" alt=\"\" width=\"2048\" height=\"1365\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JM-55.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JM-55-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JM-55-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JM-55-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JM-55-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JM-55-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JM-55-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JM-55-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JM-55-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JM-55-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JM-55-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JM-55-520x347.jpg 520w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">(Samantha Shanahan/KQED) \u003ccite>((Samantha Shanahan/KQED))\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>SRO rooms are like a standard dorm room: a single bed, a sink and a desk. The Boyd has 79 units with a communal bathroom on each floor and a laundry facility to serve its residents.\u003c/p>\n\u003cp>Living at the Boyd was never supposed to be a long-term solution. “I was under the impression when I moved in here that this was interim housing, a step before public housing,” Jeff says. “But I haven’t got there yet.”\u003c/p>\n\u003cp>Even securing a room in an SRO is a long, tedious process. Obtaining a larger unit, like Section 8 public housing, takes even longer. Jeff has been on the San Francisco’s Housing Authority’s list for 13 years—since he first moved into the Boyd.\u003c/p>\n\u003cfigure id=\"attachment_13834568\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13834568\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/JM-57.jpg\" alt=\"\" width=\"2048\" height=\"1365\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JM-57.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JM-57-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JM-57-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JM-57-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JM-57-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JM-57-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JM-57-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JM-57-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JM-57-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JM-57-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JM-57-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JM-57-520x347.jpg 520w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">(Samantha Shanahan/KQED)\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13833713\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13833713\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/JM-4.jpg\" alt=\"\" width=\"2048\" height=\"1365\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JM-4.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JM-4-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JM-4-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JM-4-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JM-4-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JM-4-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JM-4-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JM-4-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JM-4-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JM-4-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JM-4-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JM-4-520x347.jpg 520w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">(Samantha Shanahan/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>But space limitations don’t quell his urge to create. Jeff’s walls are plastered with artwork: cartoon-like portraits of William Burroughs and Jimi Hendrix, abstract canvases of repeating number nines, and next to his single window, a burlesque-style portrait of two men, posing in lingerie.\u003c/p>\n\u003cp>“That’s Vladimir Putin and Erdogan; he’s the prime minister of Turkey. I saw that on Google Images.”\u003c/p>\n\u003cp>His small space also led him to get outside into nearby parks and revive a favorite childhood activity: kite flying.\u003c/p>\n\u003cfigure id=\"attachment_13833716\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13833716\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/JM-13.jpg\" alt=\"\" width=\"2048\" height=\"1365\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JM-13.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JM-13-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JM-13-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JM-13-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JM-13-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JM-13-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JM-13-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JM-13-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JM-13-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JM-13-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JM-13-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JM-13-520x347.jpg 520w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">(Samantha Shanahan/KQED)\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13833717\" class=\"wp-caption aligncenter\" style=\"max-width: 1545px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13833717\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/000025910023.jpg\" alt=\"\" width=\"1545\" height=\"1024\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/000025910023.jpg 1545w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/000025910023-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/000025910023-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/000025910023-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/000025910023-1020x676.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/000025910023-1200x795.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/000025910023-1180x782.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/000025910023-960x636.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/000025910023-240x159.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/000025910023-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/000025910023-520x345.jpg 520w\" sizes=\"(max-width: 1545px) 100vw, 1545px\">\u003cfigcaption class=\"wp-caption-text\">(Samantha Shanahan/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>“When I was a kid, I had to beg my dad for 50 cents. It cost 25 cents for string and 25 cents for kites. There was a company called Kite Flyer, out of Boulder, Colorado,” he says. “I remember the specific kites, diamond-shaped ones like this. And I would get hours of fun out them.”\u003c/p>\n\u003cp>In American culture, a diamond shaped kite, an “Eddy” kite, is the most iconic and recognizable style. These are also the quickest and easiest to create—Jeff can whip up an Eddy in less than 10 minutes. But after researching kite flying around the world, he realized the rectangular-shaped format of Chinese kites was the perfect surface for a piece of art.\u003c/p>\n\u003cp>Experimenting with bamboo sticks and tape, Jeff taught himself how to make rectangular kites. The format allows Jeff to combine his two passions, painting everyday objects and notable figures (like Barack Obama) on the three-dimensional “canvas” and flying them across San Francisco. But he didn’t stop there.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13833722\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/KiteMakingStrip.png\" alt=\"\" width=\"1920\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/KiteMakingStrip.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/KiteMakingStrip-160x36.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/KiteMakingStrip-800x178.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/KiteMakingStrip-768x171.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/KiteMakingStrip-1020x227.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/KiteMakingStrip-1200x267.png 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/KiteMakingStrip-1180x262.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/KiteMakingStrip-960x214.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/KiteMakingStrip-240x53.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/KiteMakingStrip-375x83.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/KiteMakingStrip-520x116.png 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/p>\n\u003cfigure id=\"attachment_13833723\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13833723\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/JM-11.jpg\" alt=\"\" width=\"2048\" height=\"1365\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JM-11.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JM-11-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JM-11-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JM-11-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JM-11-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JM-11-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JM-11-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JM-11-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JM-11-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JM-11-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JM-11-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JM-11-520x347.jpg 520w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">(Samantha Shanahan/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>“I discovered, in Japan, they have this giant kite-flying contest yearly,” he says. “These kites were two and three stories, ya know, huge. Fifty people pull on the end of the string with someone to direct them which way to go. So I thought ‘Wow, this makes my kites look puny!’”