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"content": "\u003cp>We had terrible news this week. San Francisco Chronicle Assistant Managing Editor David Wiegand, my founding co-anchor on The Do List, was found dead in his home on Tuesday. He was omnivorous in his approach to the arts, and together we crafted The Do List out of that ideal, embracing everything from classical to rap, from Shakespeare to the weirdest performance piece, from veteran to young talent. David would have wanted the show to go on, and this week’s episode is dedicated to him, and his memory.\u003c/p>\n\u003cp>\u003cstrong>May 16-20:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13830999/a-new-concerto-from-philip-glass-for-the-new-century-chamber-orchestra\" target=\"_blank\" rel=\"noopener\">The New Century Chamber Orchestra offers the West Coast debut of Philip Glass’ new piano concerto\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>May 10-24:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13831011/caam-fest-mixes-film-music-and-theater-for-its-36th-edition\" target=\"_blank\" rel=\"noopener\">The Center for Asian American Media’s film festival includes a documentary on former San Jose Mayor Norm Mineta.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>May 9-20:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13830976/a-festival-of-transformative-art-at-ybca\" target=\"_blank\" rel=\"noopener\">The Yerba Buena Center for the Arts Transform Festival asks “where is our public imagination?”\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>May 5-7:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13830967/khalid-not-so-dumb-not-so-broke\" target=\"_blank\" rel=\"noopener\">Khalid plays the Bay Area, taking a satiric jab at our attitudes toward millennials\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>May 4: \u003c/strong>\u003ca href=\"https://www.oakarts.org/about/227-a-front-page-cat/1163-vocal-music-s-spring-concert-fox-theatre-5-4\" target=\"_blank\" rel=\"noopener\">The kids are really, really talented at The Oakland School for the Arts in a concert at the Fox in Oakland\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>May 4-July 20:\u003c/strong> \u003ca href=\"https://bettiono.com/2018/04/22/betti-ono-presents-signify-a-solo-exhibition-by-kierra-johnson-may-4-july-20-2018/\" target=\"_blank\" rel=\"noopener\">The Betti Ono Gallery in Oakland offers a photography show with intimate, detailed portraits of working-class African Americans.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13830891/david-wiegand-longtime-co-host-of-kqeds-the-do-list-dies-at-70\" target=\"_blank\" rel=\"noopener\">\u003cem>A fond goodbye to former Do List co-anchor David Wiegand\u003c/em> \u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13830917\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13830917\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/David-Wiegand-and-Cy-Musiker-at-The-Do-List-Live-event-at-The-Chapel-in-2015-e1525220054642-800x460.jpeg\" alt=\"The late David Wiegand and Cy Musiker at The Do List Live event at The Chapel in 2015\" width=\"800\" height=\"460\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/David-Wiegand-and-Cy-Musiker-at-The-Do-List-Live-event-at-The-Chapel-in-2015-e1525220054642-800x460.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/David-Wiegand-and-Cy-Musiker-at-The-Do-List-Live-event-at-The-Chapel-in-2015-e1525220054642-160x92.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/David-Wiegand-and-Cy-Musiker-at-The-Do-List-Live-event-at-The-Chapel-in-2015-e1525220054642-768x442.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/David-Wiegand-and-Cy-Musiker-at-The-Do-List-Live-event-at-The-Chapel-in-2015-e1525220054642-960x552.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/David-Wiegand-and-Cy-Musiker-at-The-Do-List-Live-event-at-The-Chapel-in-2015-e1525220054642-240x138.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/David-Wiegand-and-Cy-Musiker-at-The-Do-List-Live-event-at-The-Chapel-in-2015-e1525220054642-375x216.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/David-Wiegand-and-Cy-Musiker-at-The-Do-List-Live-event-at-The-Chapel-in-2015-e1525220054642-520x299.jpeg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/David-Wiegand-and-Cy-Musiker-at-The-Do-List-Live-event-at-The-Chapel-in-2015-e1525220054642.jpeg 1000w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The late David Wiegand and Cy Musiker at The Do List Live event at The Chapel in 2015 \u003ccite>(KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>May 4: \u003c/strong>\u003ca href=\"https://www.oakarts.org/about/227-a-front-page-cat/1163-vocal-music-s-spring-concert-fox-theatre-5-4\" target=\"_blank\" rel=\"noopener\">The kids are really, really talented at The Oakland School for the Arts in a concert at the Fox in Oakland\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>May 4-July 20:\u003c/strong> \u003ca href=\"https://bettiono.com/2018/04/22/betti-ono-presents-signify-a-solo-exhibition-by-kierra-johnson-may-4-july-20-2018/\" target=\"_blank\" rel=\"noopener\">The Betti Ono Gallery in Oakland offers a photography show with intimate, detailed portraits of working-class African Americans.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13830891/david-wiegand-longtime-co-host-of-kqeds-the-do-list-dies-at-70\" target=\"_blank\" rel=\"noopener\">\u003cem>A fond goodbye to former Do List co-anchor David Wiegand\u003c/em> \u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13830917\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13830917\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/David-Wiegand-and-Cy-Musiker-at-The-Do-List-Live-event-at-The-Chapel-in-2015-e1525220054642-800x460.jpeg\" alt=\"The late David Wiegand and Cy Musiker at The Do List Live event at The Chapel in 2015\" width=\"800\" height=\"460\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/David-Wiegand-and-Cy-Musiker-at-The-Do-List-Live-event-at-The-Chapel-in-2015-e1525220054642-800x460.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/David-Wiegand-and-Cy-Musiker-at-The-Do-List-Live-event-at-The-Chapel-in-2015-e1525220054642-160x92.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/David-Wiegand-and-Cy-Musiker-at-The-Do-List-Live-event-at-The-Chapel-in-2015-e1525220054642-768x442.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/David-Wiegand-and-Cy-Musiker-at-The-Do-List-Live-event-at-The-Chapel-in-2015-e1525220054642-960x552.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/David-Wiegand-and-Cy-Musiker-at-The-Do-List-Live-event-at-The-Chapel-in-2015-e1525220054642-240x138.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/David-Wiegand-and-Cy-Musiker-at-The-Do-List-Live-event-at-The-Chapel-in-2015-e1525220054642-375x216.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/David-Wiegand-and-Cy-Musiker-at-The-Do-List-Live-event-at-The-Chapel-in-2015-e1525220054642-520x299.jpeg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/David-Wiegand-and-Cy-Musiker-at-The-Do-List-Live-event-at-The-Chapel-in-2015-e1525220054642.jpeg 1000w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The late David Wiegand and Cy Musiker at The Do List Live event at The Chapel in 2015 \u003ccite>(KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>I often publicly state a desire for a narrower journalistic beat. “Instead of all of Bay Area visual arts and film, what if I only covered artists over the age of 70?” This is what I ask my editor every time I profile someone as impressive as \u003ca href=\"https://www.kqed.org/arts/13310178/she-photographed-jimi-hendrix-without-knowing-his-name\" rel=\"noopener\" target=\"_blank\">Elaine Mayes\u003c/a> or \u003ca href=\"https://www.kqed.org/arts/13816067\" rel=\"noopener\" target=\"_blank\">Joan van Briesen\u003c/a>. “Ha ha Sarah,” he says. “No wait, but really,” I say.\u003c/p>\n\u003cp>The current exhibition at the Marin Center Exhibit Hall in San Rafael conveniently solves this problem for me. \u003ci>80 Over 80\u003c/i> showcases painting, sculpture and photography all made by artists — you guessed it — over the age of 80. \u003c/p>\n\u003cfigure id=\"attachment_13831005\" class=\"wp-caption aligncenter\" style=\"max-width: 1261px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/Lea-Del-Pomo_photograph_1200.jpg\" alt=\"A portrait by Lea Del Pomo, from 'Women Over 80.'\" width=\"1261\" height=\"1200\" class=\"size-full wp-image-13831005\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Lea-Del-Pomo_photograph_1200.jpg 1261w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Lea-Del-Pomo_photograph_1200-160x152.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Lea-Del-Pomo_photograph_1200-800x761.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Lea-Del-Pomo_photograph_1200-768x731.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Lea-Del-Pomo_photograph_1200-1020x971.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Lea-Del-Pomo_photograph_1200-1200x1142.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Lea-Del-Pomo_photograph_1200-1180x1123.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Lea-Del-Pomo_photograph_1200-960x914.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Lea-Del-Pomo_photograph_1200-240x228.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Lea-Del-Pomo_photograph_1200-375x357.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Lea-Del-Pomo_photograph_1200-520x495.jpg 520w\" sizes=\"(max-width: 1261px) 100vw, 1261px\">\u003cfigcaption class=\"wp-caption-text\">A portrait by Lea Del Pomo, from ‘Women Over 80.’ \u003ccite>(Courtesy of Marin County Department of Cultural Services)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Showing in the Board of Supervisors Chambers Gallery is an accompanying exhibition of photographs by Lea Del Pomo — all portraits of women over the age of 80. Combating the increased invisibility women face as they age, Del Pomo’s portraits show them strong and decidedly visible, staring directly into her camera’s lens.\u003c/p>\n\u003cp>Quotes from the two shows’ press release argue the benefits of not only making art as an older event, but viewing it. So whether or not you’re an octogenarian, check this out — it’ll be good for your health.\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>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>’80 over 80′ and ‘Women Over 80: Photographs by Lea Del Pomo’ are on view at the Marin Civic Center in San Rafael through June 1, 2018. For more information, \u003ca href=\"https://www.marincounty.org/depts/cu/art-exhibits/bartolini-gallery\" rel=\"noopener\" target=\"_blank\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I often publicly state a desire for a narrower journalistic beat. “Instead of all of Bay Area visual arts and film, what if I only covered artists over the age of 70?” This is what I ask my editor every time I profile someone as impressive as \u003ca href=\"https://www.kqed.org/arts/13310178/she-photographed-jimi-hendrix-without-knowing-his-name\" rel=\"noopener\" target=\"_blank\">Elaine Mayes\u003c/a> or \u003ca href=\"https://www.kqed.org/arts/13816067\" rel=\"noopener\" target=\"_blank\">Joan van Briesen\u003c/a>. “Ha ha Sarah,” he says. “No wait, but really,” I say.\u003c/p>\n\u003cp>The current exhibition at the Marin Center Exhibit Hall in San Rafael conveniently solves this problem for me. \u003ci>80 Over 80\u003c/i> showcases painting, sculpture and photography all made by artists — you guessed it — over the age of 80. \u003c/p>\n\u003cfigure id=\"attachment_13831005\" class=\"wp-caption aligncenter\" style=\"max-width: 1261px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/Lea-Del-Pomo_photograph_1200.jpg\" alt=\"A portrait by Lea Del Pomo, from 'Women Over 80.'\" width=\"1261\" height=\"1200\" class=\"size-full wp-image-13831005\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Lea-Del-Pomo_photograph_1200.jpg 1261w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Lea-Del-Pomo_photograph_1200-160x152.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Lea-Del-Pomo_photograph_1200-800x761.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Lea-Del-Pomo_photograph_1200-768x731.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Lea-Del-Pomo_photograph_1200-1020x971.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Lea-Del-Pomo_photograph_1200-1200x1142.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Lea-Del-Pomo_photograph_1200-1180x1123.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Lea-Del-Pomo_photograph_1200-960x914.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Lea-Del-Pomo_photograph_1200-240x228.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Lea-Del-Pomo_photograph_1200-375x357.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Lea-Del-Pomo_photograph_1200-520x495.jpg 520w\" sizes=\"(max-width: 1261px) 100vw, 1261px\">\u003cfigcaption class=\"wp-caption-text\">A portrait by Lea Del Pomo, from ‘Women Over 80.’ \u003ccite>(Courtesy of Marin County Department of Cultural Services)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Showing in the Board of Supervisors Chambers Gallery is an accompanying exhibition of photographs by Lea Del Pomo — all portraits of women over the age of 80. Combating the increased invisibility women face as they age, Del Pomo’s portraits show them strong and decidedly visible, staring directly into her camera’s lens.\u003c/p>\n\u003cp>Quotes from the two shows’ press release argue the benefits of not only making art as an older event, but viewing it. So whether or not you’re an octogenarian, check this out — it’ll be good for your health.\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>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>’80 over 80′ and ‘Women Over 80: Photographs by Lea Del Pomo’ are on view at the Marin Civic Center in San Rafael through June 1, 2018. For more information, \u003ca href=\"https://www.marincounty.org/depts/cu/art-exhibits/bartolini-gallery\" rel=\"noopener\" target=\"_blank\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Marc Bamuthi Joseph, the Yerba Buena Center for the Art’s chief of pedagogy, says he was thinking recently about President John F. Kennedy’s call for the U.S. to send a man to the moon.\u003c/p>\n\u003cp>“Kennedy reminds us that the future is made of stumbles, hubris, and innovators who are humble enough to pursue it,” Joseph says.\u003c/p>\n\u003cp>Kennedy sparked the public imagination with the moonshot. And now Joseph and the YBCA have invited a group of artists for Transform Fest, a festival focused on the question, “where is our public imagination?”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=MfYQkiVMncQ\u003c/p>\n\u003cp>“How does creativity and forethought show up in public space,” Joseph told me by phone. “In my mind, it’s scientists, artists, it’s folks that are looking towards where we might go if we put down our dogmatic swords and look to a cultural horizon.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The festival features a mix of the global and the local, including a musical tribute to funk pioneer Betty Davis, performed by poet Jessica Care Moore and her ensemble Black Women Rock!, with East Bay singer Zakiyah Harris joining in. San Francisco dance company Capacitor premieres a new piece. And my co-host Gabe Meline is also excited for another chance to see \u003cem>The Burden\u003c/em>, a terrific short film by Swedish director Niki Lindroth von Bahr. It’s the best representation of loneliness featuring singing fish heads you’ll ever find, and it’s part of a short film program on May 13.\u003c/p>\n\u003cfigure id=\"attachment_13830994\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13830994\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/Campo-Santo-featuring-Britney-Frazier-Delina-Patrick-Brooks-e1525295507169-800x473.jpeg\" alt=\"Campo Santo featuring Britney Frazier, Delina Patrick Brooks\" width=\"800\" height=\"473\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Campo-Santo-featuring-Britney-Frazier-Delina-Patrick-Brooks-e1525295507169-800x473.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Campo-Santo-featuring-Britney-Frazier-Delina-Patrick-Brooks-e1525295507169-160x95.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Campo-Santo-featuring-Britney-Frazier-Delina-Patrick-Brooks-e1525295507169-768x455.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Campo-Santo-featuring-Britney-Frazier-Delina-Patrick-Brooks-e1525295507169-1020x604.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Campo-Santo-featuring-Britney-Frazier-Delina-Patrick-Brooks-e1525295507169-1200x710.jpeg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Campo-Santo-featuring-Britney-Frazier-Delina-Patrick-Brooks-e1525295507169-1920x1136.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Campo-Santo-featuring-Britney-Frazier-Delina-Patrick-Brooks-e1525295507169-1180x698.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Campo-Santo-featuring-Britney-Frazier-Delina-Patrick-Brooks-e1525295507169-960x568.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Campo-Santo-featuring-Britney-Frazier-Delina-Patrick-Brooks-e1525295507169-240x142.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Campo-Santo-featuring-Britney-Frazier-Delina-Patrick-Brooks-e1525295507169-375x222.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Campo-Santo-featuring-Britney-Frazier-Delina-Patrick-Brooks-e1525295507169-520x308.jpeg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Campo-Santo-featuring-Britney-Frazier-Delina-Patrick-Brooks-e1525295507169.jpeg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Campo Santo featuring Britney Frazier, Delina Patrick Brooks \u003ccite>(Destiny Evans)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Transform is also hosting the San Francisco theater company Campo Santo and its new project from writer and director Roger Guenveur Smith. Their show \u003cem>Casa de Spirits\u003c/em> is about gentrification and liquor stores in the Tenderloin. Campo Santo is always tapping into the beauty and sometimes the weirdness of the public imagination.