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"title": "What You Could Take Away From 'David Bowie Is'",
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"content": "\u003cp>There is a wonderful irony in a career retrospective of a living artist that becomes so popular it outlives its subject. In 2010 — long before \u003cem>David Bowie Is\u003c/em> travelled to ten other locations around the world, before it landed in Brooklyn earlier this month — London’s Victoria & Albert Museum was approached by the rock icon’s management to create an exhibit out of the singer’s archives. At the time, the idea that such a show would be taken seriously, much less prove to be a success, were hardly foregone conclusions. Music exhibitions of its type were practically non-existent outside of specialty institutions such as the Rock & Roll Hall of Fame. The barrier between high and low cultures was, even such a short time in the past, still sturdy.\u003c/p>\n\u003cp>Nevertheless, says Victoria Broackes, senior curator of the V&A’s theater and performance department, Bowie was “quite literally top of the museum’s list” of potential single-artist exhibition subjects, and when offered the show, she did not hesitate to say yes — “though I did not really have the authority to say that, given that we’re a traditional, 150-year-old museum. I reckoned that people would get how important this opportunity was, and indeed they did.” Even as the show opened, its blockbuster appeal in the global museum market was hardly obvious: “We only had one additional venue that was possibly interested [in taking the exhibit]. It was only after the first couple of weeks that we realized, ‘God, we sort of have a big hit on our hands.'” \u003c/p>\n\u003cp>Launched in March of 2013 and co-curated by Broackes and Geoffrey Marsh, \u003cem>David Bowie Is\u003c/em> treats its subject not merely as a pop star, but as an artist who, in the spot-on words of the curators’ preface, “channeled the avant-garde into the populist mainstream without compromising its subversive liberating power.”\u003c/p>\n\u003cp>The exhibit is stacked with the things that super-fans expect: costumes, photos, posters, lyric sheets, art mock-ups, videos, music, film and live clips (delivered by a relatively seamless audio-visual headphone experience), framed by pieces that place Bowie in a historical and cultural context. That context, the post-war slipstream of art and fashion, social ideas and human progress, is the origin story of his unquenchable inquisitiveness. The through-line of how a 17 year-old from a London suburb who founded the Society for the Prevention of Cruelty to Men with Long Hair (an interview with young David Jones pontificating on the subject is an early highlight) became a grizzled cyberpunk (developing dawn-of-the-digital-age software for cutting up words and pages in the manner of his heroes Brion Gysin and William Burroughs) is direct and unmistakable.\u003c/p>\n\u003cfigure id=\"attachment_13827480\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_58_ps11_wide-f83c943c12bafb2f11490e8e5d68c4b2cfca81f5-800x450.jpg\" alt=\"'David Bowie Is.'\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13827480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_58_ps11_wide-f83c943c12bafb2f11490e8e5d68c4b2cfca81f5-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_58_ps11_wide-f83c943c12bafb2f11490e8e5d68c4b2cfca81f5-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_58_ps11_wide-f83c943c12bafb2f11490e8e5d68c4b2cfca81f5-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_58_ps11_wide-f83c943c12bafb2f11490e8e5d68c4b2cfca81f5-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_58_ps11_wide-f83c943c12bafb2f11490e8e5d68c4b2cfca81f5-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_58_ps11_wide-f83c943c12bafb2f11490e8e5d68c4b2cfca81f5-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_58_ps11_wide-f83c943c12bafb2f11490e8e5d68c4b2cfca81f5-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_58_ps11_wide-f83c943c12bafb2f11490e8e5d68c4b2cfca81f5-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_58_ps11_wide-f83c943c12bafb2f11490e8e5d68c4b2cfca81f5-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_58_ps11_wide-f83c943c12bafb2f11490e8e5d68c4b2cfca81f5-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_58_ps11_wide-f83c943c12bafb2f11490e8e5d68c4b2cfca81f5.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘David Bowie Is.’ \u003ccite>(Jonathan Dorado/Courtesy of the Brooklyn Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It isn’t only the material that demonstrates Bowie’s prolific mutation — according to Broackes, it was purposefully built into the show’s skeletal structure, which left room for the exhibition to change, at least a little, at each stop. Walking through the Brooklyn Museum, reveals distinctions great and small to the one installed at Chicago’s Museum of Contemporary Art in late 2014; a different order to parts of his story or ulterior emphasis, new set-pieces and items, and shorter, re-imagined functions for some of the programming. A room of in-concert clips that showed hours of footage in Chicago has, for instance, been reduced to five hand-picked performances.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Part of the story of Bowie and of the exhibition was not to stand still,” says Broackes. “The core of the exhibition was to remain the same — we worked hard with Bowie’s people to develop a narrative that everyone was happy with. But when it [travelled] to a place that had local significance in Bowie’s life — Japan, Berlin, to a lesser extent almost everywhere — the show would be able to adapt.”\u003c/p>\n\u003cp>These adjustments took place, in part, because the local curators and designers overseeing the exhibit at each institution had access to other collections, which they used to augment Bowie’s story at every stop. If part of Bowie’s appeal was an elasticity of his meaning — of the humane, perceptive usefulness that his mercurial creativity brought to audiences — the difference in the stories that each new presentation told served to mirror it.\u003c/p>\n\u003cp>“All that being said,” adds Broackes, “New York was something else entirely.”\u003c/p>\n\u003cp>As the location of Bowie’s earliest musical inspirations (see the test-pressing of \u003cem>Velvet Underground & Nico\u003c/em> that Andy Warhol gifted to Bowie’s first manager in 1966) and the place he called home for his last 24 years, the city was a major character in the artist’s life. “New York was always to be [the exhibit’s] final venue,” adds Broackes. “That was a real opportunity for Matthew to add material.”\u003c/p>\n\u003cfigure id=\"attachment_13827481\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_27_ps11_wide-10f8c0d94ff3a3d037153e5f15410adae6c4b430-800x450.jpg\" alt=\"David Bowie Is.