\u003c/p>\n\u003cp>Jeff realized the rectangular shape also enabled him to build and paint larger works, so he stepped up his game. His biggest kite to date is an 8-by-14-foot portrait of Harvey Milk, exhibited at the de Young during one of the museum’s community nights.\u003c/p>\n\u003cp>Jeff’s kite flying has earned him near-celebrity status in the Tenderloin. Rick Darnell, community arts manager at \u003ca href=\"https://www.counterpulse.org/\" target=\"_blank\" rel=\"noopener\">CounterPulse\u003c/a> and a long-time neighborhood resident, refers to Jeff as a “Tenderloin Treasure.” Eager to share his childhood joy of kite flying with others, Jeff hosts kite-making workshops at \u003ca href=\"http://hospitalityhouse.org/\" target=\"_blank\" rel=\"noopener\">Hospitality House\u003c/a>, a free community arts center in the Tenderloin.\u003c/p>\n\u003cp>Jeff’s favorite spot to fly? Just a few blocks away from the Tenderloin, right in front of San Francisco’s City Hall. “People always ask, “Why don’t you go to the beach? But I don’t want to go to the beach,” Jeff says. “This is my neighborhood.”\u003c/p>\n\u003cfigure id=\"attachment_13833726\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13833726\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/JM-9.jpg\" alt=\"\" width=\"2048\" height=\"1365\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JM-9.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JM-9-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JM-9-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JM-9-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JM-9-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JM-9-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JM-9-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JM-9-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JM-9-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JM-9-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JM-9-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JM-9-520x347.jpg 520w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">(Samantha Shanahan/KQED)\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13833734\" class=\"wp-caption aligncenter\" style=\"max-width: 1545px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13833734\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/000025910020.jpg\" alt=\"\" width=\"1545\" height=\"1024\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/000025910020.jpg 1545w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/000025910020-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/000025910020-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/000025910020-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/000025910020-1020x676.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/000025910020-1200x795.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/000025910020-1180x782.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/000025910020-960x636.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/000025910020-240x159.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/000025910020-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/000025910020-520x345.jpg 520w\" sizes=\"(max-width: 1545px) 100vw, 1545px\">\u003cfigcaption class=\"wp-caption-text\">(Samantha Shanahan/KQED)\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13833731\" class=\"wp-caption aligncenter\" style=\"max-width: 1545px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13833731 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/000025910025.jpg\" alt=\"\" width=\"1545\" height=\"1024\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/000025910025.jpg 1545w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/000025910025-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/000025910025-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/000025910025-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/000025910025-1020x676.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/000025910025-1200x795.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/000025910025-1180x782.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/000025910025-960x636.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/000025910025-240x159.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/000025910025-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/000025910025-520x345.jpg 520w\" sizes=\"(max-width: 1545px) 100vw, 1545px\">\u003cfigcaption class=\"wp-caption-text\">(Samantha Shanahan/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Celebrating Bobby Castro, Photographer of San Francisco's Punkest Moments",
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"content": "\u003cp>Bobby Castro, the photographer who documented San Francisco’s wilder side in the 1970s and ’80s, died Monday. He was 66. \u003c/p>\n\u003cp>Although mostly unrecognized outside of the Bay Area, Castro photographed national luminaries like the Rolling Stones, Billy Idol, Carol Channing and George Lucas. But Castro made his mark documenting the San Francisco punk scene from its very beginning. \u003c/p>\n\u003cp>“He was a real gentleman and didn’t let his ego get in the way of his eye,” fellow San Francisco punk photographer Ruby Ray said. “He was tirelessly dedicated to the punk scene for years without much credit.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=HWp79_YFODw\u003c/p>\n\u003cp>Castro was born and raised in San Francisco, and he experimented with art as a high school student, making collages for fun. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I didn’t even think of it as art when I was doing it back then,” Castro said during \u003ca href=\"http://www.blogtalkradio.com/girl-george/2015/05/31/bobby-castro-sf-rock-photographergirlgeo-radio-show-53115\" rel=\"noopener\" target=\"_blank\">an online radio show\u003c/a> in 2015. \u003c/p>\n\u003cp>In the 1970s, Castro began taking photos of San Francisco. He focused on the darker, sadder side of the city, like the then-crumbling amusement park at Ocean Beach, Playland at the Beach.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=G3q7pH96nfs\u003c/p>\n\u003cp>When punk came to San Francisco, Castro was there with his camera. He had taken pictures of bands before — most notably the Rolling Stones when they played Winterland in 1972. But the burgeoning punk scene inspired Castro, and he became a fixture at clubs like Mabuhay Gardens, Temple Beautiful and the Sound of Music. \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=K3s5q-HMn8w\u003c/p>\n\u003cp>Castro also focused his camera on the women in the male-dominated scene, taking just as many photos of female-fronted bands as he did of the male ones. Notable San Francisco bands he shot include the Avengers, the Mutants and VKTMS. He was also a big supporter of San Francisco’s feminist punks Frightwig, documenting them through their decades-long career, which ended when drummer \u003ca href=\"https://www.kqed.org/arts/13186602/cecilia-kuhn-drummer-for-influential-feminist-punks-frightwig-dies-at-61\" rel=\"noopener\" target=\"_blank\">Cecelia Kuhn passed in 2017\u003c/a>. Frightwig guitarist Mia Simmans said that the band “owes him a huge debt.” \u003c/p>\n\u003cp>“[Castro] was a very dear and close friend. We refinished hardwood floors together for years, and I have eaten my lunch with him hundreds of times,” Simmans said. “He has documented my life mdash; every episode, every band, every kid.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-eH-8jLigKo\u003c/p>\n\u003cp>In recent years, Castro’s been recognized for his work. A film he made featuring his photos of the Mabuhay Gardens was included in the \u003ca href=\"https://www.kqed.org/arts/10963517/in-the-beginning-ruby-ray-discusses-the-earliest-days-of-sf-punk\" rel=\"noopener\" target=\"_blank\">San Francisco Punk Renaissance celebration\u003c/a> in 2015 and later, he had a brick dedicated to him in the San Francisco Music Walk of Fame. \u003c/p>\n\u003cp>Friends of Castro’s said he died of a heart attack Monday morning. There’s been no announcements of any public memorials, but he can be remembered through all the work he posted online on his \u003ca href=\"https://www.youtube.com/channel/UCaq-IsgJZfAKvX9bAEyH4zQ\" rel=\"noopener\" target=\"_blank\">YouTube channel\u003c/a>. But take note: he’d probably prefer you to see his work in person and not on a computer.\u003c/p>\n\u003cp>“It’s not art. It’s not photography if it’s still on a screen,” Castro said in 2015. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=DprmUHYRAn8\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Bobby Castro, the photographer who documented San Francisco’s wilder side in the 1970s and ’80s, died Monday. He was 66. \u003c/p>\n\u003cp>Although mostly unrecognized outside of the Bay Area, Castro photographed national luminaries like the Rolling Stones, Billy Idol, Carol Channing and George Lucas. But Castro made his mark documenting the San Francisco punk scene from its very beginning. \u003c/p>\n\u003cp>“He was a real gentleman and didn’t let his ego get in the way of his eye,” fellow San Francisco punk photographer Ruby Ray said. “He was tirelessly dedicated to the punk scene for years without much credit.”