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Transform Fest is at the Yerba Buena Center for the Arts in San Francisco from May 9 through May 20. \u003ca href=\"https://www.ybca.org/whats-on/transform-sp-2018\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Marc Bamuthi Joseph, the Yerba Buena Center for the Art’s chief of pedagogy, says he was thinking recently about President John F. Kennedy’s call for the U.S. to send a man to the moon.\u003c/p>\n\u003cp>“Kennedy reminds us that the future is made of stumbles, hubris, and innovators who are humble enough to pursue it,” Joseph says.\u003c/p>\n\u003cp>Kennedy sparked the public imagination with the moonshot. And now Joseph and the YBCA have invited a group of artists for Transform Fest, a festival focused on the question, “where is our public imagination?”\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/MfYQkiVMncQ'\n title='//www.youtube.com/embed/MfYQkiVMncQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“How does creativity and forethought show up in public space,” Joseph told me by phone. “In my mind, it’s scientists, artists, it’s folks that are looking towards where we might go if we put down our dogmatic swords and look to a cultural horizon.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The festival features a mix of the global and the local, including a musical tribute to funk pioneer Betty Davis, performed by poet Jessica Care Moore and her ensemble Black Women Rock!, with East Bay singer Zakiyah Harris joining in. San Francisco dance company Capacitor premieres a new piece. And my co-host Gabe Meline is also excited for another chance to see \u003cem>The Burden\u003c/em>, a terrific short film by Swedish director Niki Lindroth von Bahr. It’s the best representation of loneliness featuring singing fish heads you’ll ever find, and it’s part of a short film program on May 13.\u003c/p>\n\u003cfigure id=\"attachment_13830994\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13830994\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/Campo-Santo-featuring-Britney-Frazier-Delina-Patrick-Brooks-e1525295507169-800x473.jpeg\" alt=\"Campo Santo featuring Britney Frazier, Delina Patrick Brooks\" width=\"800\" height=\"473\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Campo-Santo-featuring-Britney-Frazier-Delina-Patrick-Brooks-e1525295507169-800x473.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Campo-Santo-featuring-Britney-Frazier-Delina-Patrick-Brooks-e1525295507169-160x95.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Campo-Santo-featuring-Britney-Frazier-Delina-Patrick-Brooks-e1525295507169-768x455.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Campo-Santo-featuring-Britney-Frazier-Delina-Patrick-Brooks-e1525295507169-1020x604.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Campo-Santo-featuring-Britney-Frazier-Delina-Patrick-Brooks-e1525295507169-1200x710.jpeg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Campo-Santo-featuring-Britney-Frazier-Delina-Patrick-Brooks-e1525295507169-1920x1136.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Campo-Santo-featuring-Britney-Frazier-Delina-Patrick-Brooks-e1525295507169-1180x698.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Campo-Santo-featuring-Britney-Frazier-Delina-Patrick-Brooks-e1525295507169-960x568.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Campo-Santo-featuring-Britney-Frazier-Delina-Patrick-Brooks-e1525295507169-240x142.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Campo-Santo-featuring-Britney-Frazier-Delina-Patrick-Brooks-e1525295507169-375x222.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Campo-Santo-featuring-Britney-Frazier-Delina-Patrick-Brooks-e1525295507169-520x308.jpeg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Campo-Santo-featuring-Britney-Frazier-Delina-Patrick-Brooks-e1525295507169.jpeg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Campo Santo featuring Britney Frazier, Delina Patrick Brooks \u003ccite>(Destiny Evans)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Transform is also hosting the San Francisco theater company Campo Santo and its new project from writer and director Roger Guenveur Smith. Their show \u003cem>Casa de Spirits\u003c/em> is about gentrification and liquor stores in the Tenderloin. Campo Santo is always tapping into the beauty and sometimes the weirdness of the public imagination.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Transform Fest is at the Yerba Buena Center for the Arts in San Francisco from May 9 through May 20. \u003ca href=\"https://www.ybca.org/whats-on/transform-sp-2018\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>This year for Cinco de Mayo, instead of donning a plastic sombrero and a technicolor poncho and drinking a sugar-based cocktail out of a giant plastic goblet, I behoove you to celebrate by learning the actual history of the day (and no, it’s not about Mexican independence from Spain). Thankfully, KQED Pop’s infinitely wise and with-it podcast, \u003ci>The Cooler\u003c/i>, is \u003ca href=\"https://www.kqed.org/pop/23804/think-you-know-what-cinco-de-mayo-means-youre-probably-wrong\" rel=\"noopener\" target=\"_blank\">here to help you lean more\u003c/a>.\u003c/p>\n\u003cp>Does that knowledge make you hungry for information about the rewriting of history and the steady, relentless erasure of marginalized peoples from the cultural landscape? Let me then point you to the California Historical Society’s current exhibition \u003ci>\u003ca href=\"https://www.californiahistoricalsociety.org/exhibitions/current_exhibitions/\" rel=\"noopener\" target=\"_blank\">¡Murales Rebeldes!\u003c/a>\u003c/i>, which offers a deep look into often short-lived Chicana/o murals in Los Angeles.\u003c/p>\n\u003cp>While only two of the murals included in \u003ci>¡Murales Rebeldes!\u003c/i> remain on view to the public, the works — filled with messages of pride and frustration borne out of \u003ci>el movimiento\u003c/i> the Chicana/o civil rights movement of the ’60s and ’70s — are represented at the CHS in photographs, sketches, related artworks and ephemera. The power of the stories depicted within these murals (including incidents of police violence, celebrations of communities of color, and messages of ecological preservation) and the artists’ desire to project these stories into the streets often spelled their downfall. With subject matter deemed too controversial, walls were whitewashed, censored, neglected and destroyed. \u003c/p>\n\u003cp>\u003ci>¡Murales Rebeldes!\u003c/i> gathers the remaining fragments of these large-scale public art pieces and presents them anew, introducing audiences to the work of nine talented artists and the importance of protecting the Chicana/o murals that remain. \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>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘¡Murales Rebeldes!’ is on view at the California Historical Society in San Francisco through Sep. 16, 2018. For more information, \u003ca href=\"https://www.californiahistoricalsociety.org/exhibitions/current_exhibitions/\" rel=\"noopener\" target=\"_blank\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This year for Cinco de Mayo, instead of donning a plastic sombrero and a technicolor poncho and drinking a sugar-based cocktail out of a giant plastic goblet, I behoove you to celebrate by learning the actual history of the day (and no, it’s not about Mexican independence from Spain). Thankfully, KQED Pop’s infinitely wise and with-it podcast, \u003ci>The Cooler\u003c/i>, is \u003ca href=\"https://www.kqed.org/pop/23804/think-you-know-what-cinco-de-mayo-means-youre-probably-wrong\" rel=\"noopener\" target=\"_blank\">here to help you lean more\u003c/a>.\u003c/p>\n\u003cp>Does that knowledge make you hungry for information about the rewriting of history and the steady, relentless erasure of marginalized peoples from the cultural landscape? Let me then point you to the California Historical Society’s current exhibition \u003ci>\u003ca href=\"https://www.californiahistoricalsociety.org/exhibitions/current_exhibitions/\" rel=\"noopener\" target=\"_blank\">¡Murales Rebeldes!\u003c/a>\u003c/i>, which offers a deep look into often short-lived Chicana/o murals in Los Angeles.\u003c/p>\n\u003cp>While only two of the murals included in \u003ci>¡Murales Rebeldes!\u003c/i> remain on view to the public, the works — filled with messages of pride and frustration borne out of \u003ci>el movimiento\u003c/i> the Chicana/o civil rights movement of the ’60s and ’70s — are represented at the CHS in photographs, sketches, related artworks and ephemera. The power of the stories depicted within these murals (including incidents of police violence, celebrations of communities of color, and messages of ecological preservation) and the artists’ desire to project these stories into the streets often spelled their downfall. With subject matter deemed too controversial, walls were whitewashed, censored, neglected and destroyed. \u003c/p>\n\u003cp>\u003ci>¡Murales Rebeldes!\u003c/i> gathers the remaining fragments of these large-scale public art pieces and presents them anew, introducing audiences to the work of nine talented artists and the importance of protecting the Chicana/o murals that remain. \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>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘¡Murales Rebeldes!’ is on view at the California Historical Society in San Francisco through Sep. 16, 2018. For more information, \u003ca href=\"https://www.californiahistoricalsociety.org/exhibitions/current_exhibitions/\" rel=\"noopener\" target=\"_blank\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Join a Human Bank of Fog, Courtesy of Art Collective Futurefarmers",
"headTitle": "Join a Human Bank of Fog, Courtesy of Art Collective Futurefarmers | KQED",
"content": "\u003cp>Founded by artist Amy Franceschini in San Francisco in 1995, \u003ca href=\"http://www.futurefarmers.com/\" target=\"_blank\" rel=\"noopener\">Futurefarmers\u003c/a> is a group of artists, farmers, architects, and designers who create participatory art projects that address a diversity of issues, with an emphasis on social and ecological concerns. Futurefarmers projects often include the creation of temporary structures or sculptures, public talks, processions, and workshops, a number of which are presented in the Yerba Buena Center for the Arts’ (YBCA) retrospective \u003ca href=\"https://www.ybca.org/whats-on/futurefarmers-out-of-place-in-place\" target=\"_blank\" rel=\"noopener\">\u003cem>Futurefarmers: Out of Place, in Place\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>True to their name, agriculture plays a large role in Futurefarmers’ work, and agriculture itself looms large when considering both the ingenuity of humans’ adaptation to our environments and its potential destructiveness. Grains in particular illustrate the life-giving and civilization-creating power of agriculture, as well as the harms of monocrops, inefficient resource allocation, destruction of land, and industrial food systems.\u003c/p>\n\u003cfigure id=\"attachment_13830531\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13830531\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/ThisIsNotATrojanHorse_catalogue-cover-e1525112949401.jpg\" alt=\"Futurefarmers, This is Not a Trojan Horse,' 2010.\" width=\"1200\" height=\"960\">\u003cfigcaption class=\"wp-caption-text\">Futurefarmers, This is Not a Trojan Horse,’ 2010. \u003ccite>(Courtesy of Futurefarmers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While some of Futurefarmers’ works can be considered speculative, \u003cem>Flatbread Society\u003c/em>, an ongoing project started in 2012, looks backwards in time for solutions to contemporary problems. The project began when the group was commissioned to create a permanent public artwork in Oslo, which resulted in the creation of a communal bakehouse, a series of public programs, and a demonstration site for cultivating discontinued heritage grain seeds. As a functional bakehouse and a gathering space, \u003cem>Flatbread Society\u003c/em> serves as a platform for community members to consider the means of food production and the use of land within the city.\u003c/p>\n\u003cp>Originating from \u003cem>Flatbread Society\u003c/em>, \u003cem>Seed Journey\u003c/em>, also ongoing, is one of Futurefarmers’ newest and most compelling projects. The work is conceived of as a voyage in which heritage seeds, such as Finnish rye, are “rescued” from locations across northern European and repatriated to the Middle East, their site of origin. Departing from Oslo, the journey, thus far, has made stops in London, Cardiff, Antwerp, San Sebastián, and points between. These stops are accompanied by talks, workshops, processions, and communal bakings. It’s a long, indirect, and discontinuous voyage, but \u003cem>Seed Journey\u003c/em> aims to enrich participants’ understanding of and relationship with grain.\u003c/p>\n\u003cfigure id=\"attachment_13830532\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13830532\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/SeedJourney-e1525113079548.jpg\" alt=\"Futurefarmers, 'Seed Journey,' installation view, 2016–ongoing.\" width=\"1200\" height=\"658\">\u003cfigcaption class=\"wp-caption-text\">Futurefarmers, ‘Seed Journey,’ installation view, 2016–ongoing. \u003ccite>(Courtesy of Yerba Buena Center for the Arts. Photograph: John Foster Cartwright)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Seed Journey\u003c/em> poses questions about the relationship between individuals and cultures and our sources of sustenance. Some of these questions have become increasingly commonplace, such as those regarding factory farming, nutrition, and labor ethics, but \u003cem>Seed Journey\u003c/em> looks further afield. The project considers a more primal or fundamental relationship between humans and grains — not simply a biological relationship, but something social and historical. In essence, \u003cem>Seed Journey\u003c/em> treats loaves of bread as history books and the journey as a mean of reading it.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Out of Place, in Place\u003c/em> is brimming with ideas, but this sometimes proves challenging for the exhibition. The majority of the works presented took place in the public realm and across time. Ephemera and documentation stand in for much larger projects, often with varying results.\u003c/p>\n\u003cp>In addition to physical seed vessels and an 11-minute, 3-channel video, \u003cem>Seed Journey\u003c/em> is illustrated by a voyage log book, a fundraising poster, a route map, and considerable text. While I found myself drawn in by the concept of \u003cem>Seed Journey\u003c/em>, something seemed lost in translation when comparing the experience I imagine the original participants had with my own interaction with the ephemera.\u003c/p>\n\u003cfigure id=\"attachment_13830533\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13830533\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/SpeculativeMachine-e1525113171325.jpg\" alt=\"Futurefarmers, 'Speculative Machine,' installation view, 2018.\" width=\"1200\" height=\"797\">\u003cfigcaption class=\"wp-caption-text\">Futurefarmers, ‘Speculative Machine,’ installation view, 2018. \u003ccite>(Courtesy of Yerba Buena Center for the Arts. Photograph: John Foster Cartwright)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The value of so many Futurefarmers projects seems to reside in the relationships generated among participants and the artists. And, as might be expected, the quality and character of these relationships can be difficult to represent at a later date within a gallery. \u003cem>Out of Place, in Place\u003c/em>, however, will create a new set of relationships and experiences with YBCA visitors during the course of the exhibition.\u003c/p>\n\u003cp>Fittingly, a major component of the retrospective is \u003cem>Speculative Machine\u003c/em>, a contraption that recalls something out of \u003ci>Dune\u003c/i>, that will be constructed in the gallery throughout the exhibition — with the hypothetical aim of harvesting fog. Construction will be accompanied by a number of free public events: screenings of films about fog, crystal harvesting workshops, performances, and a culminating procession from YBCA to Mount Sutro. In combination with the presentations of previous work, participation in these activities may offer the truest version of a Futurefarmers retrospective.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Futurefarmers: Out of Place, in Place’ is on view at Yerba Buena Center for the Arts in San Francisco through Aug. 12, 2018. For more information, \u003ca href=\"https://www.ybca.org/whats-on/futurefarmers-out-of-place-in-place\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Founded by artist Amy Franceschini in San Francisco in 1995, \u003ca href=\"http://www.futurefarmers.com/\" target=\"_blank\" rel=\"noopener\">Futurefarmers\u003c/a> is a group of artists, farmers, architects, and designers who create participatory art projects that address a diversity of issues, with an emphasis on social and ecological concerns. Futurefarmers projects often include the creation of temporary structures or sculptures, public talks, processions, and workshops, a number of which are presented in the Yerba Buena Center for the Arts’ (YBCA) retrospective \u003ca href=\"https://www.ybca.org/whats-on/futurefarmers-out-of-place-in-place\" target=\"_blank\" rel=\"noopener\">\u003cem>Futurefarmers: Out of Place, in Place\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>True to their name, agriculture plays a large role in Futurefarmers’ work, and agriculture itself looms large when considering both the ingenuity of humans’ adaptation to our environments and its potential destructiveness. Grains in particular illustrate the life-giving and civilization-creating power of agriculture, as well as the harms of monocrops, inefficient resource allocation, destruction of land, and industrial food systems.