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13827481\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_27_ps11_wide-10f8c0d94ff3a3d037153e5f15410adae6c4b430-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_27_ps11_wide-10f8c0d94ff3a3d037153e5f15410adae6c4b430-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_27_ps11_wide-10f8c0d94ff3a3d037153e5f15410adae6c4b430-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_27_ps11_wide-10f8c0d94ff3a3d037153e5f15410adae6c4b430-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_27_ps11_wide-10f8c0d94ff3a3d037153e5f15410adae6c4b430-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_27_ps11_wide-10f8c0d94ff3a3d037153e5f15410adae6c4b430-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_27_ps11_wide-10f8c0d94ff3a3d037153e5f15410adae6c4b430-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_27_ps11_wide-10f8c0d94ff3a3d037153e5f15410adae6c4b430-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_27_ps11_wide-10f8c0d94ff3a3d037153e5f15410adae6c4b430-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_27_ps11_wide-10f8c0d94ff3a3d037153e5f15410adae6c4b430-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_27_ps11_wide-10f8c0d94ff3a3d037153e5f15410adae6c4b430.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">David Bowie Is. \u003ccite>(Jonathan Dorado/Courtesy of the Brooklyn Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Matthew” is Matthew Yokobosky, Brooklyn’s director of exhibition design, who curated the museum’s \u003cem>David Bowie Is\u003c/em> experience. Listening to him speak, you hear a desire to bring a specific focus to “parts of the show that were about America” and deliver a “big New York emphasis,” as well as injecting the “excitement and intrigue” of a Bowie concert into the Brooklyn Museum. It’s a more visceral interpretation of Bowie’s legacy — and could be construed as a particularly American-pop take on art exhibits — replacing orthodoxy with spectacle, linear history for the cut-up.\u003c/p>\n\u003cp>In Brooklyn, it begins from the jump. Approaching its entrance, long-time (New York-based) Bowie producer Tony Visconti’s specially created mega-mix vibrates the headphones; a classic Aladdin Sane black vinyl bodysuit designed by Kansai Yamamoto stands guard; bright, soft-white flashing lights (that originated at his New York City Marathon tour in 2002, which had him playing in each of the five boroughs) spelling out B-O-W-I-E. “I spent two months with a conservator and a lighting designer trying to re-lamp the original letters and replicating how they were programmed,” Yokobosky says. Glam, in the service of a novel headspace.\u003c/p>\n\u003cp>An entire wall of a new section, entitled “David Bowie Is A Success in New York,” is devoted to the singer’s relationship with Andy Warhol. It opens with a silent black-and-white film, “David Bowie and his group visit the Factory [Warhol’s studio], September 14, 1971” and ends with memorabilia and private photos from the 1996 motion picture \u003cem>Basquiat\u003c/em>, in which Bowie played Andy. It’s a surreal transition, a remixing of roles, of artist and subject. Who is the bigger translator of cool, the more adept pop futurist – Bowie or Warhol? Depends on who you ask – but where once their canonical rankings were assured, that wall begs you to question them anew.\u003c/p>\n\u003cfigure id=\"attachment_13827482\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_01_ps11_wide-66e0a1a94a26460646ced93bc165dc71c938ad55-800x450.jpg\" alt=\"David Bowie Is.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13827482\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_01_ps11_wide-66e0a1a94a26460646ced93bc165dc71c938ad55-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_01_ps11_wide-66e0a1a94a26460646ced93bc165dc71c938ad55-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_01_ps11_wide-66e0a1a94a26460646ced93bc165dc71c938ad55-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_01_ps11_wide-66e0a1a94a26460646ced93bc165dc71c938ad55-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_01_ps11_wide-66e0a1a94a26460646ced93bc165dc71c938ad55-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_01_ps11_wide-66e0a1a94a26460646ced93bc165dc71c938ad55-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_01_ps11_wide-66e0a1a94a26460646ced93bc165dc71c938ad55-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_01_ps11_wide-66e0a1a94a26460646ced93bc165dc71c938ad55-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_01_ps11_wide-66e0a1a94a26460646ced93bc165dc71c938ad55-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_01_ps11_wide-66e0a1a94a26460646ced93bc165dc71c938ad55-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_01_ps11_wide-66e0a1a94a26460646ced93bc165dc71c938ad55.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">David Bowie Is. \u003ccite>(Jonathan Dorado/Courtesy of the Brooklyn Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Elsewhere you’ll find “LINE,” a series of 20 drawings made by Bowie and composer Laurie Anderson for a 1998 exhibit titled “I Love New York,” at the Ludwig Museum in Cologne. Yakobosky explains: “David had this idea that Laurie possessed telekinesis and could communicate without speaking, so David proposed they do a drawing project where they call each other on the telephone, but instead of talking they would draw together. After they did it, they would fax the drawings to each other.” It’s not nearly as crazy as it sounds. And if Bowie’s musical ’90s felt like a step backward for fans of Ziggy Stardust or Major Tom, works like “LINE” were proof that his art-school instincts were as sharp as ever.\u003c/p>\n\u003cp>The pieces are examples of the strategic way Bowie intertwined his cutting-edge artistic impulses with living showmanship. It may be a cliché to say that \u003cem>David Bowie Is\u003c/em> presents his existence as a canvas — but in the wake of his passing, the very meaning of the show takes on a new dimension. Does it, after all, not seem strange that a person who spent his final decade in self-imposed seclusion opened his entire world to a museum during that time? If \u003cem>Blackstar\u003c/em>, the album he unexpectedly released two days before his death and a treatise on mortality, is the final scene in a life well-played, might the exhibit been created to serve as a knowing epilogue?\u003c/p>\n\u003cp>“At the time, [putting together \u003cem>David Bowie Is\u003c/em>] did not strike me particularly odd,” says Victoria Broackes. “But the more I got into the way he worked, the more everything he did seemed to have both a purpose and a prescience, an understanding the way the world is going.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_45_ps11_custom-d587b8818cc246198702e6b496e67f86bdf85970-800x1432.jpg\" alt=\"\" width=\"800\" height=\"1432\" class=\"alignright size-medium wp-image-13827483\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_45_ps11_custom-d587b8818cc246198702e6b496e67f86bdf85970-800x1432.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_45_ps11_custom-d587b8818cc246198702e6b496e67f86bdf85970-160x286.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_45_ps11_custom-d587b8818cc246198702e6b496e67f86bdf85970-768x1374.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_45_ps11_custom-d587b8818cc246198702e6b496e67f86bdf85970-1020x1825.