\u003c/p>\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/HWp79_YFODw'\n title='//www.youtube.com/embed/HWp79_YFODw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Castro was born and raised in San Francisco, and he experimented with art as a high school student, making collages for fun. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I didn’t even think of it as art when I was doing it back then,” Castro said during \u003ca href=\"http://www.blogtalkradio.com/girl-george/2015/05/31/bobby-castro-sf-rock-photographergirlgeo-radio-show-53115\" rel=\"noopener\" target=\"_blank\">an online radio show\u003c/a> in 2015. \u003c/p>\n\u003cp>In the 1970s, Castro began taking photos of San Francisco. He focused on the darker, sadder side of the city, like the then-crumbling amusement park at Ocean Beach, Playland at the Beach.\u003c/p>\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/G3q7pH96nfs'\n title='//www.youtube.com/embed/G3q7pH96nfs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>When punk came to San Francisco, Castro was there with his camera. He had taken pictures of bands before — most notably the Rolling Stones when they played Winterland in 1972. But the burgeoning punk scene inspired Castro, and he became a fixture at clubs like Mabuhay Gardens, Temple Beautiful and the Sound of Music. \u003c/p>\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/K3s5q-HMn8w'\n title='//www.youtube.com/embed/K3s5q-HMn8w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Castro also focused his camera on the women in the male-dominated scene, taking just as many photos of female-fronted bands as he did of the male ones. Notable San Francisco bands he shot include the Avengers, the Mutants and VKTMS. He was also a big supporter of San Francisco’s feminist punks Frightwig, documenting them through their decades-long career, which ended when drummer \u003ca href=\"https://www.kqed.org/arts/13186602/cecilia-kuhn-drummer-for-influential-feminist-punks-frightwig-dies-at-61\" rel=\"noopener\" target=\"_blank\">Cecelia Kuhn passed in 2017\u003c/a>. Frightwig guitarist Mia Simmans said that the band “owes him a huge debt.” \u003c/p>\n\u003cp>“[Castro] was a very dear and close friend. We refinished hardwood floors together for years, and I have eaten my lunch with him hundreds of times,” Simmans said. “He has documented my life mdash; every episode, every band, every kid.”\u003c/p>\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/-eH-8jLigKo'\n title='//www.youtube.com/embed/-eH-8jLigKo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In recent years, Castro’s been recognized for his work. A film he made featuring his photos of the Mabuhay Gardens was included in the \u003ca href=\"https://www.kqed.org/arts/10963517/in-the-beginning-ruby-ray-discusses-the-earliest-days-of-sf-punk\" rel=\"noopener\" target=\"_blank\">San Francisco Punk Renaissance celebration\u003c/a> in 2015 and later, he had a brick dedicated to him in the San Francisco Music Walk of Fame. \u003c/p>\n\u003cp>Friends of Castro’s said he died of a heart attack Monday morning. There’s been no announcements of any public memorials, but he can be remembered through all the work he posted online on his \u003ca href=\"https://www.youtube.com/channel/UCaq-IsgJZfAKvX9bAEyH4zQ\" rel=\"noopener\" target=\"_blank\">YouTube channel\u003c/a>. But take note: he’d probably prefer you to see his work in person and not on a computer.\u003c/p>\n\u003cp>“It’s not art. It’s not photography if it’s still on a screen,” Castro said in 2015. \u003c/p>\n\u003cp>\u003c/p>\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/DprmUHYRAn8'\n title='//www.youtube.com/embed/DprmUHYRAn8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\n\u003c/div>\u003c/p>",
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"title": "Nine New Murals To See in Oakland This Summer",
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"content": "\u003cp>After last month’s \u003ca href=\"http://bamfestival.boomity.com/home\" target=\"_blank\" rel=\"noopener\">Oakland Mural Festival\u003c/a>, Oakland’s already-rich street art scene gained nine more stunning surfaces coated with public art. KQED Arts takes you on a tour to find out more about the artists and inspirations behind the murals.\u003c/p>\n\u003cfigure id=\"attachment_13834332\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13834332 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/OakMural-7-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-7-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-7-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-7-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-7-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-7-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-7-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-7-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-7-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-7.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Turfin” mural featuring the likeness of turf dancer No Noiz aka Noh Justice by Lower Bottoms Collective as part of Oakland Mural Festival 2018. \u003ccite>(Lina Blanco / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Turfin”\u003c/h2>\n\u003cp>\u003cb>Martin Luther King Jr Way and Embarcadero West\u003cbr>\n\u003ca href=\"http://www.creativeshields.com/\" target=\"_blank\" rel=\"noopener\">Creative Shields\u003c/a> a.k.a. Lower Bottoms Collective\u003c/b>\u003c/p>\n\u003cp>High above the train tracks on MLK and Embarcadero West, a turf dancer moves across a glowing Oakland skyline. Rocks quake under the weight of his steps and as he slides his way over massive concrete slabs and takes his first step right out of the frame.\u003c/p>\n\u003cp>“The mission of this was to represent authentic Oakland culture. We saw that possibility through turf dancing and showing that movement on the canvas,” explains James Shields, founder of Creative Shields and creator of the \u003ci>Hip Hop Coloring Book\u003c/i>. But why this mural, and why now?\u003c/p>\n\u003cp>“I feel like we have been losing the true authenticity in Oakland by having so many people come in and take over our equity out here—our space,” says Timothy B., an artist born and raised in Oakland.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The muse behind the mural is turf dancer Noh Justice (a.k.a. Nonoiz). When talking about his dance style, Noh Justice sums it up simply with what he calls “a hood ballet.” With turf dance, the creative process starts with anything around him: “Mainly our stories and our lives and things we don’t like to talk about.” It’s not the first mural he’s found himself starring in; he routinely (and proudly) points out another three Oakland walls to his kids.\u003c/p>\n\u003cp>The rocks floating around the dancer capture the force of his moves. “It shows he’s making an impact,” says Timothy, referencing the Hindu god Shiva, who destroys and recreates the world around him. “To me, he’s dancing for change. He’s making an impact and destroying his surroundings to create change for a new way of being.”\u003c/p>\n\u003cp>\u003cem>Follow their work on Instagram: \u003ca href=\"https://www.instagram.com/creativeshields/\" target=\"_blank\" rel=\"noopener\">@creativeshields\u003c/a>, \u003ca href=\"https://www.instagram.com/timothyb_art/\">@timothyb_art\u003c/a>, \u003ca href=\"https://www.instagram.com/chuckinglights/\" target=\"_blank\" rel=\"noopener\">@chuckinglights\u003c/a> and \u003ca href=\"https://www.instagram.com/berj.j.berj/\">@berj.j.berj\u003c/a>.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13834333\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13834333\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/OakMural-4-800x464.jpg\" alt=\"\" width=\"800\" height=\"464\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-4-800x464.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-4-160x93.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-4-768x445.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-4-1020x591.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-4-960x556.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-4-240x139.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-4-375x217.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-4-520x301.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-4.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artists Jack and Alise Eastgate review their completed work ‘Warmer Waters’ on the final day of Oakland Mural Festival 2018. \u003ccite>(Lina Blanco / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Warmer Waters’\u003c/h2>\n\u003cp>\u003cb>Martin Luther King Jr Way and 2nd\u003cbr>\n\u003ca href=\"http://www.aliseeastgate.com\" target=\"_blank\" rel=\"noopener\">Alise\u003c/a> and\u003ca href=\"http://www.jackeastgate.com\"> Jack\u003c/a> Eastgate\u003c/b>\u003c/p>\n\u003cp>Just blocks from the Jack London Inner Harbor, a little girl valiantly rides a whale moving westward. In \u003ci>Warmer Waters\u003c/i> (also known fondly as “Whale Rider”), artists Alise and Jack Eastgate play with movement across time and space. The whale reflects the presence of ancestors, while the little girl, adorned with symbols native to Fiji, stands between the present and future.