\u003c/p>\n\u003cfigure id=\"attachment_13830531\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13830531\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/ThisIsNotATrojanHorse_catalogue-cover-e1525112949401.jpg\" alt=\"Futurefarmers, This is Not a Trojan Horse,' 2010.\" width=\"1200\" height=\"960\">\u003cfigcaption class=\"wp-caption-text\">Futurefarmers, This is Not a Trojan Horse,’ 2010. \u003ccite>(Courtesy of Futurefarmers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While some of Futurefarmers’ works can be considered speculative, \u003cem>Flatbread Society\u003c/em>, an ongoing project started in 2012, looks backwards in time for solutions to contemporary problems. The project began when the group was commissioned to create a permanent public artwork in Oslo, which resulted in the creation of a communal bakehouse, a series of public programs, and a demonstration site for cultivating discontinued heritage grain seeds. As a functional bakehouse and a gathering space, \u003cem>Flatbread Society\u003c/em> serves as a platform for community members to consider the means of food production and the use of land within the city.\u003c/p>\n\u003cp>Originating from \u003cem>Flatbread Society\u003c/em>, \u003cem>Seed Journey\u003c/em>, also ongoing, is one of Futurefarmers’ newest and most compelling projects. The work is conceived of as a voyage in which heritage seeds, such as Finnish rye, are “rescued” from locations across northern European and repatriated to the Middle East, their site of origin. Departing from Oslo, the journey, thus far, has made stops in London, Cardiff, Antwerp, San Sebastián, and points between. These stops are accompanied by talks, workshops, processions, and communal bakings. It’s a long, indirect, and discontinuous voyage, but \u003cem>Seed Journey\u003c/em> aims to enrich participants’ understanding of and relationship with grain.\u003c/p>\n\u003cfigure id=\"attachment_13830532\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13830532\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/SeedJourney-e1525113079548.jpg\" alt=\"Futurefarmers, 'Seed Journey,' installation view, 2016–ongoing.\" width=\"1200\" height=\"658\">\u003cfigcaption class=\"wp-caption-text\">Futurefarmers, ‘Seed Journey,’ installation view, 2016–ongoing. \u003ccite>(Courtesy of Yerba Buena Center for the Arts. Photograph: John Foster Cartwright)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Seed Journey\u003c/em> poses questions about the relationship between individuals and cultures and our sources of sustenance. Some of these questions have become increasingly commonplace, such as those regarding factory farming, nutrition, and labor ethics, but \u003cem>Seed Journey\u003c/em> looks further afield. The project considers a more primal or fundamental relationship between humans and grains — not simply a biological relationship, but something social and historical. In essence, \u003cem>Seed Journey\u003c/em> treats loaves of bread as history books and the journey as a mean of reading it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Out of Place, in Place\u003c/em> is brimming with ideas, but this sometimes proves challenging for the exhibition. The majority of the works presented took place in the public realm and across time. Ephemera and documentation stand in for much larger projects, often with varying results.\u003c/p>\n\u003cp>In addition to physical seed vessels and an 11-minute, 3-channel video, \u003cem>Seed Journey\u003c/em> is illustrated by a voyage log book, a fundraising poster, a route map, and considerable text. While I found myself drawn in by the concept of \u003cem>Seed Journey\u003c/em>, something seemed lost in translation when comparing the experience I imagine the original participants had with my own interaction with the ephemera.\u003c/p>\n\u003cfigure id=\"attachment_13830533\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13830533\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/SpeculativeMachine-e1525113171325.jpg\" alt=\"Futurefarmers, 'Speculative Machine,' installation view, 2018.\" width=\"1200\" height=\"797\">\u003cfigcaption class=\"wp-caption-text\">Futurefarmers, ‘Speculative Machine,’ installation view, 2018. \u003ccite>(Courtesy of Yerba Buena Center for the Arts. Photograph: John Foster Cartwright)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The value of so many Futurefarmers projects seems to reside in the relationships generated among participants and the artists. And, as might be expected, the quality and character of these relationships can be difficult to represent at a later date within a gallery. \u003cem>Out of Place, in Place\u003c/em>, however, will create a new set of relationships and experiences with YBCA visitors during the course of the exhibition.\u003c/p>\n\u003cp>Fittingly, a major component of the retrospective is \u003cem>Speculative Machine\u003c/em>, a contraption that recalls something out of \u003ci>Dune\u003c/i>, that will be constructed in the gallery throughout the exhibition — with the hypothetical aim of harvesting fog. Construction will be accompanied by a number of free public events: screenings of films about fog, crystal harvesting workshops, performances, and a culminating procession from YBCA to Mount Sutro. In combination with the presentations of previous work, participation in these activities may offer the truest version of a Futurefarmers retrospective.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Futurefarmers: Out of Place, in Place’ is on view at Yerba Buena Center for the Arts in San Francisco through Aug. 12, 2018. For more information, \u003ca href=\"https://www.ybca.org/whats-on/futurefarmers-out-of-place-in-place\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "kpix-anchor-turned-sculptor-contributes-piece-to-lynching-memorial",
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"content": "\u003cp>Dana King says she’s visited the new National Memorial for Peace and Justice in Montgomery, Ala. five times in three days, and each time she’s seen it, she’s cried.\u003c/p>\n\u003cp>“It’s awe-inspiring, it’s humbling, it’s inspirational on a level I can’t even verbalize,” King said on the phone Friday.\u003c/p>\n\u003cfigure id=\"attachment_13830704\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/King_Sculpture_2-800x771.jpg\" alt=\"King's sculptures at the Memorial for Peace and Justice\" width=\"800\" height=\"771\" class=\"size-medium wp-image-13830704\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/King_Sculpture_2-800x771.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/King_Sculpture_2-160x154.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/King_Sculpture_2-768x740.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/King_Sculpture_2-1020x982.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/King_Sculpture_2-1200x1156.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/King_Sculpture_2-1180x1137.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/King_Sculpture_2-960x925.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/King_Sculpture_2-240x231.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/King_Sculpture_2-375x361.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/King_Sculpture_2-520x501.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/King_Sculpture_2-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/King_Sculpture_2.jpg 1440w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">King’s sculptures at the Memorial for Peace and Justice \u003ccite>(Clay Williams)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But King didn’t go to Montgomery as a mere visitor of the new memorial. At the behest of the Equal Justice Initiative, the organization behind the memorial, King built and contributed one of the sculptures on the memorial’s campus — a collection of three bronze statues dedicated to the women who participated in the Montgomery Bus Boycott of 1956. \u003c/p>\n\u003cp>“They’re the ones whose work days increased to 12-16 hours because they chose not to use public transit,” King said.\u003c/p>\n\u003cp>Having her work included in such an important monument is quite an achievement for an artist who started making art at the age of 50. Now a 58-year-old grandmother, King says sculpting is her third career and her true calling, which came after 25 years as a broadcast journalist. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“That’s when a whole new world opened up to me,” King said. “I did not see myself in this space, but I’m here and I’m grateful.”\u003c/p>\n\u003ch3>A New Form of Storytelling\u003c/h3>\n\u003cfigure id=\"attachment_13830665\" class=\"wp-caption alignright\" style=\"max-width: 633px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/William-Byron-Rumford-King.jpg\" alt=\"Dana King and her sculpture of William Byron Rumford\" width=\"633\" height=\"640\" class=\"size-full wp-image-13830665\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/William-Byron-Rumford-King.jpg 633w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/William-Byron-Rumford-King-160x162.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/William-Byron-Rumford-King-240x243.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/William-Byron-Rumford-King-375x379.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/William-Byron-Rumford-King-520x526.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/William-Byron-Rumford-King-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/William-Byron-Rumford-King-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/William-Byron-Rumford-King-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/William-Byron-Rumford-King-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/William-Byron-Rumford-King-128x128.jpg 128w\" sizes=\"(max-width: 633px) 100vw, 633px\">\u003cfigcaption class=\"wp-caption-text\">Dana King and her sculpture of William Byron Rumford \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>King started her art career while working as an \u003ca href=\"http://sanfrancisco.cbslocal.com/2012/12/05/dana-king-announces-departure-from-cbs-5/\" rel=\"noopener\" target=\"_blank\">anchor at KPIX (CBS 5).\u003c/a> She says she always knew she’d retire from broadcast journalism after she turned 50, because she didn’t want to have to “cut and paste” herself to keep up with “society’s standards for beauty.” When that time neared, she had an Emmy and two \u003ca href=\"https://www.mercurynews.com/2012/12/05/kpix-anchor-dana-king-will-leave-her-post-to-pursue-art-career/\" rel=\"noopener\" target=\"_blank\">Edward R. Murrow awards\u003c/a> under her belt. \u003c/p>\n\u003cp>A lover of art, King began pursuing an MFA from San Francisco’s Academy of Art University, where she discovered her love of sculpture. The medium worked well for her, she says; she found it to be another way to tell stories and inform the public. \u003c/p>\n\u003cp>“I’m still a journalist, but now my medium is clay,” King said.\u003c/p>\n\u003cp>A few years after dedicating herself to art, she met with Bryan Stevenson, the founder of the \u003ca href=\"https://eji.org/\" rel=\"noopener\" target=\"_blank\">Equal Justice Initiative\u003c/a>. By then, much of her work had a political bent to it, such as her \u003cem>20 Years To Life\u003c/em>, a comment on the \u003ca href=\"https://danakingart.com/#/schwane/\" rel=\"noopener\" target=\"_blank\">school-to-prison pipeline\u003c/a>. Some time later, he asked King to contribute a piece to the massive memorial he was putting together.\u003c/p>\n\u003cfigure id=\"attachment_13830654\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/Lynching-Memorial2-800x450.jpg\" alt=\"Ed Sykes (center), 77, visits the National Memorial For Peace And Justice on April 26, 2018 in Montgomery, Alabama. Sykes, who has family in Mississippi, was distraught when he discovered his last name in the memorial, three months after finding it on separate memorial in Clay County, Mississippi. "This is the second time I've seen the name Sykes as a hanging victim. What can I say?" Sykes, who now lives in San Francisco, plans to investigate the lynching of a possible relative at the Equal Justice Initiative headquarters in Montgomery before returning to California. The memorial is dedicated to the legacy of enslaved black people and those terrorized by lynching and Jim Crow segregation in America. Conceived by the Equal Justice Initiative, the physical environment is intended to foster reflection on America's history of racial inequality.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13830654\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Lynching-Memorial2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Lynching-Memorial2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Lynching-Memorial2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Lynching-Memorial2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Lynching-Memorial2-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Lynching-Memorial2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Lynching-Memorial2-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Lynching-Memorial2-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Lynching-Memorial2-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Lynching-Memorial2-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Lynching-Memorial2-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ed Sykes (center), 77, visits the National Memorial For Peace And Justice on April 26, 2018 in Montgomery, Alabama. Sykes, who has family in Mississippi, was distraught when he discovered his last name in the memorial, three months after finding it on separate memorial in Clay County, Mississippi. “This is the second time I’ve seen the name Sykes as a hanging victim. What can I say?” Sykes, who now lives in San Francisco, plans to investigate the lynching of a possible relative at the Equal Justice Initiative headquarters in Montgomery before returning to California. The memorial is dedicated to the legacy of enslaved black people and those terrorized by lynching and Jim Crow segregation in America. Conceived by the Equal Justice Initiative, the physical environment is intended to foster reflection on America’s history of racial inequality. \u003ccite>(Bob Miller/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Montgomery Bus Boycott\u003c/h3>\n\u003cp>Stevenson requested a sculpture honoring the women of the Montgomery Bus Boycott, and King came up with the idea of three women — a teacher, a grandma and a pregnant woman — standing in a triangle, forming a strong, stable structure. King says it represents how women, through birthing, nurturing and teaching children, are, in a way, “quiet activists.” \u003c/p>\n\u003cp>Using her reporting experience, she made sure that they looked like women did in 1950s Alabama. But she also tapped into her own story for the work by modeling the grandmother after her own great-grandmother, and the teacher after her aunt, who was also a teacher in the south during the Civil Rights Movement.\u003c/p>\n\u003cp>The experience has demonstrated to King that art can not only be a powerful form of activism, but of storytelling as well. She says that when she reported for broadcast, if viewers didn’t see a story, they might’ve missed it compeltely. But when she tells a story through sculpture, it “lasts as long as the material lasts.” \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“The arc of justice is long. My dreams and aspirations for justice might not happen in my lifetime,” King said. “And I’m good with that.”\u003c/p>\n\n",