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_45_ps11_custom-d587b8818cc246198702e6b496e67f86bdf85970-1920x3436.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_45_ps11_custom-d587b8818cc246198702e6b496e67f86bdf85970-1180x2111.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_45_ps11_custom-d587b8818cc246198702e6b496e67f86bdf85970-960x1718.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_45_ps11_custom-d587b8818cc246198702e6b496e67f86bdf85970-240x429.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_45_ps11_custom-d587b8818cc246198702e6b496e67f86bdf85970-375x671.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_45_ps11_custom-d587b8818cc246198702e6b496e67f86bdf85970-520x930.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_45_ps11_custom-d587b8818cc246198702e6b496e67f86bdf85970.jpg 1145w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>And even if Bowie’s health and personal history did not reflect a deeper intent that the exhibit has taken on since his death, a confluence of global circumstances has brought the values and the societal outlook he clearly explored throughout his work, into a new light.\u003c/p>\n\u003cp>“The thing that strikes me now,” Broackes says, “is that the sort of liberal values which Bowie stood for and held out to us all — and that changed so many people’s lives, on a very personal level and for the better — have really come under threat in the years since \u003cem>David Bowie Is\u003c/em> opened, in ways we could never foresee in 2013. In that sense, I think Bowie has a real importance and significance for many of us now.”\u003c/p>\n\u003cp>Yakobosky brought up that the show isn’t the first time Bowie collaborated with the Brooklyn Museum. In 1999, the singer was an official sponsor and the audio-guide voice of a group-exhibit by a collection of young British artists called \u003cem>Sensation\u003c/em>. The exhibit is now best remembered as a battle in the co-called culture wars, sparking a national controversy about art, obscenity, and freedom of expression. Then-New York mayor Rudy Giuliani took religious offense at one of the exhibit’s paintings, Chris Offili’s “The Holy Virgin Mary,” despite the fact that Ofili was a practicing catholic and an altar boy. Giuliani claimed the painting — which depicted a black Madonna amidst a collage of cut-out female buttocks from porn magazines, set upon balls of dried elephant dung — to be “desecrating somebody else’s religion.” Giuliani’s administration sued to defund the museum (it lost).\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Since then, Rudy Giuliani has, of course, gone on to be a courtier of the current American president. Chris Ofili, whose work Bowie had singled out in a \u003cem>Sensation\u003c/em> press release, has won the prestigious Turner Prize for painting and received an Order of the British Empire. \u003cem>David Bowie Is\u003c/em> has been seen by nearly 1.8 million people on four continents and will close at the Brooklyn Museum on July 15th. \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=What+You+Could+Take+Away+From+%27David+Bowie+Is%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "When the exhibit was first conceived, in tandem with Bowie's own collection, its success was far from guaranteed. In the five years since, its outlived its subject and changed as much as he once did.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There is a wonderful irony in a career retrospective of a living artist that becomes so popular it outlives its subject. In 2010 — long before \u003cem>David Bowie Is\u003c/em> travelled to ten other locations around the world, before it landed in Brooklyn earlier this month — London’s Victoria & Albert Museum was approached by the rock icon’s management to create an exhibit out of the singer’s archives. At the time, the idea that such a show would be taken seriously, much less prove to be a success, were hardly foregone conclusions. Music exhibitions of its type were practically non-existent outside of specialty institutions such as the Rock & Roll Hall of Fame. The barrier between high and low cultures was, even such a short time in the past, still sturdy.\u003c/p>\n\u003cp>Nevertheless, says Victoria Broackes, senior curator of the V&A’s theater and performance department, Bowie was “quite literally top of the museum’s list” of potential single-artist exhibition subjects, and when offered the show, she did not hesitate to say yes — “though I did not really have the authority to say that, given that we’re a traditional, 150-year-old museum. I reckoned that people would get how important this opportunity was, and indeed they did.” Even as the show opened, its blockbuster appeal in the global museum market was hardly obvious: “We only had one additional venue that was possibly interested [in taking the exhibit]. It was only after the first couple of weeks that we realized, ‘God, we sort of have a big hit on our hands.'” \u003c/p>\n\u003cp>Launched in March of 2013 and co-curated by Broackes and Geoffrey Marsh, \u003cem>David Bowie Is\u003c/em> treats its subject not merely as a pop star, but as an artist who, in the spot-on words of the curators’ preface, “channeled the avant-garde into the populist mainstream without compromising its subversive liberating power.”\u003c/p>\n\u003cp>The exhibit is stacked with the things that super-fans expect: costumes, photos, posters, lyric sheets, art mock-ups, videos, music, film and live clips (delivered by a relatively seamless audio-visual headphone experience), framed by pieces that place Bowie in a historical and cultural context. That context, the post-war slipstream of art and fashion, social ideas and human progress, is the origin story of his unquenchable inquisitiveness. The through-line of how a 17 year-old from a London suburb who founded the Society for the Prevention of Cruelty to Men with Long Hair (an interview with young David Jones pontificating on the subject is an early highlight) became a grizzled cyberpunk (developing dawn-of-the-digital-age software for cutting up words and pages in the manner of his heroes Brion Gysin and William Burroughs) is direct and unmistakable.\u003c/p>\n\u003cfigure id=\"attachment_13827480\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_58_ps11_wide-f83c943c12bafb2f11490e8e5d68c4b2cfca81f5-800x450.jpg\" alt=\"'David Bowie Is.'\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13827480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_58_ps11_wide-f83c943c12bafb2f11490e8e5d68c4b2cfca81f5-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_58_ps11_wide-f83c943c12bafb2f11490e8e5d68c4b2cfca81f5-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_58_ps11_wide-f83c943c12bafb2f11490e8e5d68c4b2cfca81f5-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_58_ps11_wide-f83c943c12bafb2f11490e8e5d68c4b2cfca81f5-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_58_ps11_wide-f83c943c12bafb2f11490e8e5d68c4b2cfca81f5-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_58_ps11_wide-f83c943c12bafb2f11490e8e5d68c4b2cfca81f5-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_58_ps11_wide-f83c943c12bafb2f11490e8e5d68c4b2cfca81f5-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_58_ps11_wide-f83c943c12bafb2f11490e8e5d68c4b2cfca81f5-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_58_ps11_wide-f83c943c12bafb2f11490e8e5d68c4b2cfca81f5-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_58_ps11_wide-f83c943c12bafb2f11490e8e5d68c4b2cfca81f5-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_58_ps11_wide-f83c943c12bafb2f11490e8e5d68c4b2cfca81f5.