\u003c/p>\n\u003cp>And their work is timely. Just days before completion, news broke of a beached whale found in the Jack London estuary. The industrialization of the oceans and the waning rights of people to freely move across borders inspire the Oakland-based muralists.\u003c/p>\n\u003cp>“A lot of things felt right about this wall,” says Alise. Located at 679 2nd Street, the two noted the serendipity of the address. 679 is the area code for Fiji, Jack’s birthplace, while the blooming magnolia tree just overhead brings a sense of nostalgia to Louisiana-born Alise.\u003c/p>\n\u003cp>\u003cem>Follow Alise & Jack Eastgate’s work on Instagram at \u003ca href=\"https://www.instagram.com/eastrandstudios/\">@eastrandstudios\u003c/a>.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13834334\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13834334\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/OakMural-6-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-6-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-6-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-6-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-6-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-6-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-6-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-6-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-6-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-6.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Know Your Ancestors’ by Mike “Bam” Tyau and Jesus Rodriguez overlooks Martin Luther King Way and 2nd Street near the Port of Oakland. \u003ccite>(Lina Blanco / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Know Your Ancestors’\u003c/h2>\n\u003cp>\u003cb>Martin Luther King Jr Way and Embarcadero West\u003cbr>\n\u003ca href=\"http://miketyau.com\" target=\"_blank\" rel=\"noopener\">Mike “Bam” Tyau\u003c/a> and \u003ca href=\"https://www.josedejesusrodriguez.com\" target=\"_blank\" rel=\"noopener\">Jesus Rodriguez\u003c/a>\u003c/b>\u003c/p>\n\u003cp>In their latest collaboration, Mike “Bam” Tyau and Jesus Rodriguez pay vibrant homage to their roots. “Besides the Olmec and Chinese motifs as ancestral guardian totems, we painted these to remind people to go to their pillars of support during these trying times,” Mike wrote in an Instagram post at the end of the seven-day-long Oakland Mural Festival.\u003c/p>\n\u003cp>Foliage and mountains encompass two figures, references to the artists’ ancestral homelands. For Tyau, the leaves of the plants ground the composition with symbols pointing back to Mother Earth.\u003c/p>\n\u003cp>\u003cem>Follow Mike “Bam” Tyau and Jesus Rodriguez on Instagram at \u003ca href=\"https://www.instagram.com/miketyau/\" target=\"_blank\" rel=\"noopener\">@miketyau\u003c/a> and \u003ca href=\"https://www.instagram.com/ease_us/\" target=\"_blank\" rel=\"noopener\">@ease_us\u003c/a>.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13834338\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13834338 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/OakMural-10-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-10-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-10-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-10-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-10-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-10-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-10-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-10-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-10-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-10.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">New work ‘Embassy of the Refugee’ by Caleb Duarte coming soon to Broadway and 2nd Street. \u003ccite>(Lina Blanco / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Embassy Of The Refugee’\u003c/h2>\n\u003cp>\u003cb>2nd and Broadway\u003cbr>\n\u003ca href=\"http://www.calebduarte.org/\" target=\"_blank\" rel=\"noopener\">Caleb Duarte\u003c/a> and Youth from Embassy of the Refugee Project\u003c/b>\u003c/p>\n\u003cp>“Our ability to create myth in order to understand certain realities; is what we do,” Duarte wrote on Instagram, under the image of his latest work. “Those of us with no political or economic power, exiles or displaced working people, turn to the creation of the ‘embassy of the refugee’… as a form of exercising a magical realism in order to thrive.”\u003c/p>\n\u003cp>Straddling a busy street that connects some of Oakland’s homeless encampments with million-dollar condos, Duarte’s silhouette of a figure pushing a shopping cart posits a powerful statement on the pursuit of finding “home.”\u003c/p>\n\u003cp>\u003cem>Follow Caleb Duarte on Instagram at \u003ca href=\"https://www.instagram.com/caleb_arte_/\" target=\"_blank\" rel=\"noopener\">@caleb_arte_\u003c/a>.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13834339\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13834339\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/OakMural-5-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-5-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-5-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-5-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-5-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-5-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-5-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-5-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-5-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-5.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Trust Your Struggle collective unveiled their newest collaboration ‘Oakland Dreams’ as part of Oakland Mural Festival 2018. \u003ccite>(Lina Blanco / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Oakland Dreams’\u003c/h2>\n\u003cp>\u003cb>4th and Webster\u003cbr>\n\u003ca href=\"http://trustyourstruggle.com\" target=\"_blank\" rel=\"noopener\">Trust Your Struggle Collective\u003c/a>\u003c/b>\u003c/p>\n\u003cp>Two hands rise, palms open, up a wall. For the artists of Trust Your Struggle Collective, they simultaneously signify the power to hold on to, and reach for, your dreams.\u003c/p>\n\u003cp>Perhaps the most visually striking element of the collective’s mural are the two large words spanning the sun-soaked wall: “Oakland Dreams.” The second word pays homage to one of the founding members of the TDK (Those Damn Kids) aerosol collective, Mike “Dream” Francisco, who lost his life to gun violence in a senseless street robbery in 2000.\u003c/p>\n\u003cp>Images of flora and fauna run subtly throughout the mural. A lotus—a symbol often associated with transcendence—blooms from the sidewalk while a yellow hummingbird emerges from a red triangle glistening in the sun. Some interpretations of the hummingbird link back to the Aztec god Huitzilopochtli, a deity associated with the resurrection of a fallen warrior.\u003c/p>\n\u003cp>\u003cem>Follow Trust Your Struggle Collective on Instagram at \u003ca href=\"https://www.instagram.com/trustyourstrugglecollective/\" target=\"_blank\" rel=\"noopener\">@TrustYourStruggleCollective\u003c/a>, \u003ca href=\"https://www.instagram.com/erinyoshi/\" target=\"_blank\" rel=\"noopener\">@erinyoshi\u003c/a>, \u003ca href=\"https://www.instagram.com/nisha.k.sethi/\" target=\"_blank\" rel=\"noopener\">@Nisha.k.Sethi\u003c/a> and \u003ca href=\"https://www.instagram.com/misterbouncer/\" target=\"_blank\" rel=\"noopener\">@misterbouncer\u003c/a>.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13834340\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13834340 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/OakMural-2-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-2-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-2-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-2-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-2-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-2.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">This mural of a giant rooster and the symbol ‘Han’ by Dave Young Kim and Erik T Burke is imbued with the symbolism of resistance. \u003ccite>(Lina Blanco / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Han’\u003c/h2>\n\u003cp>\u003cb>3rd and Webster\u003cbr>\n\u003ca href=\"https://www.daveyoungkim.com/\" target=\"_blank\" rel=\"noopener\">Dave Young Kim\u003c/a> and \u003ca href=\"http://eriktburke.com\" target=\"_blank\" rel=\"noopener\">Erik Burke\u003c/a>\u003c/b>\u003c/p>\n\u003cp>Even though this mural revolves around just three core elements—a way-larger-than-life rooster, a Chinese character and a “rising sun”—Dave Young Kim and Erik Burke’s newest work is anything but simple.\u003c/p>\n\u003cp>“The rooster traditionally symbolizes tenaciousness, never giving up,” Kim shared in an Instagram post. And in the composition, the rooster reigns supreme in spite of the Chinese symbol “恨,” pronounced “han” in Korean, that towers over its head.\u003c/p>\n\u003cp>To Kim, the symbol represents a feeling that being downtrodden could be both a burden and a source of empowerment. “It could crush you, or you could rise up and fight til the end,” he says.