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"excerpt": "Former KPIX anchor Dana King discusses her contribution to the new National Memorial for Peace and Justice in Alabama.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Dana King says she’s visited the new National Memorial for Peace and Justice in Montgomery, Ala. five times in three days, and each time she’s seen it, she’s cried.\u003c/p>\n\u003cp>“It’s awe-inspiring, it’s humbling, it’s inspirational on a level I can’t even verbalize,” King said on the phone Friday.\u003c/p>\n\u003cfigure id=\"attachment_13830704\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/King_Sculpture_2-800x771.jpg\" alt=\"King's sculptures at the Memorial for Peace and Justice\" width=\"800\" height=\"771\" class=\"size-medium wp-image-13830704\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/King_Sculpture_2-800x771.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/King_Sculpture_2-160x154.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/King_Sculpture_2-768x740.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/King_Sculpture_2-1020x982.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/King_Sculpture_2-1200x1156.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/King_Sculpture_2-1180x1137.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/King_Sculpture_2-960x925.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/King_Sculpture_2-240x231.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/King_Sculpture_2-375x361.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/King_Sculpture_2-520x501.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/King_Sculpture_2-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/King_Sculpture_2.jpg 1440w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">King’s sculptures at the Memorial for Peace and Justice \u003ccite>(Clay Williams)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But King didn’t go to Montgomery as a mere visitor of the new memorial. At the behest of the Equal Justice Initiative, the organization behind the memorial, King built and contributed one of the sculptures on the memorial’s campus — a collection of three bronze statues dedicated to the women who participated in the Montgomery Bus Boycott of 1956. \u003c/p>\n\u003cp>“They’re the ones whose work days increased to 12-16 hours because they chose not to use public transit,” King said.\u003c/p>\n\u003cp>Having her work included in such an important monument is quite an achievement for an artist who started making art at the age of 50. Now a 58-year-old grandmother, King says sculpting is her third career and her true calling, which came after 25 years as a broadcast journalist. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“That’s when a whole new world opened up to me,” King said. “I did not see myself in this space, but I’m here and I’m grateful.”\u003c/p>\n\u003ch3>A New Form of Storytelling\u003c/h3>\n\u003cfigure id=\"attachment_13830665\" class=\"wp-caption alignright\" style=\"max-width: 633px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/William-Byron-Rumford-King.jpg\" alt=\"Dana King and her sculpture of William Byron Rumford\" width=\"633\" height=\"640\" class=\"size-full wp-image-13830665\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/William-Byron-Rumford-King.jpg 633w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/William-Byron-Rumford-King-160x162.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/William-Byron-Rumford-King-240x243.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/William-Byron-Rumford-King-375x379.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/William-Byron-Rumford-King-520x526.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/William-Byron-Rumford-King-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/William-Byron-Rumford-King-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/William-Byron-Rumford-King-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/William-Byron-Rumford-King-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/William-Byron-Rumford-King-128x128.jpg 128w\" sizes=\"(max-width: 633px) 100vw, 633px\">\u003cfigcaption class=\"wp-caption-text\">Dana King and her sculpture of William Byron Rumford \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>King started her art career while working as an \u003ca href=\"http://sanfrancisco.cbslocal.com/2012/12/05/dana-king-announces-departure-from-cbs-5/\" rel=\"noopener\" target=\"_blank\">anchor at KPIX (CBS 5).\u003c/a> She says she always knew she’d retire from broadcast journalism after she turned 50, because she didn’t want to have to “cut and paste” herself to keep up with “society’s standards for beauty.” When that time neared, she had an Emmy and two \u003ca href=\"https://www.mercurynews.com/2012/12/05/kpix-anchor-dana-king-will-leave-her-post-to-pursue-art-career/\" rel=\"noopener\" target=\"_blank\">Edward R. Murrow awards\u003c/a> under her belt. \u003c/p>\n\u003cp>A lover of art, King began pursuing an MFA from San Francisco’s Academy of Art University, where she discovered her love of sculpture. The medium worked well for her, she says; she found it to be another way to tell stories and inform the public. \u003c/p>\n\u003cp>“I’m still a journalist, but now my medium is clay,” King said.\u003c/p>\n\u003cp>A few years after dedicating herself to art, she met with Bryan Stevenson, the founder of the \u003ca href=\"https://eji.org/\" rel=\"noopener\" target=\"_blank\">Equal Justice Initiative\u003c/a>. By then, much of her work had a political bent to it, such as her \u003cem>20 Years To Life\u003c/em>, a comment on the \u003ca href=\"https://danakingart.com/#/schwane/\" rel=\"noopener\" target=\"_blank\">school-to-prison pipeline\u003c/a>. Some time later, he asked King to contribute a piece to the massive memorial he was putting together.\u003c/p>\n\u003cfigure id=\"attachment_13830654\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/Lynching-Memorial2-800x450.jpg\" alt=\"Ed Sykes (center), 77, visits the National Memorial For Peace And Justice on April 26, 2018 in Montgomery, Alabama. Sykes, who has family in Mississippi, was distraught when he discovered his last name in the memorial, three months after finding it on separate memorial in Clay County, Mississippi. "This is the second time I've seen the name Sykes as a hanging victim. What can I say?" Sykes, who now lives in San Francisco, plans to investigate the lynching of a possible relative at the Equal Justice Initiative headquarters in Montgomery before returning to California. The memorial is dedicated to the legacy of enslaved black people and those terrorized by lynching and Jim Crow segregation in America. Conceived by the Equal Justice Initiative, the physical environment is intended to foster reflection on America's history of racial inequality.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13830654\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Lynching-Memorial2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Lynching-Memorial2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Lynching-Memorial2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Lynching-Memorial2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Lynching-Memorial2-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Lynching-Memorial2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Lynching-Memorial2-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Lynching-Memorial2-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Lynching-Memorial2-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Lynching-Memorial2-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Lynching-Memorial2-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ed Sykes (center), 77, visits the National Memorial For Peace And Justice on April 26, 2018 in Montgomery, Alabama. Sykes, who has family in Mississippi, was distraught when he discovered his last name in the memorial, three months after finding it on separate memorial in Clay County, Mississippi. “This is the second time I’ve seen the name Sykes as a hanging victim. What can I say?” Sykes, who now lives in San Francisco, plans to investigate the lynching of a possible relative at the Equal Justice Initiative headquarters in Montgomery before returning to California. The memorial is dedicated to the legacy of enslaved black people and those terrorized by lynching and Jim Crow segregation in America. Conceived by the Equal Justice Initiative, the physical environment is intended to foster reflection on America’s history of racial inequality. \u003ccite>(Bob Miller/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Montgomery Bus Boycott\u003c/h3>\n\u003cp>Stevenson requested a sculpture honoring the women of the Montgomery Bus Boycott, and King came up with the idea of three women — a teacher, a grandma and a pregnant woman — standing in a triangle, forming a strong, stable structure. King says it represents how women, through birthing, nurturing and teaching children, are, in a way, “quiet activists.” \u003c/p>\n\u003cp>Using her reporting experience, she made sure that they looked like women did in 1950s Alabama. But she also tapped into her own story for the work by modeling the grandmother after her own great-grandmother, and the teacher after her aunt, who was also a teacher in the south during the Civil Rights Movement.\u003c/p>\n\u003cp>The experience has demonstrated to King that art can not only be a powerful form of activism, but of storytelling as well. She says that when she reported for broadcast, if viewers didn’t see a story, they might’ve missed it compeltely. But when she tells a story through sculpture, it “lasts as long as the material lasts.” \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“The arc of justice is long. My dreams and aspirations for justice might not happen in my lifetime,” King said. “And I’m good with that.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The sculpture is 12 feet tall — 12 feet six inches if you count the ears. A 5,700 pound grizzly bear with two cubs nestled into her side. She has a fancy Latin name, Ursa Mater, but really, everyone just calls her Mama Penny Bear — including the artists, \u003ca href=\"https://www.mr-and-mrs-ferguson.com\" target=\"_blank\" rel=\"noopener\">Robert and Lisa Ferguson\u003c/a>.\u003cb> \u003c/b>\u003c/p>\n\u003cp>Do I need to tell you they met and married three years later\u003cspan class=\"Apple-converted-space\"> \u003c/span>at Burning Man?\u003c/p>\n\u003cp>And every year, a few weeks after they return from the burn, Lisa will come up with a flash of inspiration for their next project.\u003cspan class=\"Apple-converted-space\"> Robert says, “\u003c/span>She’ll be sitting on the couch and go “Sooooo, hear me out. I have this idea.” She comes up with these concepts, then I’m the one that has to figure out how to execute ‘em.”\u003c/p>\n\u003cp>Robert has a welding company in Hayward. Lisa’s a cinematographer, and for a number of years now, she’s been obsessed with pennies.\u003cspan class=\"Apple-converted-space\"> “\u003c/span>Cause they’re being taken \u003ca href=\"http://www.mint.ca/store/mint/about-the-mint/phasing-out-the-penny-6900002#.Wtqboy-ZOMJ\" target=\"_blank\" rel=\"noopener\">out of circulation\u003c/a> in Canada,” Lisa says. Also, \u003cspan class=\"Apple-converted-space\">“\u003c/span>People have this thing with pennies, Cause they’re whimsical. It’s a fun coin.”\u003c/p>\n\u003cp>Lisa was the one who suggested tens of thousands of pennies turned on their sides would look like fur, and Robert figured he could get them to stay up and in using adhesive stucco called Loctite over a bear built of steel and foam. “You push the pennies in and two hours later, they weren’t coming out,” he says.\u003cb> \u003c/b>\u003ci>\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_13830089\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13830089\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/RS30549_Ursa-Mater-Burning-Man-1-qut-800x450.jpg\" alt=\""Ursa Mater" aka "Mama Penny Bear" on the Playa at Burning Man. "It's battle tested," says Robert Ferguson. "You're out in the desert in wind, blowing sand, heat, rain. And people are at it, 70,000 of them. At the end of the day, it comes home intact, you know you have something that's going to be able to be in the public eye."\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30549_Ursa-Mater-Burning-Man-1-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30549_Ursa-Mater-Burning-Man-1-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30549_Ursa-Mater-Burning-Man-1-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30549_Ursa-Mater-Burning-Man-1-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30549_Ursa-Mater-Burning-Man-1-qut-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30549_Ursa-Mater-Burning-Man-1-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30549_Ursa-Mater-Burning-Man-1-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30549_Ursa-Mater-Burning-Man-1-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30549_Ursa-Mater-Burning-Man-1-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30549_Ursa-Mater-Burning-Man-1-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30549_Ursa-Mater-Burning-Man-1-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Ursa Mater” aka “Mama Penny Bear” on the Playa at Burning Man. “It’s battle tested,” says Robert Ferguson. “You’re out in the desert in wind, blowing sand, heat, rain. And people are at it, 70,000 of them. At the end of the day, it comes home intact, you know you have something that’s going to be able to be in the public eye.” \u003ccite>(Photo: Courtesy of Lisa Ferguson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A growing number of art works from Burning Man are moving on to the nation’s museums and city plazas. But only San Jose has a three year partnership with the \u003ca href=\"https://burningman.org/culture/burning-man-arts/\" target=\"_blank\" rel=\"noopener\">Burning Man Foundation\u003c/a> to bring a rotating cast of Burning Man sculptures to the city’s streets. It’s called the “Playa to the Paseo” project.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It all started when the Director of Cultural Affairs for the City of San Jose, Kerry Adams Hapner went to Burning Man for the first time in 2016. “I was blown away,” she says. ” The quality and scale of the artwork was unsurpassed. I know some select projects do receive grants from Burning Man, but the artists do it in large part on their own dime. And these artists are not necessarily the ones applying for our public art commissions.”\u003c/p>\n\u003cp>She was also excited by the outsider aesthetic of the art on display on the Burning Man playa. “So dynamic, engaging, interactive. I realized there is a huge opportunity here to assist the artists and deliver a reciprocal benefit to the community of San Jose,” steeped as it is, she says, in “authentic maker culture.”\u003c/p>\n\u003cp>The Burning Man Project gives out $1.3 million in grants each year and resources like fuel, heavy equipment, labor, et cetera. San Jose and Burning Man co-curate what gets selected, based largely on quality and what works in an urban environment. Cost and availability dictate how long the works stay up in San Jose.\u003c/p>\n\u003cp>Mama Penny Bear is the second of three Burning Man pieces installed in San Jose so far.\u003cspan class=\"Apple-converted-space\"> \u003c/span>The first was the Sonic Runway, at San Jose City Hall, from November to March of this year. The newest is“Tara Mechani” is a 15-foot-high metal figurative sculpture by Bay Area artist Dana Albany, now in the Plaza de Cesar Chavez though June 9, 2018.\u003c/p>\n\u003cfigure id=\"attachment_13830090\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13830090\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/RS30548_Penny-The-Goose-qut-800x533.jpg\" alt=\""Ursa Mater" aka "Mama Penny Bear" is the third in a series of penny sculptures that started with this goose. Coming next? A bald eagle. Lisa warns it will appear more threatening. "The eagle's staring right at you. The talons are at your chest level. So you'll feel like a squirrel or a gopher, about to be taken off the ground." \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30548_Penny-The-Goose-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30548_Penny-The-Goose-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30548_Penny-The-Goose-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30548_Penny-The-Goose-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30548_Penny-The-Goose-qut-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30548_Penny-The-Goose-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30548_Penny-The-Goose-qut-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30548_Penny-The-Goose-qut-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30548_Penny-The-Goose-qut-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30548_Penny-The-Goose-qut-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30548_Penny-The-Goose-qut-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Ursa Mater” aka “Mama Penny Bear” is the third in a series of penny sculptures that started with this goose. Coming next? A bald eagle. Lisa warns it will appear more threatening. “The eagle’s staring right at you. The talons are at your chest level. So you’ll feel like a squirrel or a gopher, about to be taken off the ground.” \u003ccite>(Photo: Courtesy of Lisa Ferguson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mama Penny Bear is up in the Paseo de San Antonio near the Fairmont Hotel\u003cspan class=\"Apple-converted-space\"> \u003c/span>through the month of May. After that, it’s off to Lake Tahoe for a year. Ursa Major, the first bear the Fergusons made, is on view at Smithsonian’s \u003ca href=\"https://americanart.si.edu/exhibitions/burning-man\" target=\"_blank\" rel=\"noopener\">Renwick Gallery\u003c/a> in Washington DC. To see a great video of how both bears were made, click \u003ca href=\"https://www.mr-and-mrs-ferguson.com/ursa-major/\">here\u003c/a>.\u003c/p>\n\u003cp>Lisa and Robert say the first question everybody asks is how many pennies did it take to make Mama Penny Bear? “Also, why would anybody do this?” Lisa says, chuckling.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>If you don’t intuit the answer to the second question, there may be no answer that works for you. But the answer to the first question? 205,000 pennies.\u003c/p>\n\n",
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"excerpt": "Each year in Nevada’s Black Rock Desert, enormous art installations go up. Many are burned. But not all. ",