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘David Bowie Is.’ \u003ccite>(Jonathan Dorado/Courtesy of the Brooklyn Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It isn’t only the material that demonstrates Bowie’s prolific mutation — according to Broackes, it was purposefully built into the show’s skeletal structure, which left room for the exhibition to change, at least a little, at each stop. Walking through the Brooklyn Museum, reveals distinctions great and small to the one installed at Chicago’s Museum of Contemporary Art in late 2014; a different order to parts of his story or ulterior emphasis, new set-pieces and items, and shorter, re-imagined functions for some of the programming. A room of in-concert clips that showed hours of footage in Chicago has, for instance, been reduced to five hand-picked performances.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Part of the story of Bowie and of the exhibition was not to stand still,” says Broackes. “The core of the exhibition was to remain the same — we worked hard with Bowie’s people to develop a narrative that everyone was happy with. But when it [travelled] to a place that had local significance in Bowie’s life — Japan, Berlin, to a lesser extent almost everywhere — the show would be able to adapt.”\u003c/p>\n\u003cp>These adjustments took place, in part, because the local curators and designers overseeing the exhibit at each institution had access to other collections, which they used to augment Bowie’s story at every stop. If part of Bowie’s appeal was an elasticity of his meaning — of the humane, perceptive usefulness that his mercurial creativity brought to audiences — the difference in the stories that each new presentation told served to mirror it.\u003c/p>\n\u003cp>“All that being said,” adds Broackes, “New York was something else entirely.”\u003c/p>\n\u003cp>As the location of Bowie’s earliest musical inspirations (see the test-pressing of \u003cem>Velvet Underground & Nico\u003c/em> that Andy Warhol gifted to Bowie’s first manager in 1966) and the place he called home for his last 24 years, the city was a major character in the artist’s life. “New York was always to be [the exhibit’s] final venue,” adds Broackes. “That was a real opportunity for Matthew to add material.”\u003c/p>\n\u003cfigure id=\"attachment_13827481\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_27_ps11_wide-10f8c0d94ff3a3d037153e5f15410adae6c4b430-800x450.jpg\" alt=\"David Bowie Is.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13827481\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_27_ps11_wide-10f8c0d94ff3a3d037153e5f15410adae6c4b430-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_27_ps11_wide-10f8c0d94ff3a3d037153e5f15410adae6c4b430-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_27_ps11_wide-10f8c0d94ff3a3d037153e5f15410adae6c4b430-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_27_ps11_wide-10f8c0d94ff3a3d037153e5f15410adae6c4b430-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_27_ps11_wide-10f8c0d94ff3a3d037153e5f15410adae6c4b430-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_27_ps11_wide-10f8c0d94ff3a3d037153e5f15410adae6c4b430-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_27_ps11_wide-10f8c0d94ff3a3d037153e5f15410adae6c4b430-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_27_ps11_wide-10f8c0d94ff3a3d037153e5f15410adae6c4b430-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_27_ps11_wide-10f8c0d94ff3a3d037153e5f15410adae6c4b430-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_27_ps11_wide-10f8c0d94ff3a3d037153e5f15410adae6c4b430-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_27_ps11_wide-10f8c0d94ff3a3d037153e5f15410adae6c4b430.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">David Bowie Is. \u003ccite>(Jonathan Dorado/Courtesy of the Brooklyn Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Matthew” is Matthew Yokobosky, Brooklyn’s director of exhibition design, who curated the museum’s \u003cem>David Bowie Is\u003c/em> experience. Listening to him speak, you hear a desire to bring a specific focus to “parts of the show that were about America” and deliver a “big New York emphasis,” as well as injecting the “excitement and intrigue” of a Bowie concert into the Brooklyn Museum. It’s a more visceral interpretation of Bowie’s legacy — and could be construed as a particularly American-pop take on art exhibits — replacing orthodoxy with spectacle, linear history for the cut-up.\u003c/p>\n\u003cp>In Brooklyn, it begins from the jump. Approaching its entrance, long-time (New York-based) Bowie producer Tony Visconti’s specially created mega-mix vibrates the headphones; a classic Aladdin Sane black vinyl bodysuit designed by Kansai Yamamoto stands guard; bright, soft-white flashing lights (that originated at his New York City Marathon tour in 2002, which had him playing in each of the five boroughs) spelling out B-O-W-I-E. “I spent two months with a conservator and a lighting designer trying to re-lamp the original letters and replicating how they were programmed,” Yokobosky says. Glam, in the service of a novel headspace.\u003c/p>\n\u003cp>An entire wall of a new section, entitled “David Bowie Is A Success in New York,” is devoted to the singer’s relationship with Andy Warhol. It opens with a silent black-and-white film, “David Bowie and his group visit the Factory [Warhol’s studio], September 14, 1971” and ends with memorabilia and private photos from the 1996 motion picture \u003cem>Basquiat\u003c/em>, in which Bowie played Andy. It’s a surreal transition, a remixing of roles, of artist and subject. Who is the bigger translator of cool, the more adept pop futurist – Bowie or Warhol? Depends on who you ask – but where once their canonical rankings were assured, that wall begs you to question them anew.\u003c/p>\n\u003cfigure id=\"attachment_13827482\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_01_ps11_wide-66e0a1a94a26460646ced93bc165dc71c938ad55-800x450.jpg\" alt=\"David Bowie Is.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13827482\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_01_ps11_wide-66e0a1a94a26460646ced93bc165dc71c938ad55-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_01_ps11_wide-66e0a1a94a26460646ced93bc165dc71c938ad55-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_01_ps11_wide-66e0a1a94a26460646ced93bc165dc71c938ad55-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_01_ps11_wide-66e0a1a94a26460646ced93bc165dc71c938ad55-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_01_ps11_wide-66e0a1a94a26460646ced93bc165dc71c938ad55-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_01_ps11_wide-66e0a1a94a26460646ced93bc165dc71c938ad55-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_01_ps11_wide-66e0a1a94a26460646ced93bc165dc71c938ad55-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_01_ps11_wide-66e0a1a94a26460646ced93bc165dc71c938ad55-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_01_ps11_wide-66e0a1a94a26460646ced93bc165dc71c938ad55-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_01_ps11_wide-66e0a1a94a26460646ced93bc165dc71c938ad55-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_01_ps11_wide-66e0a1a94a26460646ced93bc165dc71c938ad55.