\u003c/p>\n\u003cp>Fittingly, the mural also gives a nod to Jack London, the prolific author who spent most of his childhood frequenting the waterfront district that now bears his name. Instead of a sun, a circular frame depicts a lone figure in a snowy landscape, facing a radiant fire for warmth. It’s painted after a photograph Burke fixated on for a long time, inspired by a scene in London’s short story “To Build A Fire.”\u003c/p>\n\u003cp>Reflecting on \u003ci>Han\u003c/i>, Kim says he found his “mural soulmate” when working with Burke. They had plenty of time to bond in the two-and-a-half days of long working hours.\u003c/p>\n\u003cp>\u003cem>Follow Dave Young Kim and Erik Burke on Instagram at \u003ca href=\"https://www.instagram.com/daveyoungkim/\" target=\"_blank\" rel=\"noopener\">@daveyoungkim\u003c/a> and \u003ca href=\"https://www.instagram.com/ou35/\" target=\"_blank\" rel=\"noopener\">@ou35\u003c/a>.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13834341\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13834341\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/OakMural-3-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-3-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-3-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-3-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-3-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-3-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-3.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A collaborative work between Los Pobres Artistas muralist collective and students of Oakland International High School present two words ‘Earth’ and ‘Sanctuary.’ \u003ccite>(Lina Blanco / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Sanctuary Earth’\u003c/h2>\n\u003cp>\u003cb>4th and Webster\u003cbr>\n\u003ca href=\"http://lospobresartistas.com\" target=\"_blank\" rel=\"noopener\">Los Pobres Artists\u003c/a> and students from Oakland International High School\u003c/b>\u003c/p>\n\u003cp>Seven students and members of Los Pobres Artistas focused their creative energies on distilling images from the global refugee crisis. Sprawled across the right and the left sides of the mural are two words in all caps “EARTH” and “SANCTUARY.” At the center, giant hands support a raft filled with female refugees. In the foreground, schools of orange fish rise and fall as if to guide the raft safely to shore.\u003c/p>\n\u003cp>According to Los Pobres co-founder Thomas Jones, the mural stands for the idea that Earth can be a sanctuary for everybody.\u003c/p>\n\u003cp>\u003cem>Follow their work on Instagram \u003ca href=\"https://www.instagram.com/lospobresartistas/\" target=\"_blank\" rel=\"noopener\">@lospobresartistsas\u003c/a>, \u003ca href=\"https://www.instagram.com/hooperarts/\" target=\"_blank\" rel=\"noopener\">@hooperart\u003c/a>, \u003ca href=\"https://www.instagram.com/kilimunoz/\" target=\"_blank\" rel=\"noopener\">@kilimunoz\u003c/a>, \u003ca href=\"https://www.instagram.com/frederickoalvarado/\" target=\"_blank\" rel=\"noopener\">@frederickoalvarado\u003c/a> and \u003ca href=\"https://www.instagram.com/thomasjones_m/\" target=\"_blank\" rel=\"noopener\">@thomasjones_m\u003c/a>.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13834342\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13834342\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/OakMural-15-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-15-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-15-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-15-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-15-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-15-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-15-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-15-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-15-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-15.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The unnamed work by Susan Green and Art Forces spans the back wall of SeaWolf Public House. \u003ccite>(Lina Blanco / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Unnamed\u003c/h2>\n\u003cp>\u003cb>4th and Webster\u003cbr>\n\u003ca href=\"http://susangreene.org/art-forces/\" target=\"_blank\" rel=\"noopener\">Susan Greene and Art Forces\u003c/a>\u003c/b>\u003c/p>\n\u003cp>Spanning the rear wall of Seawolf Public House, catch a golden-hued scene in which Cheemah, the “Mother of the Spirit-Fire” descends onto the Port of Oakland atop a giant eagle. Locals might instantly recognize the figure from a bronze statue placed in Jack London Square. Originally sculpted by Osprey Orielle Lake, the mythic being stands for “cultural diversity, world unity and care for the earth.”\u003c/p>\n\u003cp>And while the moment might look idyllic, a somewhat menacing clue stands out in the foreground. Two ships, halfway to shore, allude to the terrible reality of a colonized past.\u003c/p>\n\u003cp>\u003cem>Follow them on Instagram at \u003ca href=\"https://www.instagram.com/artforces/\" target=\"_blank\" rel=\"noopener\">@artforces\u003c/a>, \u003ca href=\"https://www.instagram.com/_attril/\" target=\"_blank\" rel=\"noopener\">@_attril\u003c/a>, \u003ca href=\"https://www.instagram.com/maxallbee/\" target=\"_blank\" rel=\"noopener\">@maxallbee\u003c/a>, \u003ca href=\"https://www.instagram.com/francolafresh/\" target=\"_blank\" rel=\"noopener\">@francolafresh\u003c/a>.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13834343\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13834343\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/OakMural-13-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-13-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-13-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-13-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-13-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-13-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-13-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-13-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-13-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-13.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A tribute to Oakland’s elders and youth in one sprawling work by David Burke and friends.\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Love Letter To Oakland’\u003c/h2>\n\u003cp>\u003cb>4th and Oak\u003cbr>\n\u003ca href=\"http://www.dburke.org/\">David Burke\u003c/a>\u003c/b>\u003c/p>\n\u003cp>In the photo-realistic \u003ci>A Love Letter to Oakland\u003c/i>, Burke and his collaborators bridge two generations. On the left, two Oakland artists, Tureeda Mikell and James Gayles, reach out across the downtown Oakland skyline toward two emerging local heroes — well-known muralist DJ Agana and youth activist Samuel Getachew. Between them, a glow lights their faces.\u003c/p>\n\u003cp>A satellite view of Oakland streets extends across the concrete canvas like roots—an enduring symbol of the city. In an interview with the \u003cem>East Bay Express\u003c/em>, Burke calls out the importance of the festival that allowed for his most recent collaboration: “[The mural] becomes part of their collective experience,” Burke said, “and must reflect the stories, the diversity, the values and the histories of that community.”\u003c/p>\n\u003cp>\u003cem>Follow David Burke and his collaborators on Instagram at \u003ca href=\"https://www.instagram.com/davidburke_studio/\" target=\"_blank\" rel=\"noopener\">@DavidBurke_Studio\u003c/a>, \u003ca href=\"https://www.instagram.com/joevicyeban/\" target=\"_blank\" rel=\"noopener\">@joevicyeban\u003c/a>, \u003ca href=\"https://www.instagram.com/dorias_brannon/\" target=\"_blank\" rel=\"noopener\">@dorias_brannon\u003c/a>, \u003ca href=\"https://www.instagram.com/blacksphinxofquartz/\" target=\"_blank\" rel=\"noopener\">@blacksphinxofquartz\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cb>To make seeing these beautiful works easier, here’s a map to all the locations:\u003c/b>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.google.com/maps/d/embed?mid=1RyJwtH-ua5rYKrDET0kKYSXgdfhyMUZ1\" width=\"640\" height=\"480\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\n",
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"excerpt": "Thanks to the Oakland Mural Fest, the Town now has even more public art to purview.",
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"title": "Nine New Murals To See in Oakland This Summer | KQED",