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"title": "Mama Penny Bear's Back Story is as Delightful as You'd Expect | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The sculpture is 12 feet tall — 12 feet six inches if you count the ears. A 5,700 pound grizzly bear with two cubs nestled into her side. She has a fancy Latin name, Ursa Mater, but really, everyone just calls her Mama Penny Bear — including the artists, \u003ca href=\"https://www.mr-and-mrs-ferguson.com\" target=\"_blank\" rel=\"noopener\">Robert and Lisa Ferguson\u003c/a>.\u003cb> \u003c/b>\u003c/p>\n\u003cp>Do I need to tell you they met and married three years later\u003cspan class=\"Apple-converted-space\"> \u003c/span>at Burning Man?\u003c/p>\n\u003cp>And every year, a few weeks after they return from the burn, Lisa will come up with a flash of inspiration for their next project.\u003cspan class=\"Apple-converted-space\"> Robert says, “\u003c/span>She’ll be sitting on the couch and go “Sooooo, hear me out. I have this idea.” She comes up with these concepts, then I’m the one that has to figure out how to execute ‘em.”\u003c/p>\n\u003cp>Robert has a welding company in Hayward. Lisa’s a cinematographer, and for a number of years now, she’s been obsessed with pennies.\u003cspan class=\"Apple-converted-space\"> “\u003c/span>Cause they’re being taken \u003ca href=\"http://www.mint.ca/store/mint/about-the-mint/phasing-out-the-penny-6900002#.Wtqboy-ZOMJ\" target=\"_blank\" rel=\"noopener\">out of circulation\u003c/a> in Canada,” Lisa says. Also, \u003cspan class=\"Apple-converted-space\">“\u003c/span>People have this thing with pennies, Cause they’re whimsical. It’s a fun coin.”\u003c/p>\n\u003cp>Lisa was the one who suggested tens of thousands of pennies turned on their sides would look like fur, and Robert figured he could get them to stay up and in using adhesive stucco called Loctite over a bear built of steel and foam. “You push the pennies in and two hours later, they weren’t coming out,” he says.\u003cb> \u003c/b>\u003ci>\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_13830089\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13830089\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/RS30549_Ursa-Mater-Burning-Man-1-qut-800x450.jpg\" alt=\""Ursa Mater" aka "Mama Penny Bear" on the Playa at Burning Man. "It's battle tested," says Robert Ferguson. "You're out in the desert in wind, blowing sand, heat, rain. And people are at it, 70,000 of them. At the end of the day, it comes home intact, you know you have something that's going to be able to be in the public eye."\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30549_Ursa-Mater-Burning-Man-1-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30549_Ursa-Mater-Burning-Man-1-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30549_Ursa-Mater-Burning-Man-1-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30549_Ursa-Mater-Burning-Man-1-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30549_Ursa-Mater-Burning-Man-1-qut-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30549_Ursa-Mater-Burning-Man-1-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30549_Ursa-Mater-Burning-Man-1-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30549_Ursa-Mater-Burning-Man-1-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30549_Ursa-Mater-Burning-Man-1-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30549_Ursa-Mater-Burning-Man-1-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30549_Ursa-Mater-Burning-Man-1-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Ursa Mater” aka “Mama Penny Bear” on the Playa at Burning Man. “It’s battle tested,” says Robert Ferguson. “You’re out in the desert in wind, blowing sand, heat, rain. And people are at it, 70,000 of them. At the end of the day, it comes home intact, you know you have something that’s going to be able to be in the public eye.” \u003ccite>(Photo: Courtesy of Lisa Ferguson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A growing number of art works from Burning Man are moving on to the nation’s museums and city plazas. But only San Jose has a three year partnership with the \u003ca href=\"https://burningman.org/culture/burning-man-arts/\" target=\"_blank\" rel=\"noopener\">Burning Man Foundation\u003c/a> to bring a rotating cast of Burning Man sculptures to the city’s streets. It’s called the “Playa to the Paseo” project.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It all started when the Director of Cultural Affairs for the City of San Jose, Kerry Adams Hapner went to Burning Man for the first time in 2016. “I was blown away,” she says. ” The quality and scale of the artwork was unsurpassed. I know some select projects do receive grants from Burning Man, but the artists do it in large part on their own dime. And these artists are not necessarily the ones applying for our public art commissions.”\u003c/p>\n\u003cp>She was also excited by the outsider aesthetic of the art on display on the Burning Man playa. “So dynamic, engaging, interactive. I realized there is a huge opportunity here to assist the artists and deliver a reciprocal benefit to the community of San Jose,” steeped as it is, she says, in “authentic maker culture.”\u003c/p>\n\u003cp>The Burning Man Project gives out $1.3 million in grants each year and resources like fuel, heavy equipment, labor, et cetera. San Jose and Burning Man co-curate what gets selected, based largely on quality and what works in an urban environment. Cost and availability dictate how long the works stay up in San Jose.\u003c/p>\n\u003cp>Mama Penny Bear is the second of three Burning Man pieces installed in San Jose so far.\u003cspan class=\"Apple-converted-space\"> \u003c/span>The first was the Sonic Runway, at San Jose City Hall, from November to March of this year. The newest is“Tara Mechani” is a 15-foot-high metal figurative sculpture by Bay Area artist Dana Albany, now in the Plaza de Cesar Chavez though June 9, 2018.\u003c/p>\n\u003cfigure id=\"attachment_13830090\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13830090\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/RS30548_Penny-The-Goose-qut-800x533.jpg\" alt=\""Ursa Mater" aka "Mama Penny Bear" is the third in a series of penny sculptures that started with this goose. Coming next? A bald eagle. Lisa warns it will appear more threatening. "The eagle's staring right at you. The talons are at your chest level. So you'll feel like a squirrel or a gopher, about to be taken off the ground." \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30548_Penny-The-Goose-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30548_Penny-The-Goose-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30548_Penny-The-Goose-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30548_Penny-The-Goose-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30548_Penny-The-Goose-qut-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30548_Penny-The-Goose-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30548_Penny-The-Goose-qut-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30548_Penny-The-Goose-qut-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30548_Penny-The-Goose-qut-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30548_Penny-The-Goose-qut-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30548_Penny-The-Goose-qut-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Ursa Mater” aka “Mama Penny Bear” is the third in a series of penny sculptures that started with this goose. Coming next? A bald eagle. Lisa warns it will appear more threatening. “The eagle’s staring right at you. The talons are at your chest level. So you’ll feel like a squirrel or a gopher, about to be taken off the ground.” \u003ccite>(Photo: Courtesy of Lisa Ferguson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mama Penny Bear is up in the Paseo de San Antonio near the Fairmont Hotel\u003cspan class=\"Apple-converted-space\"> \u003c/span>through the month of May. After that, it’s off to Lake Tahoe for a year. Ursa Major, the first bear the Fergusons made, is on view at Smithsonian’s \u003ca href=\"https://americanart.si.edu/exhibitions/burning-man\" target=\"_blank\" rel=\"noopener\">Renwick Gallery\u003c/a> in Washington DC. To see a great video of how both bears were made, click \u003ca href=\"https://www.mr-and-mrs-ferguson.com/ursa-major/\">here\u003c/a>.\u003c/p>\n\u003cp>Lisa and Robert say the first question everybody asks is how many pennies did it take to make Mama Penny Bear? “Also, why would anybody do this?” Lisa says, chuckling.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>If you don’t intuit the answer to the second question, there may be no answer that works for you. But the answer to the first question? 205,000 pennies.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "On the Air: Cy and Nick's Do List Picks for April 27, 2018",
"headTitle": "On the Air: Cy and Nick’s Do List Picks for April 27, 2018 | KQED",
"content": "\u003cp>The Do List was taken over this week and we’re delighted. My co-host is Nick Abraham, a member of KQED’s Youth Advisory Board, guitarist in the band Unpopular Opinion, a high school junior at Sequoia High School in Redwood City, and a lover of pop-punk music. He’s also a member of the invasion force for KQED’s Youth Takeover week, in which we featured news stories and commentary by students from ten Bay Area high schools. Thanks Nick; we’d love to have you co-host again.\u003c/p>\n\u003cp>Here’s the show he and I picked:\u003c/p>\n\u003cp>\u003cstrong>April 29:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13830445/keeping-musical-traditions-alive-from-generation-to-generation\" target=\"_blank\" rel=\"noopener\">The California Alliance for Traditional Arts celebrates four bands in which master musicians pass on their knowledge to a new generation\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>April 28-29: \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13830383/a-whole-world-of-books-at-berkeleys-bay-area-book-fest\" target=\"_blank\" rel=\"noopener\">The Bay Area Book Festival makes the case that books will never be obsolete.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>May 5\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13830429/the-pride-prom-returns-to-924-gilman\" target=\"_blank\" rel=\"noopener\">The Pride Prom returns to Berkeley’s 924 Gilman, offering a safe place for LGBTQ teens.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>April 20-July 15\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13830393/not-your-grandmothers-quilts-in-an-exhibition-on-gun-violence\" target=\"_blank\" rel=\"noopener\">The San Jose Museum of Quilts and Textiles opens an exhibition on gun violence that proves these are not your grandmother’s quilts.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>May 3 and 4\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13830478/torrance-band-joyce-manor-makes-perfect-pop-punk-miniatures\" target=\"_blank\" rel=\"noopener\">Joyce Manor and awakebutstillinbed make loud intense music in shows in the North and South Bay.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>April 27:\u003c/strong> \u003ca href=\"https://loscenzontles.networkforgood.com/events/5805-cd-release-party\" target=\"_blank\" rel=\"noopener\">Los Cenzontles Juvenil, the kids at the Los Cenzontles Cultural Academy, stage a record release show.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>May 3: \u003c/strong>\u003ca href=\"https://www.facebook.com/unpopularopinionband/\" target=\"_blank\" rel=\"noopener\">Nick Abraham’s punk band Backyard Brew plays a gig at Backyard Brew in Palo Alto, and they’re good.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13830499\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13830499\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/IMG_4072-800x495.jpg\" alt=\"The Do List got a youth takeover this week from guitarist and KQED Youth Advisory Board Member Nick Abraham\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG_4072-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG_4072-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG_4072-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG_4072-1020x631.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG_4072-1200x742.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG_4072-1920x1187.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG_4072-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG_4072-960x594.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG_4072-240x148.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG_4072-375x232.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG_4072-520x322.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG_4072.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Do List got a youth takeover this week from guitarist and KQED Youth Advisory Board Member Nick Abraham \u003ccite>(Nadia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Do List was taken over this week and we’re delighted. My co-host is Nick Abraham, a member of KQED’s Youth Advisory Board, guitarist in the band Unpopular Opinion, a high school junior at Sequoia High School in Redwood City, and a lover of pop-punk music. He’s also a member of the invasion force for KQED’s Youth Takeover week, in which we featured news stories and commentary by students from ten Bay Area high schools. Thanks Nick; we’d love to have you co-host again.\u003c/p>\n\u003cp>Here’s the show he and I picked:\u003c/p>\n\u003cp>\u003cstrong>April 29:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13830445/keeping-musical-traditions-alive-from-generation-to-generation\" target=\"_blank\" rel=\"noopener\">The California Alliance for Traditional Arts celebrates four bands in which master musicians pass on their knowledge to a new generation\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>April 28-29: \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13830383/a-whole-world-of-books-at-berkeleys-bay-area-book-fest\" target=\"_blank\" rel=\"noopener\">The Bay Area Book Festival makes the case that books will never be obsolete.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>May 5\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13830429/the-pride-prom-returns-to-924-gilman\" target=\"_blank\" rel=\"noopener\">The Pride Prom returns to Berkeley’s 924 Gilman, offering a safe place for LGBTQ teens.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>April 20-July 15\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13830393/not-your-grandmothers-quilts-in-an-exhibition-on-gun-violence\" target=\"_blank\" rel=\"noopener\">The San Jose Museum of Quilts and Textiles opens an exhibition on gun violence that proves these are not your grandmother’s quilts.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>May 3 and 4\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13830478/torrance-band-joyce-manor-makes-perfect-pop-punk-miniatures\" target=\"_blank\" rel=\"noopener\">Joyce Manor and awakebutstillinbed make loud intense music in shows in the North and South Bay.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>April 27:\u003c/strong> \u003ca href=\"https://loscenzontles.networkforgood.com/events/5805-cd-release-party\" target=\"_blank\" rel=\"noopener\">Los Cenzontles Juvenil, the kids at the Los Cenzontles Cultural Academy, stage a record release show.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>May 3: \u003c/strong>\u003ca href=\"https://www.facebook.com/unpopularopinionband/\" target=\"_blank\" rel=\"noopener\">Nick Abraham’s punk band Backyard Brew plays a gig at Backyard Brew in Palo Alto, and they’re good.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13830499\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13830499\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/IMG_4072-800x495.jpg\" alt=\"The Do List got a youth takeover this week from guitarist and KQED Youth Advisory Board Member Nick Abraham\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG_4072-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG_4072-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG_4072-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG_4072-1020x631.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG_4072-1200x742.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG_4072-1920x1187.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG_4072-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG_4072-960x594.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG_4072-240x148.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG_4072-375x232.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG_4072-520x322.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG_4072.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Do List got a youth takeover this week from guitarist and KQED Youth Advisory Board Member Nick Abraham \u003ccite>(Nadia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The timing is, sadly, just right for a new show at the San Jose Museum of Quilts and Textiles. It’s called \u003ca href=\"http://www.saqa.com/memberArt-full.php?ID=3617\" target=\"_blank\" rel=\"noopener\">\u003cem>Guns: Loaded Conversations\u003c/em>\u003c/a>, and if you think quilts are just a collage of pretty patches for beds, museum director Nancy Bavor says think again.\u003c/p>\n\u003cp>“They are not your grandmother’s quilts,” Bavor says. “But what I like to remind people, is that quilt makers for 200 years created political quilts with a wide range of opinions on many different topics.”\u003c/p>\n\u003cp>Quilts were sold in the early 19th century to raise funds for the abolitionist movement, and of course gay rights \u003ca href=\"https://www.kqed.org/arts/12827647/cleve-jones-on-when-we-rise-and-the-power-of-activism\" target=\"_blank\" rel=\"noopener\">activist Cleve Jones\u003c/a> conceived of the Names Project and AIDS Memorial Quilt in San Francisco in the mid-1980s.\u003c/p>\n\u003cp>Bavor told me this gun violence show, organized by \u003ca id=\"yui_3_17_2_1_1524682718412_299\" href=\"http://www.saqa.com/memberArt.php?cat=8&ec=2&ex=82\" target=\"_blank\" rel=\"noopener\">Studio Art Quilt Associates\u003c/a>, has been in the planning for two years. It’s their way of marking the 19th anniversary of the Columbine shooting. But the horrors of Las Vegas and Parkland High School have made the exhibition even more relevant.\u003c/p>\n\u003cfigure id=\"attachment_13830501\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13830501\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/Michele-Mackinens-quilt-is-part-of-the-exhibition-Guns-A-Loaded-Conversation-at-the-San-Jose-Museum-of-Quilts-adn-Textiles-800x480.jpg\" alt=\"Michele Mackinen's quilt is part of the exhibition 'Guns: Loaded Conversations' at the San Jose Museum of Quilts and Textiles\" width=\"800\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Michele-Mackinens-quilt-is-part-of-the-exhibition-Guns-A-Loaded-Conversation-at-the-San-Jose-Museum-of-Quilts-adn-Textiles-800x480.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Michele-Mackinens-quilt-is-part-of-the-exhibition-Guns-A-Loaded-Conversation-at-the-San-Jose-Museum-of-Quilts-adn-Textiles-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Michele-Mackinens-quilt-is-part-of-the-exhibition-Guns-A-Loaded-Conversation-at-the-San-Jose-Museum-of-Quilts-adn-Textiles-768x461.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Michele-Mackinens-quilt-is-part-of-the-exhibition-Guns-A-Loaded-Conversation-at-the-San-Jose-Museum-of-Quilts-adn-Textiles-1020x612.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Michele-Mackinens-quilt-is-part-of-the-exhibition-Guns-A-Loaded-Conversation-at-the-San-Jose-Museum-of-Quilts-adn-Textiles-1200x720.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Michele-Mackinens-quilt-is-part-of-the-exhibition-Guns-A-Loaded-Conversation-at-the-San-Jose-Museum-of-Quilts-adn-Textiles-1920x1152.