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">David Bowie Is. \u003ccite>(Jonathan Dorado/Courtesy of the Brooklyn Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Elsewhere you’ll find “LINE,” a series of 20 drawings made by Bowie and composer Laurie Anderson for a 1998 exhibit titled “I Love New York,” at the Ludwig Museum in Cologne. Yakobosky explains: “David had this idea that Laurie possessed telekinesis and could communicate without speaking, so David proposed they do a drawing project where they call each other on the telephone, but instead of talking they would draw together. After they did it, they would fax the drawings to each other.” It’s not nearly as crazy as it sounds. And if Bowie’s musical ’90s felt like a step backward for fans of Ziggy Stardust or Major Tom, works like “LINE” were proof that his art-school instincts were as sharp as ever.\u003c/p>\n\u003cp>The pieces are examples of the strategic way Bowie intertwined his cutting-edge artistic impulses with living showmanship. It may be a cliché to say that \u003cem>David Bowie Is\u003c/em> presents his existence as a canvas — but in the wake of his passing, the very meaning of the show takes on a new dimension. Does it, after all, not seem strange that a person who spent his final decade in self-imposed seclusion opened his entire world to a museum during that time? If \u003cem>Blackstar\u003c/em>, the album he unexpectedly released two days before his death and a treatise on mortality, is the final scene in a life well-played, might the exhibit been created to serve as a knowing epilogue?\u003c/p>\n\u003cp>“At the time, [putting together \u003cem>David Bowie Is\u003c/em>] did not strike me particularly odd,” says Victoria Broackes. “But the more I got into the way he worked, the more everything he did seemed to have both a purpose and a prescience, an understanding the way the world is going.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_45_ps11_custom-d587b8818cc246198702e6b496e67f86bdf85970-800x1432.jpg\" alt=\"\" width=\"800\" height=\"1432\" class=\"alignright size-medium wp-image-13827483\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_45_ps11_custom-d587b8818cc246198702e6b496e67f86bdf85970-800x1432.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_45_ps11_custom-d587b8818cc246198702e6b496e67f86bdf85970-160x286.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_45_ps11_custom-d587b8818cc246198702e6b496e67f86bdf85970-768x1374.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_45_ps11_custom-d587b8818cc246198702e6b496e67f86bdf85970-1020x1825.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_45_ps11_custom-d587b8818cc246198702e6b496e67f86bdf85970-1920x3436.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_45_ps11_custom-d587b8818cc246198702e6b496e67f86bdf85970-1180x2111.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_45_ps11_custom-d587b8818cc246198702e6b496e67f86bdf85970-960x1718.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_45_ps11_custom-d587b8818cc246198702e6b496e67f86bdf85970-240x429.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_45_ps11_custom-d587b8818cc246198702e6b496e67f86bdf85970-375x671.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_45_ps11_custom-d587b8818cc246198702e6b496e67f86bdf85970-520x930.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_45_ps11_custom-d587b8818cc246198702e6b496e67f86bdf85970.jpg 1145w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>And even if Bowie’s health and personal history did not reflect a deeper intent that the exhibit has taken on since his death, a confluence of global circumstances has brought the values and the societal outlook he clearly explored throughout his work, into a new light.\u003c/p>\n\u003cp>“The thing that strikes me now,” Broackes says, “is that the sort of liberal values which Bowie stood for and held out to us all — and that changed so many people’s lives, on a very personal level and for the better — have really come under threat in the years since \u003cem>David Bowie Is\u003c/em> opened, in ways we could never foresee in 2013. In that sense, I think Bowie has a real importance and significance for many of us now.”\u003c/p>\n\u003cp>Yakobosky brought up that the show isn’t the first time Bowie collaborated with the Brooklyn Museum. In 1999, the singer was an official sponsor and the audio-guide voice of a group-exhibit by a collection of young British artists called \u003cem>Sensation\u003c/em>. The exhibit is now best remembered as a battle in the co-called culture wars, sparking a national controversy about art, obscenity, and freedom of expression. Then-New York mayor Rudy Giuliani took religious offense at one of the exhibit’s paintings, Chris Offili’s “The Holy Virgin Mary,” despite the fact that Ofili was a practicing catholic and an altar boy. Giuliani claimed the painting — which depicted a black Madonna amidst a collage of cut-out female buttocks from porn magazines, set upon balls of dried elephant dung — to be “desecrating somebody else’s religion.” Giuliani’s administration sued to defund the museum (it lost).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Since then, Rudy Giuliani has, of course, gone on to be a courtier of the current American president. Chris Ofili, whose work Bowie had singled out in a \u003cem>Sensation\u003c/em> press release, has won the prestigious Turner Prize for painting and received an Order of the British Empire. \u003cem>David Bowie Is\u003c/em> has been seen by nearly 1.8 million people on four continents and will close at the Brooklyn Museum on July 15th. \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=What+You+Could+Take+Away+From+%27David+Bowie+Is%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Urban Sketcher Captures the Colorful Commercial Signs of a San Jose Long Gone",
"headTitle": "Urban Sketcher Captures the Colorful Commercial Signs of a San Jose Long Gone | KQED",