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"headline": "Nine New Murals To See in Oakland This Summer",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>After last month’s \u003ca href=\"http://bamfestival.boomity.com/home\" target=\"_blank\" rel=\"noopener\">Oakland Mural Festival\u003c/a>, Oakland’s already-rich street art scene gained nine more stunning surfaces coated with public art. KQED Arts takes you on a tour to find out more about the artists and inspirations behind the murals.\u003c/p>\n\u003cfigure id=\"attachment_13834332\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13834332 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/OakMural-7-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-7-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-7-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-7-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-7-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-7-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-7-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-7-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-7-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-7.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Turfin” mural featuring the likeness of turf dancer No Noiz aka Noh Justice by Lower Bottoms Collective as part of Oakland Mural Festival 2018. \u003ccite>(Lina Blanco / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Turfin”\u003c/h2>\n\u003cp>\u003cb>Martin Luther King Jr Way and Embarcadero West\u003cbr>\n\u003ca href=\"http://www.creativeshields.com/\" target=\"_blank\" rel=\"noopener\">Creative Shields\u003c/a> a.k.a. Lower Bottoms Collective\u003c/b>\u003c/p>\n\u003cp>High above the train tracks on MLK and Embarcadero West, a turf dancer moves across a glowing Oakland skyline. Rocks quake under the weight of his steps and as he slides his way over massive concrete slabs and takes his first step right out of the frame.\u003c/p>\n\u003cp>“The mission of this was to represent authentic Oakland culture. We saw that possibility through turf dancing and showing that movement on the canvas,” explains James Shields, founder of Creative Shields and creator of the \u003ci>Hip Hop Coloring Book\u003c/i>. But why this mural, and why now?\u003c/p>\n\u003cp>“I feel like we have been losing the true authenticity in Oakland by having so many people come in and take over our equity out here—our space,” says Timothy B., an artist born and raised in Oakland.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The muse behind the mural is turf dancer Noh Justice (a.k.a. Nonoiz). When talking about his dance style, Noh Justice sums it up simply with what he calls “a hood ballet.” With turf dance, the creative process starts with anything around him: “Mainly our stories and our lives and things we don’t like to talk about.” It’s not the first mural he’s found himself starring in; he routinely (and proudly) points out another three Oakland walls to his kids.\u003c/p>\n\u003cp>The rocks floating around the dancer capture the force of his moves. “It shows he’s making an impact,” says Timothy, referencing the Hindu god Shiva, who destroys and recreates the world around him. “To me, he’s dancing for change. He’s making an impact and destroying his surroundings to create change for a new way of being.”\u003c/p>\n\u003cp>\u003cem>Follow their work on Instagram: \u003ca href=\"https://www.instagram.com/creativeshields/\" target=\"_blank\" rel=\"noopener\">@creativeshields\u003c/a>, \u003ca href=\"https://www.instagram.com/timothyb_art/\">@timothyb_art\u003c/a>, \u003ca href=\"https://www.instagram.com/chuckinglights/\" target=\"_blank\" rel=\"noopener\">@chuckinglights\u003c/a> and \u003ca href=\"https://www.instagram.com/berj.j.berj/\">@berj.j.berj\u003c/a>.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13834333\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13834333\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/OakMural-4-800x464.jpg\" alt=\"\" width=\"800\" height=\"464\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-4-800x464.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-4-160x93.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-4-768x445.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-4-1020x591.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-4-960x556.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-4-240x139.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-4-375x217.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-4-520x301.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-4.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artists Jack and Alise Eastgate review their completed work ‘Warmer Waters’ on the final day of Oakland Mural Festival 2018. \u003ccite>(Lina Blanco / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Warmer Waters’\u003c/h2>\n\u003cp>\u003cb>Martin Luther King Jr Way and 2nd\u003cbr>\n\u003ca href=\"http://www.aliseeastgate.com\" target=\"_blank\" rel=\"noopener\">Alise\u003c/a> and\u003ca href=\"http://www.jackeastgate.com\"> Jack\u003c/a> Eastgate\u003c/b>\u003c/p>\n\u003cp>Just blocks from the Jack London Inner Harbor, a little girl valiantly rides a whale moving westward. In \u003ci>Warmer Waters\u003c/i> (also known fondly as “Whale Rider”), artists Alise and Jack Eastgate play with movement across time and space. The whale reflects the presence of ancestors, while the little girl, adorned with symbols native to Fiji, stands between the present and future.\u003c/p>\n\u003cp>And their work is timely. Just days before completion, news broke of a beached whale found in the Jack London estuary. The industrialization of the oceans and the waning rights of people to freely move across borders inspire the Oakland-based muralists.\u003c/p>\n\u003cp>“A lot of things felt right about this wall,” says Alise. Located at 679 2nd Street, the two noted the serendipity of the address. 679 is the area code for Fiji, Jack’s birthplace, while the blooming magnolia tree just overhead brings a sense of nostalgia to Louisiana-born Alise.\u003c/p>\n\u003cp>\u003cem>Follow Alise & Jack Eastgate’s work on Instagram at \u003ca href=\"https://www.instagram.com/eastrandstudios/\">@eastrandstudios\u003c/a>.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13834334\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13834334\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/OakMural-6-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-6-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-6-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-6-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-6-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-6-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-6-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-6-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-6-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-6.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Know Your Ancestors’ by Mike “Bam” Tyau and Jesus Rodriguez overlooks Martin Luther King Way and 2nd Street near the Port of Oakland. \u003ccite>(Lina Blanco / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Know Your Ancestors’\u003c/h2>\n\u003cp>\u003cb>Martin Luther King Jr Way and Embarcadero West\u003cbr>\n\u003ca href=\"http://miketyau.com\" target=\"_blank\" rel=\"noopener\">Mike “Bam” Tyau\u003c/a> and \u003ca href=\"https://www.josedejesusrodriguez.com\" target=\"_blank\" rel=\"noopener\">Jesus Rodriguez\u003c/a>\u003c/b>\u003c/p>\n\u003cp>In their latest collaboration, Mike “Bam” Tyau and Jesus Rodriguez pay vibrant homage to their roots. “Besides the Olmec and Chinese motifs as ancestral guardian totems, we painted these to remind people to go to their pillars of support during these trying times,” Mike wrote in an Instagram post at the end of the seven-day-long Oakland Mural Festival.\u003c/p>\n\u003cp>Foliage and mountains encompass two figures, references to the artists’ ancestral homelands. For Tyau, the leaves of the plants ground the composition with symbols pointing back to Mother Earth.\u003c/p>\n\u003cp>\u003cem>Follow Mike “Bam” Tyau and Jesus Rodriguez on Instagram at \u003ca href=\"https://www.instagram.com/miketyau/\" target=\"_blank\" rel=\"noopener\">@miketyau\u003c/a> and \u003ca href=\"https://www.instagram.com/ease_us/\" target=\"_blank\" rel=\"noopener\">@ease_us\u003c/a>.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13834338\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13834338 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/OakMural-10-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-10-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-10-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-10-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-10-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-10-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-10-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-10-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-10-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-10.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">New work ‘Embassy of the Refugee’ by Caleb Duarte coming soon to Broadway and 2nd Street. \u003ccite>(Lina Blanco / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Embassy Of The Refugee’\u003c/h2>\n\u003cp>\u003cb>2nd and Broadway\u003cbr>\n\u003ca href=\"http://www.calebduarte.org/\" target=\"_blank\" rel=\"noopener\">Caleb Duarte\u003c/a> and Youth from Embassy of the Refugee Project\u003c/b>\u003c/p>\n\u003cp>“Our ability to create myth in order to understand certain realities; is what we do,” Duarte wrote on Instagram, under the image of his latest work. “Those of us with no political or economic power, exiles or displaced working people, turn to the creation of the ‘embassy of the refugee’… as a form of exercising a magical realism in order to thrive.”\u003c/p>\n\u003cp>Straddling a busy street that connects some of Oakland’s homeless encampments with million-dollar condos, Duarte’s silhouette of a figure pushing a shopping cart posits a powerful statement on the pursuit of finding “home.”\u003c/p>\n\u003cp>\u003cem>Follow Caleb Duarte on Instagram at \u003ca href=\"https://www.instagram.com/caleb_arte_/\" target=\"_blank\" rel=\"noopener\">@caleb_arte_\u003c/a>.