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Michele-Mackinens-quilt-is-part-of-the-exhibition-Guns-A-Loaded-Conversation-at-the-San-Jose-Museum-of-Quilts-adn-Textiles-1180x708.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Michele-Mackinens-quilt-is-part-of-the-exhibition-Guns-A-Loaded-Conversation-at-the-San-Jose-Museum-of-Quilts-adn-Textiles-960x576.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Michele-Mackinens-quilt-is-part-of-the-exhibition-Guns-A-Loaded-Conversation-at-the-San-Jose-Museum-of-Quilts-adn-Textiles-240x144.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Michele-Mackinens-quilt-is-part-of-the-exhibition-Guns-A-Loaded-Conversation-at-the-San-Jose-Museum-of-Quilts-adn-Textiles-375x225.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Michele-Mackinens-quilt-is-part-of-the-exhibition-Guns-A-Loaded-Conversation-at-the-San-Jose-Museum-of-Quilts-adn-Textiles-520x312.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Michele-Mackinens-quilt-is-part-of-the-exhibition-Guns-A-Loaded-Conversation-at-the-San-Jose-Museum-of-Quilts-adn-Textiles.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Michele Mackinen’s quilt is part of the exhibition ‘Guns: Loaded Conversations’ at the San Jose Museum of Quilts and Textiles \u003ccite>(Monika Wulfers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>My co-host Nick Abraham, a junior at Sequoia High School in Redwood City, notes he joined a walk-out from his school on the one-month anniversary of the Parkland shooting. He was also glad to see the work by Oakland quiltmaker Alice Beasley called \u003cem>\u003ca href=\"http://www.saqa.com/memberArt-full.php?ID=3617\" target=\"_blank\" rel=\"noopener\">Remembering Trayvon\u003c/a>,\u003c/em> honoring the Florida teenager killed by a vigilante — an acknowledgment of the issues surrounding racially-motivated shootings.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The museum is also featuring a parallel exhibition by the Bay Area’s Social Justice Sewing Academy, featuring cross-stitch and quilting by young people around the Bay Area whose work focuses on social justice issues. It’s also sponsoring discussions on the second amendment and a gun buyback in which each person handing over a gun will get some money and a handmade quilt. Much cozier than the gun.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The exhibition \u003cem>Guns: Loaded Conversations\u003c/em> continues at the San Jose Museum of Quilts and Textiles through July 15.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The timing is, sadly, just right for a new show at the San Jose Museum of Quilts and Textiles. It’s called \u003ca href=\"http://www.saqa.com/memberArt-full.php?ID=3617\" target=\"_blank\" rel=\"noopener\">\u003cem>Guns: Loaded Conversations\u003c/em>\u003c/a>, and if you think quilts are just a collage of pretty patches for beds, museum director Nancy Bavor says think again.\u003c/p>\n\u003cp>“They are not your grandmother’s quilts,” Bavor says. “But what I like to remind people, is that quilt makers for 200 years created political quilts with a wide range of opinions on many different topics.”\u003c/p>\n\u003cp>Quilts were sold in the early 19th century to raise funds for the abolitionist movement, and of course gay rights \u003ca href=\"https://www.kqed.org/arts/12827647/cleve-jones-on-when-we-rise-and-the-power-of-activism\" target=\"_blank\" rel=\"noopener\">activist Cleve Jones\u003c/a> conceived of the Names Project and AIDS Memorial Quilt in San Francisco in the mid-1980s.\u003c/p>\n\u003cp>Bavor told me this gun violence show, organized by \u003ca id=\"yui_3_17_2_1_1524682718412_299\" href=\"http://www.saqa.com/memberArt.php?cat=8&ec=2&ex=82\" target=\"_blank\" rel=\"noopener\">Studio Art Quilt Associates\u003c/a>, has been in the planning for two years. It’s their way of marking the 19th anniversary of the Columbine shooting. But the horrors of Las Vegas and Parkland High School have made the exhibition even more relevant.\u003c/p>\n\u003cfigure id=\"attachment_13830501\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13830501\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/Michele-Mackinens-quilt-is-part-of-the-exhibition-Guns-A-Loaded-Conversation-at-the-San-Jose-Museum-of-Quilts-adn-Textiles-800x480.jpg\" alt=\"Michele Mackinen's quilt is part of the exhibition 'Guns: Loaded Conversations' at the San Jose Museum of Quilts and Textiles\" width=\"800\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Michele-Mackinens-quilt-is-part-of-the-exhibition-Guns-A-Loaded-Conversation-at-the-San-Jose-Museum-of-Quilts-adn-Textiles-800x480.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Michele-Mackinens-quilt-is-part-of-the-exhibition-Guns-A-Loaded-Conversation-at-the-San-Jose-Museum-of-Quilts-adn-Textiles-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Michele-Mackinens-quilt-is-part-of-the-exhibition-Guns-A-Loaded-Conversation-at-the-San-Jose-Museum-of-Quilts-adn-Textiles-768x461.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Michele-Mackinens-quilt-is-part-of-the-exhibition-Guns-A-Loaded-Conversation-at-the-San-Jose-Museum-of-Quilts-adn-Textiles-1020x612.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Michele-Mackinens-quilt-is-part-of-the-exhibition-Guns-A-Loaded-Conversation-at-the-San-Jose-Museum-of-Quilts-adn-Textiles-1200x720.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Michele-Mackinens-quilt-is-part-of-the-exhibition-Guns-A-Loaded-Conversation-at-the-San-Jose-Museum-of-Quilts-adn-Textiles-1920x1152.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Michele-Mackinens-quilt-is-part-of-the-exhibition-Guns-A-Loaded-Conversation-at-the-San-Jose-Museum-of-Quilts-adn-Textiles-1180x708.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Michele-Mackinens-quilt-is-part-of-the-exhibition-Guns-A-Loaded-Conversation-at-the-San-Jose-Museum-of-Quilts-adn-Textiles-960x576.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Michele-Mackinens-quilt-is-part-of-the-exhibition-Guns-A-Loaded-Conversation-at-the-San-Jose-Museum-of-Quilts-adn-Textiles-240x144.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Michele-Mackinens-quilt-is-part-of-the-exhibition-Guns-A-Loaded-Conversation-at-the-San-Jose-Museum-of-Quilts-adn-Textiles-375x225.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Michele-Mackinens-quilt-is-part-of-the-exhibition-Guns-A-Loaded-Conversation-at-the-San-Jose-Museum-of-Quilts-adn-Textiles-520x312.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Michele-Mackinens-quilt-is-part-of-the-exhibition-Guns-A-Loaded-Conversation-at-the-San-Jose-Museum-of-Quilts-adn-Textiles.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Michele Mackinen’s quilt is part of the exhibition ‘Guns: Loaded Conversations’ at the San Jose Museum of Quilts and Textiles \u003ccite>(Monika Wulfers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>My co-host Nick Abraham, a junior at Sequoia High School in Redwood City, notes he joined a walk-out from his school on the one-month anniversary of the Parkland shooting. He was also glad to see the work by Oakland quiltmaker Alice Beasley called \u003cem>\u003ca href=\"http://www.saqa.com/memberArt-full.php?ID=3617\" target=\"_blank\" rel=\"noopener\">Remembering Trayvon\u003c/a>,\u003c/em> honoring the Florida teenager killed by a vigilante — an acknowledgment of the issues surrounding racially-motivated shootings.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The museum is also featuring a parallel exhibition by the Bay Area’s Social Justice Sewing Academy, featuring cross-stitch and quilting by young people around the Bay Area whose work focuses on social justice issues. It’s also sponsoring discussions on the second amendment and a gun buyback in which each person handing over a gun will get some money and a handmade quilt. Much cozier than the gun.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The exhibition \u003cem>Guns: Loaded Conversations\u003c/em> continues at the San Jose Museum of Quilts and Textiles through July 15.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'Fearless Girl' Statue Will Face Down Stock Exchange, Not 'Charging Bull'",
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"content": "\u003cp>The \u003cem>Fearless Girl\u003c/em> statue, which has stared down the Manhattan financial district’s famous \u003cem>Charging Bull \u003c/em>for more than a year, will be relocating to a spot in front of the New York Stock Exchange.\u003c/p>\n\u003cp>The statue was installed near Wall Street in 2017 in honor of International Women’s Day, and only had a temporary permit. But now it will remain in New York City permanently, at the new location just around the corner.\u003c/p>\n\u003cp>The move is expected to be completed by the end of 2018, according to a \u003ca href=\"https://www.businesswire.com/news/home/20180419005784/en/New-York-City-Mayor-State-Street-Global\" target=\"_blank\" rel=\"noopener\">statement\u003c/a> from New York Mayor Bill de Blasio and State Street Global Advisors, the financial services company that commissioned the statue.\u003c/p>\n\u003cp>“We are proud to be home to the Fearless Girl. She is a potent symbol of the need for change at the highest levels of corporate America—and she will become a durable part of our city’s civic life,” de Blasio said in the statement.\u003c/p>\n\u003cp>The statue by Kristen Visbal was originally installed to draw attention to the need for more female representation on the boards of publicly traded companies. But State Street, the firm that installed the statue, \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/10/06/556058808/firm-behind-fearless-girl-statue-underpaid-female-black-execs-u-s-says\" target=\"_blank\" rel=\"noopener\">made headlines\u003c/a> later in 2017 after an investigation found that the firm had underpaid women and black executives.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>State Street paid $5 million in a settlement with the Department of Labor, while saying it “disagreed with” the investigation’s findings.\u003c/p>\n\u003cp>That’s not the only controversy \u003cem>Fearless Girl \u003c/em>has weathered. (And we’re not just talking about the \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/05/30/530749867/for-a-few-hours-a-sculpted-dog-was-urinating-on-the-fearless-girl\" target=\"_blank\" rel=\"noopener\">cheeky dog statue\u003c/a> that was briefly placed as though it were urinating on the girl.)\u003c/p>\n\u003cp>Some critics, \u003ca href=\"https://www.npr.org/2017/03/31/522232646/fearless-girl-will-keep-facing-down-wall-streets-bull\" target=\"_blank\" rel=\"noopener\">as NPR’s Rose Friedman has reported\u003c/a>, objected to the idea of depicting American womanhood in the form of a young girl — seeing it as patronizing, rather than progressive.\u003c/p>\n\u003cp>And the sculptor of \u003cem>Charging Bull \u003c/em>was affronted by the addition of the new statue, saying it changed the meaning of his original — making the bull not a symbol of strength, but an ominous villain. He also called the statue an “advertising trick.”\u003c/p>\n\u003cp>Arturo Di Modica installed his \u003cem>Charging Bull \u003c/em>sculpture in the financial district in the late 1980s, putting the large statue in place overnight, without a permit.\u003c/p>\n\u003cp>The bull is now located in Bowling Green Park on Broadway, where the \u003cem>Fearless Girl \u003c/em>is currently facing him down.\u003c/p>\n\u003cp>But that wasn’t the bull’s first stomping ground. It was first placed on Broad Street, in front of the New York Stock Exchange, which promptly had the statue removed.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As it happens, that’s the spot where the \u003cem>Fearless Girl \u003c/em>is headed next. \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=%27Fearless+Girl%27+Statue+Will+Face+Down+Stock+Exchange%2C+Not+%27Charging+Bull%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The \u003cem>Fearless Girl\u003c/em> statue, which has stared down the Manhattan financial district’s famous \u003cem>Charging Bull \u003c/em>for more than a year, will be relocating to a spot in front of the New York Stock Exchange.\u003c/p>\n\u003cp>The statue was installed near Wall Street in 2017 in honor of International Women’s Day, and only had a temporary permit. But now it will remain in New York City permanently, at the new location just around the corner.\u003c/p>\n\u003cp>The move is expected to be completed by the end of 2018, according to a \u003ca href=\"https://www.businesswire.com/news/home/20180419005784/en/New-York-City-Mayor-State-Street-Global\" target=\"_blank\" rel=\"noopener\">statement\u003c/a> from New York Mayor Bill de Blasio and State Street Global Advisors, the financial services company that commissioned the statue.\u003c/p>\n\u003cp>“We are proud to be home to the Fearless Girl. She is a potent symbol of the need for change at the highest levels of corporate America—and she will become a durable part of our city’s civic life,” de Blasio said in the statement.\u003c/p>\n\u003cp>The statue by Kristen Visbal was originally installed to draw attention to the need for more female representation on the boards of publicly traded companies. But State Street, the firm that installed the statue, \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/10/06/556058808/firm-behind-fearless-girl-statue-underpaid-female-black-execs-u-s-says\" target=\"_blank\" rel=\"noopener\">made headlines\u003c/a> later in 2017 after an investigation found that the firm had underpaid women and black executives.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>State Street paid $5 million in a settlement with the Department of Labor, while saying it “disagreed with” the investigation’s findings.\u003c/p>\n\u003cp>That’s not the only controversy \u003cem>Fearless Girl \u003c/em>has weathered. (And we’re not just talking about the \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/05/30/530749867/for-a-few-hours-a-sculpted-dog-was-urinating-on-the-fearless-girl\" target=\"_blank\" rel=\"noopener\">cheeky dog statue\u003c/a> that was briefly placed as though it were urinating on the girl.)\u003c/p>\n\u003cp>Some critics, \u003ca href=\"https://www.npr.org/2017/03/31/522232646/fearless-girl-will-keep-facing-down-wall-streets-bull\" target=\"_blank\" rel=\"noopener\">as NPR’s Rose Friedman has reported\u003c/a>, objected to the idea of depicting American womanhood in the form of a young girl — seeing it as patronizing, rather than progressive.\u003c/p>\n\u003cp>And the sculptor of \u003cem>Charging Bull \u003c/em>was affronted by the addition of the new statue, saying it changed the meaning of his original — making the bull not a symbol of strength, but an ominous villain. He also called the statue an “advertising trick.”\u003c/p>\n\u003cp>Arturo Di Modica installed his \u003cem>Charging Bull \u003c/em>sculpture in the financial district in the late 1980s, putting the large statue in place overnight, without a permit.\u003c/p>\n\u003cp>The bull is now located in Bowling Green Park on Broadway, where the \u003cem>Fearless Girl \u003c/em>is currently facing him down.\u003c/p>\n\u003cp>But that wasn’t the bull’s first stomping ground. It was first placed on Broad Street, in front of the New York Stock Exchange, which promptly had the statue removed.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As it happens, that’s the spot where the \u003cem>Fearless Girl \u003c/em>is headed next. \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=%27Fearless+Girl%27+Statue+Will+Face+Down+Stock+Exchange%2C+Not+%27Charging+Bull%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "SmugMug Acquires Flickr, Promises to Keep Community Alive",