"content": "\u003cp>You know the old story about urban redevelopment: “They paved paradise and put up a parking lot,” as the singer-songwriter Joni Mitchell put it. A new exhibition, \u003ca href=\"http://historysanjose.org/wp/exhibits-activities/mckay-gallery/\" target=\"_blank\" rel=\"noopener\">\u003cem>Sign of the Times\u003c/em>\u003c/a>, going up at History San José, pays tribute to a chapter of Silicon Valley’s history fast fading from view.\u003c/p>\n\u003cp>Vintage signs – for shops, restaurants, bowling alleys, and so on – have a way of encapsulating our sense of place. Sometimes, the signs become landmarks, vestigial reminders of places that no longer exist.\u003c/p>\n\u003cp>Originally from Bombay, \u003ca href=\"http://www.vintagesignsanjose.com\" target=\"_blank\" rel=\"noopener\">Suhita Shirodkar\u003c/a> is an illustrator and graphic designer who moved to San Jose about 20 years ago. “I originally thought I was coming here for a couple of years, and then I ended up meeting my husband and staying on,” she says.\u003c/p>\n\u003cp>The graphic design tethers her to a computer, but sketching is something she can do anytime, anywhere. “I’m an urban sketcher, which means I walk around with a sketchbook all day in my bag, and I draw anything that catches my eye,” she says.\u003c/p>\n\u003cfigure id=\"attachment_13827450\" class=\"wp-caption aligncenter\" style=\"max-width: 578px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13827450\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/RS29983_vintage_futurama_sm2.jpg\" alt=\"Once, this sign advertised the Futurama Bowl, a Persian-themed bowling alley. When Safeway moved in, the supermarket kept the sign, and it still stands today. This an example of Googie, a Southern California-spawned design aesthetic that merged car culture and the rage for the space age in post World War II America.\" width=\"578\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29983_vintage_futurama_sm2.jpg 578w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29983_vintage_futurama_sm2-160x221.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29983_vintage_futurama_sm2-240x332.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29983_vintage_futurama_sm2-375x519.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29983_vintage_futurama_sm2-520x720.jpg 520w\" sizes=\"(max-width: 578px) 100vw, 578px\">\u003cfigcaption class=\"wp-caption-text\">Once, this sign advertised the Futurama Bowl, a Persian-themed bowling alley. When Safeway moved in, the supermarket kept the sign, and it still stands today. This an example of Googie, a Southern California-spawned design aesthetic that merged car culture and the rage for the space age in post World War II America.7 \u003ccite>(Photo: Courtesy of Suhita Shirodkar)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Shirodkar noticed over time she was filling her sketchbooks with drawings and watercolors of signs like the “Dancing Pig” that advertises the now demolished Stephen’s Meat Products on Montgomery Street. The signs point to a world that disappeared before she got here.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>After sketching a sign, Shirodkar heads online to resources like History San José’s \u003ca href=\"http://historysanjose.org/wp/research-collection/research-library/\" target=\"_blank\" rel=\"noopener\">Research Library and Archives\u003c/a>, as well as \u003ca href=\"https://www.facebook.com/sanjosesignproject/\" target=\"_blank\" rel=\"noopener\">The San Jose Signs Project\u003c/a>.\u003c/p>\n\u003cp>“I really like these signs. They sort of pulled me back into history, which is really what art does. It becomes a reason to understanding something, why something’s important — or why it needs to stay,” Shirodkar says.\u003c/p>\n\u003cp>Does that make her sound like an activist? She is one. Peruse the more than 50 sketches on display at History San José, and you may find yourself signing up to help preserve them.\u003c/p>\n\u003cfigure id=\"attachment_13827451\" class=\"wp-caption aligncenter\" style=\"max-width: 622px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13827451\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/RS29982_stephens_pig1_sm.jpg\" alt=\""I think if there's one beloved sign in San Jose, it's the Stephen's pig sign," says artist Suhita Shirodkar. The Preservation Action Council of San Jose is raising money to restore the neon sign. "Everybody would like to see the pig dancing again. Whatever it takes to bring that one alive, I think it'll be a good showcase for what can be done with our signs."\" width=\"622\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29982_stephens_pig1_sm.jpg 622w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29982_stephens_pig1_sm-160x206.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29982_stephens_pig1_sm-240x309.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29982_stephens_pig1_sm-375x482.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29982_stephens_pig1_sm-520x669.jpg 520w\" sizes=\"(max-width: 622px) 100vw, 622px\">\u003cfigcaption class=\"wp-caption-text\">“I think if there’s one beloved sign in San Jose, it’s the Stephen’s pig sign,” says artist Suhita Shirodkar. The Preservation Action Council of San Jose is \u003ca href=\"http://www.preservation.org/pac_donate.html\" target=\"_blank\" rel=\"noopener\">raising money\u003c/a> to restore the neon sign. “Everybody would like to see the pig dancing again. Whatever it takes to bring that one alive, I think it’ll be a good showcase for what can be done with our signs.” \u003ccite>(Photo: Courtesy of Suhita Shirodkar)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Signs of the Times is open to the public on weekends at History San José until December 23, 2018. For more information, click \u003c/i>\u003cstrong style=\"font-style: italic\">\u003ca href=\"http://historysanjose.org/wp/exhibits-activities/mckay-gallery/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>\u003c/strong>\u003ci>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>You know the old story about urban redevelopment: “They paved paradise and put up a parking lot,” as the singer-songwriter Joni Mitchell put it. A new exhibition, \u003ca href=\"http://historysanjose.org/wp/exhibits-activities/mckay-gallery/\" target=\"_blank\" rel=\"noopener\">\u003cem>Sign of the Times\u003c/em>\u003c/a>, going up at History San José, pays tribute to a chapter of Silicon Valley’s history fast fading from view.\u003c/p>\n\u003cp>Vintage signs – for shops, restaurants, bowling alleys, and so on – have a way of encapsulating our sense of place. Sometimes, the signs become landmarks, vestigial reminders of places that no longer exist.\u003c/p>\n\u003cp>Originally from Bombay, \u003ca href=\"http://www.vintagesignsanjose.com\" target=\"_blank\" rel=\"noopener\">Suhita Shirodkar\u003c/a> is an illustrator and graphic designer who moved to San Jose about 20 years ago. “I originally thought I was coming here for a couple of years, and then I ended up meeting my husband and staying on,” she says.\u003c/p>\n\u003cp>The graphic design tethers her to a computer, but sketching is something she can do anytime, anywhere. “I’m an urban sketcher, which means I walk around with a sketchbook all day in my bag, and I draw anything that catches my eye,” she says.\u003c/p>\n\u003cfigure id=\"attachment_13827450\" class=\"wp-caption aligncenter\" style=\"max-width: 578px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13827450\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/RS29983_vintage_futurama_sm2.jpg\" alt=\"Once, this sign advertised the Futurama Bowl, a Persian-themed bowling alley. When Safeway moved in, the supermarket kept the sign, and it still stands today. This an example of Googie, a Southern California-spawned design aesthetic that merged car culture and the rage for the space age in post World War II America.