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13834339\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13834339\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/OakMural-5-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-5-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-5-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-5-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-5-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-5-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-5-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-5-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-5-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-5.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Trust Your Struggle collective unveiled their newest collaboration ‘Oakland Dreams’ as part of Oakland Mural Festival 2018. \u003ccite>(Lina Blanco / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Oakland Dreams’\u003c/h2>\n\u003cp>\u003cb>4th and Webster\u003cbr>\n\u003ca href=\"http://trustyourstruggle.com\" target=\"_blank\" rel=\"noopener\">Trust Your Struggle Collective\u003c/a>\u003c/b>\u003c/p>\n\u003cp>Two hands rise, palms open, up a wall. For the artists of Trust Your Struggle Collective, they simultaneously signify the power to hold on to, and reach for, your dreams.\u003c/p>\n\u003cp>Perhaps the most visually striking element of the collective’s mural are the two large words spanning the sun-soaked wall: “Oakland Dreams.” The second word pays homage to one of the founding members of the TDK (Those Damn Kids) aerosol collective, Mike “Dream” Francisco, who lost his life to gun violence in a senseless street robbery in 2000.\u003c/p>\n\u003cp>Images of flora and fauna run subtly throughout the mural. A lotus—a symbol often associated with transcendence—blooms from the sidewalk while a yellow hummingbird emerges from a red triangle glistening in the sun. Some interpretations of the hummingbird link back to the Aztec god Huitzilopochtli, a deity associated with the resurrection of a fallen warrior.\u003c/p>\n\u003cp>\u003cem>Follow Trust Your Struggle Collective on Instagram at \u003ca href=\"https://www.instagram.com/trustyourstrugglecollective/\" target=\"_blank\" rel=\"noopener\">@TrustYourStruggleCollective\u003c/a>, \u003ca href=\"https://www.instagram.com/erinyoshi/\" target=\"_blank\" rel=\"noopener\">@erinyoshi\u003c/a>, \u003ca href=\"https://www.instagram.com/nisha.k.sethi/\" target=\"_blank\" rel=\"noopener\">@Nisha.k.Sethi\u003c/a> and \u003ca href=\"https://www.instagram.com/misterbouncer/\" target=\"_blank\" rel=\"noopener\">@misterbouncer\u003c/a>.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13834340\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13834340 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/OakMural-2-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-2-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-2-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-2-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-2-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-2.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">This mural of a giant rooster and the symbol ‘Han’ by Dave Young Kim and Erik T Burke is imbued with the symbolism of resistance. \u003ccite>(Lina Blanco / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Han’\u003c/h2>\n\u003cp>\u003cb>3rd and Webster\u003cbr>\n\u003ca href=\"https://www.daveyoungkim.com/\" target=\"_blank\" rel=\"noopener\">Dave Young Kim\u003c/a> and \u003ca href=\"http://eriktburke.com\" target=\"_blank\" rel=\"noopener\">Erik Burke\u003c/a>\u003c/b>\u003c/p>\n\u003cp>Even though this mural revolves around just three core elements—a way-larger-than-life rooster, a Chinese character and a “rising sun”—Dave Young Kim and Erik Burke’s newest work is anything but simple.\u003c/p>\n\u003cp>“The rooster traditionally symbolizes tenaciousness, never giving up,” Kim shared in an Instagram post. And in the composition, the rooster reigns supreme in spite of the Chinese symbol “恨,” pronounced “han” in Korean, that towers over its head.\u003c/p>\n\u003cp>To Kim, the symbol represents a feeling that being downtrodden could be both a burden and a source of empowerment. “It could crush you, or you could rise up and fight til the end,” he says.\u003c/p>\n\u003cp>Fittingly, the mural also gives a nod to Jack London, the prolific author who spent most of his childhood frequenting the waterfront district that now bears his name. Instead of a sun, a circular frame depicts a lone figure in a snowy landscape, facing a radiant fire for warmth. It’s painted after a photograph Burke fixated on for a long time, inspired by a scene in London’s short story “To Build A Fire.”\u003c/p>\n\u003cp>Reflecting on \u003ci>Han\u003c/i>, Kim says he found his “mural soulmate” when working with Burke. They had plenty of time to bond in the two-and-a-half days of long working hours.\u003c/p>\n\u003cp>\u003cem>Follow Dave Young Kim and Erik Burke on Instagram at \u003ca href=\"https://www.instagram.com/daveyoungkim/\" target=\"_blank\" rel=\"noopener\">@daveyoungkim\u003c/a> and \u003ca href=\"https://www.instagram.com/ou35/\" target=\"_blank\" rel=\"noopener\">@ou35\u003c/a>.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13834341\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13834341\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/OakMural-3-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-3-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-3-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-3-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-3-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-3-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-3.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A collaborative work between Los Pobres Artistas muralist collective and students of Oakland International High School present two words ‘Earth’ and ‘Sanctuary.’ \u003ccite>(Lina Blanco / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Sanctuary Earth’\u003c/h2>\n\u003cp>\u003cb>4th and Webster\u003cbr>\n\u003ca href=\"http://lospobresartistas.com\" target=\"_blank\" rel=\"noopener\">Los Pobres Artists\u003c/a> and students from Oakland International High School\u003c/b>\u003c/p>\n\u003cp>Seven students and members of Los Pobres Artistas focused their creative energies on distilling images from the global refugee crisis. Sprawled across the right and the left sides of the mural are two words in all caps “EARTH” and “SANCTUARY.” At the center, giant hands support a raft filled with female refugees. In the foreground, schools of orange fish rise and fall as if to guide the raft safely to shore.\u003c/p>\n\u003cp>According to Los Pobres co-founder Thomas Jones, the mural stands for the idea that Earth can be a sanctuary for everybody.\u003c/p>\n\u003cp>\u003cem>Follow their work on Instagram \u003ca href=\"https://www.instagram.com/lospobresartistas/\" target=\"_blank\" rel=\"noopener\">@lospobresartistsas\u003c/a>, \u003ca href=\"https://www.instagram.com/hooperarts/\" target=\"_blank\" rel=\"noopener\">@hooperart\u003c/a>, \u003ca href=\"https://www.instagram.com/kilimunoz/\" target=\"_blank\" rel=\"noopener\">@kilimunoz\u003c/a>, \u003ca href=\"https://www.instagram.com/frederickoalvarado/\" target=\"_blank\" rel=\"noopener\">@frederickoalvarado\u003c/a> and \u003ca href=\"https://www.instagram.com/thomasjones_m/\" target=\"_blank\" rel=\"noopener\">@thomasjones_m\u003c/a>.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13834342\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13834342\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/OakMural-15-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-15-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-15-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-15-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-15-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-15-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-15-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-15-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-15-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-15.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The unnamed work by Susan Green and Art Forces spans the back wall of SeaWolf Public House. \u003ccite>(Lina Blanco / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Unnamed\u003c/h2>\n\u003cp>\u003cb>4th and Webster\u003cbr>\n\u003ca href=\"http://susangreene.org/art-forces/\" target=\"_blank\" rel=\"noopener\">Susan Greene and Art Forces\u003c/a>\u003c/b>\u003c/p>\n\u003cp>Spanning the rear wall of Seawolf Public House, catch a golden-hued scene in which Cheemah, the “Mother of the Spirit-Fire” descends onto the Port of Oakland atop a giant eagle. Locals might instantly recognize the figure from a bronze statue placed in Jack London Square. Originally sculpted by Osprey Orielle Lake, the mythic being stands for “cultural diversity, world unity and care for the earth.”\u003c/p>\n\u003cp>And while the moment might look idyllic, a somewhat menacing clue stands out in the foreground. Two ships, halfway to shore, allude to the terrible reality of a colonized past.\u003c/p>\n\u003cp>\u003cem>Follow them on Instagram at \u003ca href=\"https://www.instagram.com/artforces/\" target=\"_blank\" rel=\"noopener\">@artforces\u003c/a>, \u003ca href=\"https://www.instagram.com/_attril/\" target=\"_blank\" rel=\"noopener\">@_attril\u003c/a>, \u003ca href=\"https://www.instagram.com/maxallbee/\" target=\"_blank\" rel=\"noopener\">@maxallbee\u003c/a>, \u003ca href=\"https://www.instagram.com/francolafresh/\" target=\"_blank\" rel=\"noopener\">@francolafresh\u003c/a>.