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"content": "\u003cp>Flickr, the image- and video-hosting site that created an online community long before apps like Instagram and Snapchat, has been acquired by rival service SmugMug. The new owners informed users Monday that all of Flickr’s user data will move to SmugMug’s servers on May 25, but that Flickr will remain a “standalone community.”\u003c/p>\n\u003cp>SmugMug announced the purchase last week, with CEO Don MacAskill telling \u003ca href=\"https://www.usatoday.com/story/tech/2018/04/20/smugmug-buys-flickr-verizon-oath/537377002/\" rel=\"noopener\" target=\"_blank\">\u003ci>USA Today\u003c/i>\u003c/a> that his company is focused on reviving the site after years of neglect.\u003c/p>\n\u003cp>“Flickr has survived through thick and thin and is core to the entire fabric of the internet,” MacAskill told \u003ci>USA Today.\u003c/i>\u003c/p>\n\u003cp>Launched in 2004 by the Vancouver-based company Ludicorp and acquired by Yahoo the following year, Flickr was a pioneer in social media and photo-sharing. By 2013, it boasted an \u003ca href=\"https://www.theverge.com/2013/3/20/4121574/flickr-chief-markus-spiering-talks-photos-and-marissa-mayer\" rel=\"noopener\" target=\"_blank\">estimated 87 million Flickr users\u003c/a>. \u003c/p>\n\u003cp>But recent years saw the site languish, as Yahoo struggled to stay afloat amidst \u003ca href=\"https://www.nytimes.com/interactive/2016/technology/yahoo-sale.html\" rel=\"noopener\" target=\"_blank\">declining revenues\u003c/a>. Last year, Verizon bought Yahoo for $4.5 billion and placed it under its subsidiary Oath, which has been selling properties like Flickr and Polyvore, an e-commerce company bought by Yahoo while under the leadership of CEO Marissa Mayer. \u003c/p>\n\u003cfigure id=\"attachment_13830213\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/flickr-awesome-800x450.jpg\" alt=\"Yahoo CEO Marissa Mayer speaks during an announcement that Yahoo acquired the Tumblr blogging site in order to upgrade its Flickr site, in New York, May 20, 2013. Yahoo announced a $1.1 billion deal for blogging site Tumblr aiming to help Yahoo to tap into the younger, active online user base at Tumblr. \" width=\"800\" height=\"450\" class=\"size-medium wp-image-13830213\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/flickr-awesome-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/flickr-awesome-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/flickr-awesome-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/flickr-awesome-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/flickr-awesome-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/flickr-awesome.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/flickr-awesome-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/flickr-awesome-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/flickr-awesome-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/flickr-awesome-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/flickr-awesome-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Former Yahoo CEO Marissa Mayer speaks during an announcement that Yahoo acquired the Tumblr blogging site in order to upgrade its Flickr site, in New York, May 20, 2013. Yahoo announced a $1.1 billion deal for blogging site Tumblr aiming to help Yahoo to tap into the younger, active online user base at Tumblr. \u003ccite>(Emmanuel Dunand/AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Flickr sent an email announcing the move of its users’ data Monday morning, and assuring that nothing will change for Flickr’s users, which number at around 75 million currently.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We think you are going to love Flickr under SmugMug ownership, but you can choose to not have your Flickr account and data transferred to SmugMug,” the email read. “If you want to keep your Flickr account and data from being transferred, you must go to your Flickr account to download the photos and videos you want to keep, then delete your account from your Account Settings by May 25, 2018.”\u003c/p>\n\u003cp>MacAskill founded SmugMug with his father Chris in their Mountain View home in 2002. In the years since, without outside investors, they’ve grown their photo-sharing and printing business into a service with hundreds of thousands of users in five different countries. MacAskill says he’s also been a longtime fan of Flickr, and that any proposed ideas for the service will first be put before the Flickr community.\u003c/p>\n\u003cp>“It sounds silly for the CEO not to totally know what he’s going to do, but we haven’t built SmugMug on a master plan either. We try to listen to our customers, and when enough of them ask for something that’s important to them or to the community, we go and build it,” MacAskill \u003ca href=\"https://www.usatoday.com/story/tech/2018/04/20/smugmug-buys-flickr-verizon-oath/537377002/\" rel=\"noopener\" target=\"_blank\">told \u003ci>USA Today\u003c/i>\u003c/a>. \u003c/p>\n\u003cp>For more details on SmugMug’s acquisition of Flickr and what it means to users, visit \u003ca href=\"https://blog.flickr.net/en/2018/04/20/together-smugmug-flickr-faq/\" rel=\"noopener\" target=\"_blank\">Flickr’s FAQ\u003c/a> and watch the video below.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=T4B_qlaN8C4\u003c/p>\n\u003cp>\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\n",
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"title": "SmugMug Acquires Flickr, Promises to Keep Community Alive | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Flickr, the image- and video-hosting site that created an online community long before apps like Instagram and Snapchat, has been acquired by rival service SmugMug. The new owners informed users Monday that all of Flickr’s user data will move to SmugMug’s servers on May 25, but that Flickr will remain a “standalone community.”\u003c/p>\n\u003cp>SmugMug announced the purchase last week, with CEO Don MacAskill telling \u003ca href=\"https://www.usatoday.com/story/tech/2018/04/20/smugmug-buys-flickr-verizon-oath/537377002/\" rel=\"noopener\" target=\"_blank\">\u003ci>USA Today\u003c/i>\u003c/a> that his company is focused on reviving the site after years of neglect.\u003c/p>\n\u003cp>“Flickr has survived through thick and thin and is core to the entire fabric of the internet,” MacAskill told \u003ci>USA Today.\u003c/i>\u003c/p>\n\u003cp>Launched in 2004 by the Vancouver-based company Ludicorp and acquired by Yahoo the following year, Flickr was a pioneer in social media and photo-sharing. By 2013, it boasted an \u003ca href=\"https://www.theverge.com/2013/3/20/4121574/flickr-chief-markus-spiering-talks-photos-and-marissa-mayer\" rel=\"noopener\" target=\"_blank\">estimated 87 million Flickr users\u003c/a>. \u003c/p>\n\u003cp>But recent years saw the site languish, as Yahoo struggled to stay afloat amidst \u003ca href=\"https://www.nytimes.com/interactive/2016/technology/yahoo-sale.html\" rel=\"noopener\" target=\"_blank\">declining revenues\u003c/a>. Last year, Verizon bought Yahoo for $4.5 billion and placed it under its subsidiary Oath, which has been selling properties like Flickr and Polyvore, an e-commerce company bought by Yahoo while under the leadership of CEO Marissa Mayer. \u003c/p>\n\u003cfigure id=\"attachment_13830213\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/flickr-awesome-800x450.jpg\" alt=\"Yahoo CEO Marissa Mayer speaks during an announcement that Yahoo acquired the Tumblr blogging site in order to upgrade its Flickr site, in New York, May 20, 2013. Yahoo announced a $1.1 billion deal for blogging site Tumblr aiming to help Yahoo to tap into the younger, active online user base at Tumblr. \" width=\"800\" height=\"450\" class=\"size-medium wp-image-13830213\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/flickr-awesome-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/flickr-awesome-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/flickr-awesome-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/flickr-awesome-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/flickr-awesome-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/flickr-awesome.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/flickr-awesome-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/flickr-awesome-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/flickr-awesome-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/flickr-awesome-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/flickr-awesome-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Former Yahoo CEO Marissa Mayer speaks during an announcement that Yahoo acquired the Tumblr blogging site in order to upgrade its Flickr site, in New York, May 20, 2013. Yahoo announced a $1.1 billion deal for blogging site Tumblr aiming to help Yahoo to tap into the younger, active online user base at Tumblr. \u003ccite>(Emmanuel Dunand/AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Flickr sent an email announcing the move of its users’ data Monday morning, and assuring that nothing will change for Flickr’s users, which number at around 75 million currently.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We think you are going to love Flickr under SmugMug ownership, but you can choose to not have your Flickr account and data transferred to SmugMug,” the email read. “If you want to keep your Flickr account and data from being transferred, you must go to your Flickr account to download the photos and videos you want to keep, then delete your account from your Account Settings by May 25, 2018.”\u003c/p>\n\u003cp>MacAskill founded SmugMug with his father Chris in their Mountain View home in 2002. In the years since, without outside investors, they’ve grown their photo-sharing and printing business into a service with hundreds of thousands of users in five different countries. MacAskill says he’s also been a longtime fan of Flickr, and that any proposed ideas for the service will first be put before the Flickr community.\u003c/p>\n\u003cp>“It sounds silly for the CEO not to totally know what he’s going to do, but we haven’t built SmugMug on a master plan either. We try to listen to our customers, and when enough of them ask for something that’s important to them or to the community, we go and build it,” MacAskill \u003ca href=\"https://www.usatoday.com/story/tech/2018/04/20/smugmug-buys-flickr-verizon-oath/537377002/\" rel=\"noopener\" target=\"_blank\">told \u003ci>USA Today\u003c/i>\u003c/a>. \u003c/p>\n\u003cp>For more details on SmugMug’s acquisition of Flickr and what it means to users, visit \u003ca href=\"https://blog.flickr.net/en/2018/04/20/together-smugmug-flickr-faq/\" rel=\"noopener\" target=\"_blank\">Flickr’s FAQ\u003c/a> and watch the video below.\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/T4B_qlaN8C4'\n title='//www.youtube.com/embed/T4B_qlaN8C4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\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\n\u003c/div>\u003c/p>",
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"title": "With Paint and a Camera, She's Forging a New Artistic Vision of Africa",
"headTitle": "With Paint and a Camera, She’s Forging a New Artistic Vision of Africa | KQED",
"content": "\u003cp>Many images of Africa in Western media focus on war, famine or other crises that trouble the continent.\u003c/p>\n\u003cp>But Ethiopian artist \u003ca href=\"https://www.aidamuluneh.com/bio/\">Aïda Muluneh\u003c/a> wants to help people understand that there’s more to her country than what they typically see in the news.\u003c/p>\n\u003cp>Born in Ethiopia in 1974, Muluneh spent much of her childhood living in different countries — Yemen, England, Cyprus and Canada — before studying film at Howard University in Washington, D.C. She graduated in 2000 and then worked as a photojournalist for The\u003cem> Washington Post\u003c/em>.\u003c/p>\n\u003cp>But Muluneh became increasingly interested in creating photography as art separate from her journalistic work — and in reconnecting with her Ethiopian heritage. So she moved back to Ethiopia 11 years ago.\u003c/p>\n\u003cp>Since then, she’s been creating bright, primary-colored portraits that both celebrate and transcend Ethiopian culture.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Now her work is on display at the Museum of Modern Art in New York City (MoMA) as part of \u003ca href=\"https://www.moma.org/calendar/exhibitions/3886?locale=en\" target=\"_blank\" rel=\"noopener\">Being: New Photography 2018\u003c/a>, an exhibition lasting through August 19. After her move back to Ethiopia, Muluneh also created the \u003ca href=\"http://www.addisfotofest.com/\" target=\"_blank\" rel=\"noopener\">Addis Foto Fest\u003c/a>, the first and only international photography festival in East Africa. The fifth edition will be held in Addis Ababa, Ethiopia, in December 2018.\u003c/p>\n\u003cp>NPR spoke with Muluneh to learn about the creative process behind her art — and what she hopes viewers take away. This interview is edited for length and clarity.\u003cstrong> \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>How would you say your approach to photography as art differs from your approach to photography as journalism? \u003c/strong>\u003c/p>\n\u003cp>There are certain things I can’t express in my journalistic work that I can express in my studio work. My studio work is an exploration of color first and foremost. I approach it almost like a painter, focusing on the basics — which are the primary colors.\u003c/p>\n\u003cfigure id=\"attachment_13830194\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/muluneh_strength-in-honor-800x800.jpg\" alt='\"Strength in honor\"' width=\"800\" height=\"800\" class=\"size-medium wp-image-13830194\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_strength-in-honor.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_strength-in-honor-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_strength-in-honor-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_strength-in-honor-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_strength-in-honor-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_strength-in-honor-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_strength-in-honor-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_strength-in-honor-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_strength-in-honor-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_strength-in-honor-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_strength-in-honor-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_strength-in-honor-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Strength in honor” \u003ccite>(Aïda Muluneh)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Meanwhile, your journalistic photography is black and white.\u003c/strong>\u003c/p>\n\u003cp>I have a running joke that in photojournalism, I can’t see color. But for some reason, when I’m in the studio, it’s these primary colors I feel strongest about. Eventually, I know I’ll start mixing colors and I’ll start finding other colors. But for now, I want to learn as much as possible from the primary colors.\u003c/p>\n\u003cp>It’s also about pulling in elements from Ethiopia. Church wall paintings here use primary color. I want to show a different way of looking at my country.\u003c/p>\n\u003cp>\u003cstrong>What’s the stereotypical image of Ethiopia that you think gets overdone in the media and art?\u003c/strong>\u003c/p>\n\u003cp>The cliché of Ethiopia is the starving child or the priest with the cross. Or war or famine. The international media are always consuming images not only about Ethiopia but across all of Africa related to those stereotypes. But this place has so much complexity, and I’m witness to that complexity. There are so many subcultures, there are so many contemporary things happening here, there are so many cities with interesting people who are trying to change the continent.\u003c/p>\n\u003cp>The thing I find unfortunate about international media is that it’s not focused on that, and it’s never about perspective. I’m not trying to tell people everything is hunky-dory and perfect in Ethiopia, but everything isn’t dark and dreary either. I can come to New York and photograph a lot of homeless people\u003cstrong> \u003c/strong>on the street and say, “These are the alleys of New York,” but that’s not the full perspective.\u003c/p>\n\u003cfigure id=\"attachment_13830196\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/muluneh_fragments-800x800.jpg\" alt='\"Fragment\"' width=\"800\" height=\"800\" class=\"size-medium wp-image-13830196\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_fragments.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_fragments-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_fragments-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_fragments-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_fragments-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_fragments-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_fragments-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_fragments-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_fragments-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_fragments-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_fragments-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_fragments-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Fragment” \u003ccite>(Aïda Muluneh)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>So how did you come up with your own perspective?\u003c/strong>\u003c/p>\n\u003cp>My works are very intimate portraits. Everything is very flat. I remove a lot of shadows from the image and take a very graphical approach to photography. When I started looking at traditional elements of my culture — body ornamentation and tattoos — it’s highly sophisticated. Unfortunately, Eurocentric history has dismissed this art as primitive. But, in fact, specific colors, lines and designs have different meanings. Even when you look at the movie \u003cem>Black Panther\u003c/em>, a lot of [the movie’s aesthetic] was inspired by Ethiopia. I find traditional culture to be far more contemporary than the contemporary itself.\u003c/p>\n\u003cp>\u003cstrong>Even though your images have these qualities rooted in Ethiopian culture, they’re also almost otherworldly.\u003c/strong>\u003c/p>\n\u003cp>I’m trying to share my heritage but also to show the universality of people around the world. I’ve gone from looking at body painting around Ethiopia to looking across the continent to looking around the world. The Kayapo indigenous people of Brazil, Wodaabe people of West Africa, Maori people of New Zealand, for example, all used body painting. I realized from looking at all these different kinds of body painting that there are all of these lines of connection between different societies. Whatever our struggle, there’s something that we share. The whole collection isn’t a matter of looking at our differences. It’s a matter of looking at the similarities that we share.\u003c/p>\n\u003cp>\u003cstrong>Your work also primarily features women. Why is that?\u003c/strong>\u003c/p>\n\u003cp>I’m a woman, and I’m sharing my experience with the world. I can’t see myself doing that through a man’s body. I feel as though there’s a power in the gaze of the woman. Especially in Africa, women are our biggest assets. There’s an expression that if you teach something to a man, you teach one person, but if you teach something to a woman, you’re teaching the whole society.\u003c/p>\n\u003cp>The models I use are very specific. One that appears frequently is a makeup artist I came across randomly. I just loved her features — her gaze and long neck. Because I’m trying to share my experiences, these women have become my portal for that.\u003c/p>\n\u003cfigure id=\"attachment_13830197\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/muluneh_all-in-one-800x800.jpg\" alt='\"All in One\"' width=\"800\" height=\"800\" class=\"size-medium wp-image-13830197\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_all-in-one.