\" width=\"578\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29983_vintage_futurama_sm2.jpg 578w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29983_vintage_futurama_sm2-160x221.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29983_vintage_futurama_sm2-240x332.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29983_vintage_futurama_sm2-375x519.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29983_vintage_futurama_sm2-520x720.jpg 520w\" sizes=\"(max-width: 578px) 100vw, 578px\">\u003cfigcaption class=\"wp-caption-text\">Once, this sign advertised the Futurama Bowl, a Persian-themed bowling alley. When Safeway moved in, the supermarket kept the sign, and it still stands today. This an example of Googie, a Southern California-spawned design aesthetic that merged car culture and the rage for the space age in post World War II America.7 \u003ccite>(Photo: Courtesy of Suhita Shirodkar)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Shirodkar noticed over time she was filling her sketchbooks with drawings and watercolors of signs like the “Dancing Pig” that advertises the now demolished Stephen’s Meat Products on Montgomery Street. The signs point to a world that disappeared before she got here.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After sketching a sign, Shirodkar heads online to resources like History San José’s \u003ca href=\"http://historysanjose.org/wp/research-collection/research-library/\" target=\"_blank\" rel=\"noopener\">Research Library and Archives\u003c/a>, as well as \u003ca href=\"https://www.facebook.com/sanjosesignproject/\" target=\"_blank\" rel=\"noopener\">The San Jose Signs Project\u003c/a>.\u003c/p>\n\u003cp>“I really like these signs. They sort of pulled me back into history, which is really what art does. It becomes a reason to understanding something, why something’s important — or why it needs to stay,” Shirodkar says.\u003c/p>\n\u003cp>Does that make her sound like an activist? She is one. Peruse the more than 50 sketches on display at History San José, and you may find yourself signing up to help preserve them.\u003c/p>\n\u003cfigure id=\"attachment_13827451\" class=\"wp-caption aligncenter\" style=\"max-width: 622px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13827451\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/RS29982_stephens_pig1_sm.jpg\" alt=\""I think if there's one beloved sign in San Jose, it's the Stephen's pig sign," says artist Suhita Shirodkar. The Preservation Action Council of San Jose is raising money to restore the neon sign. "Everybody would like to see the pig dancing again. Whatever it takes to bring that one alive, I think it'll be a good showcase for what can be done with our signs."\" width=\"622\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29982_stephens_pig1_sm.jpg 622w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29982_stephens_pig1_sm-160x206.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29982_stephens_pig1_sm-240x309.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29982_stephens_pig1_sm-375x482.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29982_stephens_pig1_sm-520x669.jpg 520w\" sizes=\"(max-width: 622px) 100vw, 622px\">\u003cfigcaption class=\"wp-caption-text\">“I think if there’s one beloved sign in San Jose, it’s the Stephen’s pig sign,” says artist Suhita Shirodkar. The Preservation Action Council of San Jose is \u003ca href=\"http://www.preservation.org/pac_donate.html\" target=\"_blank\" rel=\"noopener\">raising money\u003c/a> to restore the neon sign. “Everybody would like to see the pig dancing again. Whatever it takes to bring that one alive, I think it’ll be a good showcase for what can be done with our signs.” \u003ccite>(Photo: Courtesy of Suhita Shirodkar)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Signs of the Times is open to the public on weekends at History San José until December 23, 2018. For more information, click \u003c/i>\u003cstrong style=\"font-style: italic\">\u003ca href=\"http://historysanjose.org/wp/exhibits-activities/mckay-gallery/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>\u003c/strong>\u003ci>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "On the Air: Suzie & Gabe's Picks for March 16, 2018",
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"content": "\u003cp>Like Rex Tillerson, Cy Musiker is out of the office — and thus, Suzie Racho and Gabe Meline are your Do List secretaries of state this week. Listen above for our picks which, as usual, were culled from a huge list of great events around the Bay Area. (One that we couldn’t squeeze in for North Bay listeners is the \u003ca href=\"https://sebastopolfilmfestival.org/\" target=\"_blank\" rel=\"noopener\">Sebastopol Documentary Film Festival\u003c/a>, running March 22–25; \u003ca href=\"https://sebastopolfilmfestival.org/\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>.)\u003c/p>\n\u003cp>This week’s picks are below; click through the links below for more details.\u003c/p>\n\u003cul>\n\u003cli>\u003cb>March 17:\u003c/b> \u003ca href=\"https://www.kqed.org/arts/13827267/ute-lempers-german-cabaret-rollercoaster-of-emotion\" rel=\"noopener\" target=\"_blank\">Ute Lemper is most often affiliated with Kurt Weill, but this tour she interprets Edith Piaf, Jacques Brel, Astor Piazzolla and more.\u003c/a> \u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Opening March 24:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13827275/hip-hop-history-at-the-oakland-museum\" target=\"_blank\" rel=\"noopener\">Bay Area rappers and producers get recognized at an expansive exhibit of hip-hop’s influence at the Oakland Museum.\u003c/a>\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>March 22–25:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13827261/weve-come-a-long-way-since-steamboat-willie\" rel=\"noopener\" target=\"_blank\">Berkeley’s Global Animation Syndicate Fest shows just how much animation has exploded, both artistically and economically.\u003c/a>\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>March 31:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13827255/giving-the-drummer-some-at-a-rejuvenated-ivy-room\" rel=\"noopener\" target=\"_blank\">Jazz drummer Scott Amendola blows into Albany’s erstwhile dive bar with keyboardists, sax players, and members of Los Lobos in tow.\u003c/a>\u003c/li>\n\u003cp>\u003cbr clear=\"all\">\u003cbr>\n\u003cb>Shout Outs:\u003c/b>\u003cbr>\n\u003c/p>\n\u003cli>\u003cstrong>March 22:\u003c/strong> \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2017-18/MTT-Conducts-Mahler-Fifth.aspx\" rel=\"noopener\" target=\"_blank\">Michael Tilson Thomas and his favorite composer, Mahler, together again at Davies Symphony Hall.