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13834343\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13834343\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/OakMural-13-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-13-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-13-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-13-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-13-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-13-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-13-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-13-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-13-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-13.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A tribute to Oakland’s elders and youth in one sprawling work by David Burke and friends.\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Love Letter To Oakland’\u003c/h2>\n\u003cp>\u003cb>4th and Oak\u003cbr>\n\u003ca href=\"http://www.dburke.org/\">David Burke\u003c/a>\u003c/b>\u003c/p>\n\u003cp>In the photo-realistic \u003ci>A Love Letter to Oakland\u003c/i>, Burke and his collaborators bridge two generations. On the left, two Oakland artists, Tureeda Mikell and James Gayles, reach out across the downtown Oakland skyline toward two emerging local heroes — well-known muralist DJ Agana and youth activist Samuel Getachew. Between them, a glow lights their faces.\u003c/p>\n\u003cp>A satellite view of Oakland streets extends across the concrete canvas like roots—an enduring symbol of the city. In an interview with the \u003cem>East Bay Express\u003c/em>, Burke calls out the importance of the festival that allowed for his most recent collaboration: “[The mural] becomes part of their collective experience,” Burke said, “and must reflect the stories, the diversity, the values and the histories of that community.”\u003c/p>\n\u003cp>\u003cem>Follow David Burke and his collaborators on Instagram at \u003ca href=\"https://www.instagram.com/davidburke_studio/\" target=\"_blank\" rel=\"noopener\">@DavidBurke_Studio\u003c/a>, \u003ca href=\"https://www.instagram.com/joevicyeban/\" target=\"_blank\" rel=\"noopener\">@joevicyeban\u003c/a>, \u003ca href=\"https://www.instagram.com/dorias_brannon/\" target=\"_blank\" rel=\"noopener\">@dorias_brannon\u003c/a>, \u003ca href=\"https://www.instagram.com/blacksphinxofquartz/\" target=\"_blank\" rel=\"noopener\">@blacksphinxofquartz\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cb>To make seeing these beautiful works easier, here’s a map to all the locations:\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Rock Papers Scissors Taking Applications for Ara Jo Memorial Fund",
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"content": "\u003cp>Oakland-based art collective \u003ca href=\"https://www.rpscollective.org/\" rel=\"noopener\" target=\"_blank\">Rock Paper Scissors\u003c/a> announced this week that it is accepting applications for a new arts fund that honors the memory of an artist lost in the \u003ca href=\"https://www.kqed.org/arts/program/oakland-warehouse-memorial\" rel=\"noopener\" target=\"_blank\">Ghost Ship Fire\u003c/a>.\u003c/p>\n\u003cp>Through July 15, the collective is accepting applications to the Ara Jo Memorial Fund, named for its 29-year-old member \u003ca href=\"https://www.kqed.org/arts/12456882/ara-jo-a-multitalented-magnetic-personality-in-oaklands-art-scene\" rel=\"noopener\" target=\"_blank\">Ara Christina Jo,\u003c/a> who was one of 36 victims of the fire at an Oakland warehouse in December 2016. \u003c/p>\n\u003cp>The collective, in collaboration with Jo’s family, started the $25,000-fund this year to support “local, community-based artists and projects that benefit the East Bay.” The grants go up to $500, and the collective plans to award them in the summer and winter. This winter, it hopes to collaborate with the East Bay Alternative Book and Zine Festival (EBABZ) to target artists working in printed media.\u003c/p>\n\u003cp>“We hope to keep her collaborative energy and loving spirit alive by supporting projects that align with Ara’s life pursuits,” says grant manager Peter Pendergrass. \u003c/p>\n\u003cp>Jo was an artist and musician who came to Oakland in the mid-aughts from Los Angeles. She joined Rock Paper Scissors in 2009 and held a number of different jobs there, including gallery manager. Described as personifying “pure, unconditional love,” Jo had a knack for bringing people together, as seen in her work to help start Oakland First Fridays. She also provided much-needed encouragement to fellow artists trying to get projects off the ground.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“If you shared an idea with Ara, she would ask you all about it, brainstorm it with you, and co-imagine how amazing it would be,” Pendergrass told \u003ca href=\"https://www.kqed.org/arts/12456882/ara-jo-a-multitalented-magnetic-personality-in-oaklands-art-scene\" rel=\"noopener\" target=\"_blank\">KQED following Jo’s death in 2016\u003c/a>. “And in any way she could, she would support you in making it come to fruition.”\u003c/p>\n\u003cp>Pendergrass says that as of this week, he’s received just two applications, and if he receives 20 this first cycle, he’ll be thrilled. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For more information on the fund, visit \u003ca href=\"https://www.rpscollective.org/home/2018/6/1/ara-jo-memorial-fund\" rel=\"noopener\" target=\"_blank\">rpscollective.org\u003c/a>. Recipients will be announced July 31.\u003c/p>\n\n",
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"excerpt": "The new fund will provide grants of up to $500 to East Bay art projects.",
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"title": "Rock Papers Scissors Taking Applications for Ara Jo Memorial Fund | KQED",
"description": "The new fund will provide grants of up to $500 to East Bay art projects.",
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"headline": "Rock Papers Scissors Taking Applications for Ara Jo Memorial Fund",
"datePublished": "2018-06-07T15:50:08-07:00",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Oakland-based art collective \u003ca href=\"https://www.rpscollective.org/\" rel=\"noopener\" target=\"_blank\">Rock Paper Scissors\u003c/a> announced this week that it is accepting applications for a new arts fund that honors the memory of an artist lost in the \u003ca href=\"https://www.kqed.org/arts/program/oakland-warehouse-memorial\" rel=\"noopener\" target=\"_blank\">Ghost Ship Fire\u003c/a>.\u003c/p>\n\u003cp>Through July 15, the collective is accepting applications to the Ara Jo Memorial Fund, named for its 29-year-old member \u003ca href=\"https://www.kqed.org/arts/12456882/ara-jo-a-multitalented-magnetic-personality-in-oaklands-art-scene\" rel=\"noopener\" target=\"_blank\">Ara Christina Jo,\u003c/a> who was one of 36 victims of the fire at an Oakland warehouse in December 2016. \u003c/p>\n\u003cp>The collective, in collaboration with Jo’s family, started the $25,000-fund this year to support “local, community-based artists and projects that benefit the East Bay.” The grants go up to $500, and the collective plans to award them in the summer and winter. This winter, it hopes to collaborate with the East Bay Alternative Book and Zine Festival (EBABZ) to target artists working in printed media.\u003c/p>\n\u003cp>“We hope to keep her collaborative energy and loving spirit alive by supporting projects that align with Ara’s life pursuits,” says grant manager Peter Pendergrass. \u003c/p>\n\u003cp>Jo was an artist and musician who came to Oakland in the mid-aughts from Los Angeles. She joined Rock Paper Scissors in 2009 and held a number of different jobs there, including gallery manager. Described as personifying “pure, unconditional love,” Jo had a knack for bringing people together, as seen in her work to help start Oakland First Fridays. She also provided much-needed encouragement to fellow artists trying to get projects off the ground.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“If you shared an idea with Ara, she would ask you all about it, brainstorm it with you, and co-imagine how amazing it would be,” Pendergrass told \u003ca href=\"https://www.kqed.org/arts/12456882/ara-jo-a-multitalented-magnetic-personality-in-oaklands-art-scene\" rel=\"noopener\" target=\"_blank\">KQED following Jo’s death in 2016\u003c/a>. “And in any way she could, she would support you in making it come to fruition.”\u003c/p>\n\u003cp>Pendergrass says that as of this week, he’s received just two applications, and if he receives 20 this first cycle, he’ll be thrilled. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For more information on the fund, visit \u003ca href=\"https://www.rpscollective.org/home/2018/6/1/ara-jo-memorial-fund\" rel=\"noopener\" target=\"_blank\">rpscollective.org\u003c/a>. Recipients will be announced July 31.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"soldout": {
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"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
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"info": "",
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