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_all-in-one-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_all-in-one-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_all-in-one-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_all-in-one-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_all-in-one-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_all-in-one-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_all-in-one-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_all-in-one-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_all-in-one-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_all-in-one-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_all-in-one-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“All in One” \u003ccite>(Aïda Muluneh)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Let’s talk about how you create your images. Where do you even start?\u003c/strong>\u003c/p>\n\u003cp>My work starts out with a sketch — more like chicken scratches. But I start on paper with the idea. Then I figure out what I need for that set. I look at a lot of archived images from Ethiopia in the 1930s and 1940s. People then looked so regal, and their Afros were so perfect. I don’t know how they got it that perfect. I can’t get anybody’s Afros perfect today. You’ll notice a lot of my clothing is long, and you don’t see a lot of leg. That comes from these archived images because I don’t want people to focus on the exotic or erotic features of the female body. It’s more about her gaze.\u003c/p>\n\u003cp>For a piece like \u003cem>Fragments\u003c/em>, I work with local fashion designers. I had a sketch of what I wanted and they pieced it together for me.\u003c/p>\n\u003cp>\u003cstrong>How long does it take to apply the body paint on the models?\u003c/strong>\u003c/p>\n\u003cp>One-and-a-half hours.\u003c/p>\n\u003cp>\u003cstrong>That’s not as bad as I thought it might be.\u003c/strong>\u003c/p>\n\u003cp>It would actually be quicker to spray the paint on, but I like the texture the brush makes on the face.\u003c/p>\n\u003cp>\u003cstrong>How do you get the right shot?\u003c/strong>\u003c/p>\n\u003cp>On location, often I’ll have everything sketched. This comes from my film background. But what happens when we get on set is that I have everything planned out, and then I realize “I have to change this,” and it’s that magical moment I look for when I get that image that I seek.\u003c/p>\n\u003cp>\u003cstrong>How do you hope people react to your art in a gallery?\u003c/strong>\u003c/p>\n\u003cp>When you see my images in any show, you can see my work from a mile away. The colors are so striking; you can’t miss it. I hope people Google my name and Google Ethiopia and see something completely different that they haven’t seen in international media.\u003c/p>\n\u003cp>\u003cstrong>The topic of the MoMA exhibit you’re part of is capturing what it means to be human. What do you think your photos communicate about what it means to be human?\u003c/strong>\u003c/p>\n\u003cp>The exhibit features images from a collection of mine called “The World Is 9,” which is an expression my grandmother would say. It means the world is never a perfect 10. A lot of the challenges that we face come from within us. It’s not based on our geographical location, it’s not based on our culture; it’s not based on our education. Someone in New York — whatever they’re going through — and someone in Ethiopia are not completely different. We share commonalities. We have to question our own humanity and understand the universality of our existence.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Natalie Jacewicz is a freelance writer and law school student. Follow her @NatalieJacewicz.\u003c/em> \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=With+Paint+And+A+Camera%2C+She%27s+Forging+A+New+Artistic+Vision+Of+Africa&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Many images of Africa in Western media focus on war, famine or other crises that trouble the continent.\u003c/p>\n\u003cp>But Ethiopian artist \u003ca href=\"https://www.aidamuluneh.com/bio/\">Aïda Muluneh\u003c/a> wants to help people understand that there’s more to her country than what they typically see in the news.\u003c/p>\n\u003cp>Born in Ethiopia in 1974, Muluneh spent much of her childhood living in different countries — Yemen, England, Cyprus and Canada — before studying film at Howard University in Washington, D.C. She graduated in 2000 and then worked as a photojournalist for The\u003cem> Washington Post\u003c/em>.\u003c/p>\n\u003cp>But Muluneh became increasingly interested in creating photography as art separate from her journalistic work — and in reconnecting with her Ethiopian heritage. So she moved back to Ethiopia 11 years ago.\u003c/p>\n\u003cp>Since then, she’s been creating bright, primary-colored portraits that both celebrate and transcend Ethiopian culture.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Now her work is on display at the Museum of Modern Art in New York City (MoMA) as part of \u003ca href=\"https://www.moma.org/calendar/exhibitions/3886?locale=en\" target=\"_blank\" rel=\"noopener\">Being: New Photography 2018\u003c/a>, an exhibition lasting through August 19. After her move back to Ethiopia, Muluneh also created the \u003ca href=\"http://www.addisfotofest.com/\" target=\"_blank\" rel=\"noopener\">Addis Foto Fest\u003c/a>, the first and only international photography festival in East Africa. The fifth edition will be held in Addis Ababa, Ethiopia, in December 2018.\u003c/p>\n\u003cp>NPR spoke with Muluneh to learn about the creative process behind her art — and what she hopes viewers take away. This interview is edited for length and clarity.\u003cstrong> \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>How would you say your approach to photography as art differs from your approach to photography as journalism? \u003c/strong>\u003c/p>\n\u003cp>There are certain things I can’t express in my journalistic work that I can express in my studio work. My studio work is an exploration of color first and foremost. I approach it almost like a painter, focusing on the basics — which are the primary colors.\u003c/p>\n\u003cfigure id=\"attachment_13830194\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/muluneh_strength-in-honor-800x800.jpg\" alt='\"Strength in honor\"' width=\"800\" height=\"800\" class=\"size-medium wp-image-13830194\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_strength-in-honor.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_strength-in-honor-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_strength-in-honor-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_strength-in-honor-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_strength-in-honor-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_strength-in-honor-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_strength-in-honor-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_strength-in-honor-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_strength-in-honor-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_strength-in-honor-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_strength-in-honor-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_strength-in-honor-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Strength in honor” \u003ccite>(Aïda Muluneh)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Meanwhile, your journalistic photography is black and white.\u003c/strong>\u003c/p>\n\u003cp>I have a running joke that in photojournalism, I can’t see color. But for some reason, when I’m in the studio, it’s these primary colors I feel strongest about. Eventually, I know I’ll start mixing colors and I’ll start finding other colors. But for now, I want to learn as much as possible from the primary colors.\u003c/p>\n\u003cp>It’s also about pulling in elements from Ethiopia. Church wall paintings here use primary color. I want to show a different way of looking at my country.\u003c/p>\n\u003cp>\u003cstrong>What’s the stereotypical image of Ethiopia that you think gets overdone in the media and art?\u003c/strong>\u003c/p>\n\u003cp>The cliché of Ethiopia is the starving child or the priest with the cross. Or war or famine. The international media are always consuming images not only about Ethiopia but across all of Africa related to those stereotypes. But this place has so much complexity, and I’m witness to that complexity. There are so many subcultures, there are so many contemporary things happening here, there are so many cities with interesting people who are trying to change the continent.\u003c/p>\n\u003cp>The thing I find unfortunate about international media is that it’s not focused on that, and it’s never about perspective. I’m not trying to tell people everything is hunky-dory and perfect in Ethiopia, but everything isn’t dark and dreary either. I can come to New York and photograph a lot of homeless people\u003cstrong> \u003c/strong>on the street and say, “These are the alleys of New York,” but that’s not the full perspective.\u003c/p>\n\u003cfigure id=\"attachment_13830196\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/muluneh_fragments-800x800.jpg\" alt='\"Fragment\"' width=\"800\" height=\"800\" class=\"size-medium wp-image-13830196\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_fragments.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_fragments-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_fragments-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_fragments-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_fragments-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_fragments-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_fragments-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_fragments-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_fragments-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_fragments-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_fragments-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_fragments-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Fragment” \u003ccite>(Aïda Muluneh)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>So how did you come up with your own perspective?\u003c/strong>\u003c/p>\n\u003cp>My works are very intimate portraits. Everything is very flat. I remove a lot of shadows from the image and take a very graphical approach to photography. When I started looking at traditional elements of my culture — body ornamentation and tattoos — it’s highly sophisticated. Unfortunately, Eurocentric history has dismissed this art as primitive. But, in fact, specific colors, lines and designs have different meanings. Even when you look at the movie \u003cem>Black Panther\u003c/em>, a lot of [the movie’s aesthetic] was inspired by Ethiopia. I find traditional culture to be far more contemporary than the contemporary itself.\u003c/p>\n\u003cp>\u003cstrong>Even though your images have these qualities rooted in Ethiopian culture, they’re also almost otherworldly.\u003c/strong>\u003c/p>\n\u003cp>I’m trying to share my heritage but also to show the universality of people around the world. I’ve gone from looking at body painting around Ethiopia to looking across the continent to looking around the world. The Kayapo indigenous people of Brazil, Wodaabe people of West Africa, Maori people of New Zealand, for example, all used body painting. I realized from looking at all these different kinds of body painting that there are all of these lines of connection between different societies. Whatever our struggle, there’s something that we share. The whole collection isn’t a matter of looking at our differences. It’s a matter of looking at the similarities that we share.\u003c/p>\n\u003cp>\u003cstrong>Your work also primarily features women. Why is that?\u003c/strong>\u003c/p>\n\u003cp>I’m a woman, and I’m sharing my experience with the world. I can’t see myself doing that through a man’s body. I feel as though there’s a power in the gaze of the woman. Especially in Africa, women are our biggest assets. There’s an expression that if you teach something to a man, you teach one person, but if you teach something to a woman, you’re teaching the whole society.\u003c/p>\n\u003cp>The models I use are very specific. One that appears frequently is a makeup artist I came across randomly. I just loved her features — her gaze and long neck. Because I’m trying to share my experiences, these women have become my portal for that.\u003c/p>\n\u003cfigure id=\"attachment_13830197\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/muluneh_all-in-one-800x800.jpg\" alt='\"All in One\"' width=\"800\" height=\"800\" class=\"size-medium wp-image-13830197\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_all-in-one.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_all-in-one-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_all-in-one-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_all-in-one-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_all-in-one-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_all-in-one-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_all-in-one-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_all-in-one-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_all-in-one-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_all-in-one-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_all-in-one-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_all-in-one-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“All in One” \u003ccite>(Aïda Muluneh)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Let’s talk about how you create your images. Where do you even start?\u003c/strong>\u003c/p>\n\u003cp>My work starts out with a sketch — more like chicken scratches. But I start on paper with the idea. Then I figure out what I need for that set. I look at a lot of archived images from Ethiopia in the 1930s and 1940s. People then looked so regal, and their Afros were so perfect. I don’t know how they got it that perfect. I can’t get anybody’s Afros perfect today. You’ll notice a lot of my clothing is long, and you don’t see a lot of leg. That comes from these archived images because I don’t want people to focus on the exotic or erotic features of the female body. It’s more about her gaze.\u003c/p>\n\u003cp>For a piece like \u003cem>Fragments\u003c/em>, I work with local fashion designers. I had a sketch of what I wanted and they pieced it together for me.\u003c/p>\n\u003cp>\u003cstrong>How long does it take to apply the body paint on the models?\u003c/strong>\u003c/p>\n\u003cp>One-and-a-half hours.\u003c/p>\n\u003cp>\u003cstrong>That’s not as bad as I thought it might be.\u003c/strong>\u003c/p>\n\u003cp>It would actually be quicker to spray the paint on, but I like the texture the brush makes on the face.\u003c/p>\n\u003cp>\u003cstrong>How do you get the right shot?\u003c/strong>\u003c/p>\n\u003cp>On location, often I’ll have everything sketched. This comes from my film background. But what happens when we get on set is that I have everything planned out, and then I realize “I have to change this,” and it’s that magical moment I look for when I get that image that I seek.\u003c/p>\n\u003cp>\u003cstrong>How do you hope people react to your art in a gallery?\u003c/strong>\u003c/p>\n\u003cp>When you see my images in any show, you can see my work from a mile away. The colors are so striking; you can’t miss it. I hope people Google my name and Google Ethiopia and see something completely different that they haven’t seen in international media.\u003c/p>\n\u003cp>\u003cstrong>The topic of the MoMA exhibit you’re part of is capturing what it means to be human. What do you think your photos communicate about what it means to be human?\u003c/strong>\u003c/p>\n\u003cp>The exhibit features images from a collection of mine called “The World Is 9,” which is an expression my grandmother would say. It means the world is never a perfect 10. A lot of the challenges that we face come from within us. It’s not based on our geographical location, it’s not based on our culture; it’s not based on our education. Someone in New York — whatever they’re going through — and someone in Ethiopia are not completely different. We share commonalities. We have to question our own humanity and understand the universality of our existence.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Natalie Jacewicz is a freelance writer and law school student. Follow her @NatalieJacewicz.\u003c/em> \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=With+Paint+And+A+Camera%2C+She%27s+Forging+A+New+Artistic+Vision+Of+Africa&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"id": "american-suburb-podcast",
"title": "American Suburb: The Podcast",
"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
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"order": 19
},
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}
},
"baycurious": {
"id": "baycurious",
"title": "Bay Curious",
"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
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},
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},
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"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
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},
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},
"californiareport": {
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"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"officialWebsiteLink": "/californiareport",
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"order": 8
},
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},
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"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"order": 10
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
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"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"order": 1
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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}
},
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"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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"id": "fresh-air",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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"source": "npr"
},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
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