\u003c/a>\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>June 30 – July 1:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13826271\" rel=\"noopener\" target=\"_blank\">Devo, the Damned and more in this year’s lineup for Burger Boogaloo in Oakland\u003c/a>\u003c/li>\n\u003c/ul>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Like Rex Tillerson, Cy Musiker is out of the office — and thus, Suzie Racho and Gabe Meline are your Do List secretaries of state this week. Listen above for our picks which, as usual, were culled from a huge list of great events around the Bay Area. (One that we couldn’t squeeze in for North Bay listeners is the \u003ca href=\"https://sebastopolfilmfestival.org/\" target=\"_blank\" rel=\"noopener\">Sebastopol Documentary Film Festival\u003c/a>, running March 22–25; \u003ca href=\"https://sebastopolfilmfestival.org/\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>.)\u003c/p>\n\u003cp>This week’s picks are below; click through the links below for more details.\u003c/p>\n\u003cul>\n\u003cli>\u003cb>March 17:\u003c/b> \u003ca href=\"https://www.kqed.org/arts/13827267/ute-lempers-german-cabaret-rollercoaster-of-emotion\" rel=\"noopener\" target=\"_blank\">Ute Lemper is most often affiliated with Kurt Weill, but this tour she interprets Edith Piaf, Jacques Brel, Astor Piazzolla and more.\u003c/a> \u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Opening March 24:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13827275/hip-hop-history-at-the-oakland-museum\" target=\"_blank\" rel=\"noopener\">Bay Area rappers and producers get recognized at an expansive exhibit of hip-hop’s influence at the Oakland Museum.\u003c/a>\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>March 22–25:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13827261/weve-come-a-long-way-since-steamboat-willie\" rel=\"noopener\" target=\"_blank\">Berkeley’s Global Animation Syndicate Fest shows just how much animation has exploded, both artistically and economically.\u003c/a>\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>March 31:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13827255/giving-the-drummer-some-at-a-rejuvenated-ivy-room\" rel=\"noopener\" target=\"_blank\">Jazz drummer Scott Amendola blows into Albany’s erstwhile dive bar with keyboardists, sax players, and members of Los Lobos in tow.\u003c/a>\u003c/li>\n\u003cp>\u003cbr clear=\"all\">\u003cbr>\n\u003cb>Shout Outs:\u003c/b>\u003cbr>\n\u003c/p>\n\u003cli>\u003cstrong>March 22:\u003c/strong> \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2017-18/MTT-Conducts-Mahler-Fifth.aspx\" rel=\"noopener\" target=\"_blank\">Michael Tilson Thomas and his favorite composer, Mahler, together again at Davies Symphony Hall.\u003c/a>\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>June 30 – July 1:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13826271\" rel=\"noopener\" target=\"_blank\">Devo, the Damned and more in this year’s lineup for Burger Boogaloo in Oakland\u003c/a>\u003c/li>\n\u003c/ul>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Transgression is Survival for Michelle Handelman’s ‘Hustlers’ at SFMOMA",
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"content": "\u003cp>The real trick with any durational art — video or performance — is holding the audience’s attention. Sure, anyone will watch a 30-second Instagram video, a \u003ca href=\"https://www.kqed.org/arts/13827053\" rel=\"noopener\" target=\"_blank\">2-minute-30-second movie trailer\u003c/a>, and maybe, if you’re blessed, a \u003ca href=\"https://www.kqed.org/arts/13825213/filmmaker-leo-herrera-imagines-an-alternate-world-without-aids\" rel=\"noopener\" target=\"_blank\">6-minute long mini-doc\u003c/a> about a visionary local filmmaker. But an hour-long, non-narrative, three-channel video installation? Good luck.\u003c/p>\n\u003cp>And then there’s New York-based artist \u003ca href=\"http://www.michellehandelman.com/\" rel=\"noopener\" target=\"_blank\">Michelle Handelman\u003c/a>’s latest piece, \u003ci>\u003ca href=\"https://www.sfmoma.org/event/series/michelle-handelman/\" rel=\"noopener\" target=\"_blank\">Hustlers & Empires\u003c/a>\u003c/i>, commissioned by and on view at the San Francisco Museum of Modern Art, which doesn’t just hold the audience’s attention — it commands it. \u003c/p>\n\u003cp>Drawing from three very different sources — Iceberg Slim’s 1967 memoir \u003ci>Pimp\u003c/i>, Federico Fellini’s 1968 short film \u003ci>Toby Dammit\u003c/i> and Marguerite Duras’ 1984 autobiographical novel \u003ci>The Lover\u003c/i> — Handelman layers fact, fiction and mesmerizing performances to create a compelling, fragmented, hallucinatory depiction of those living on society’s edges.\u003c/p>\n\u003cfigure id=\"attachment_13827300\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Hustlers_3_final_1200.jpg\" alt=\"Shannon Funchess, John Kelly and Viva Ruiz playing Iceberg Slim, Toby Dammit and Marguerite Duras in Michelle Handelman's 'Hustlers & Empires,' 2018.\" width=\"1200\" height=\"749\" class=\"size-full wp-image-13827300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Hustlers_3_final_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Hustlers_3_final_1200-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Hustlers_3_final_1200-800x499.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Hustlers_3_final_1200-768x479.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Hustlers_3_final_1200-1020x637.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Hustlers_3_final_1200-1180x737.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Hustlers_3_final_1200-960x599.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Hustlers_3_final_1200-240x150.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Hustlers_3_final_1200-375x234.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Hustlers_3_final_1200-520x325.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Shannon Funchess, John Kelly and Viva Ruiz playing Iceberg Slim, Toby Dammit and Marguerite Duras in Michelle Handelman’s ‘Hustlers & Empires,’ 2018. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We all know we live in a sound-bite culture and we’re all aware of people’s short attention spans, yet I’m compelled to make these pieces a certain way,” Handelman says of her commitment to longform video, talking with KQED Arts. “The way my projects are designed — through the use of repetition, sound and long takes that stare at you — there’s a structure built into them that, at best, is hypnotic.”\u003c/p>\n\u003cp>“Hypnotic” is the operative word here. In SFMOMA’s White Box gallery space, the three video channels project large onto adjacent walls, alternating focus between the three “hustlers,” played by artists, musicians and performers Shannon Funchess, John Kelly and Viva Ruiz. Filling the gallery floor below are portable stages, props from the video and light stands holding 2D replicas of video cameras. Other stands support T-shirts bearing the faces of young Terence Stamp (star of \u003ci>Toby Dammit\u003c/i>), Duras and Slim.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As the trio swaps in and out of consistently fabulous outfits (including a sequence in which everyone looks like the space opera version of themselves), Funchess, Kelly and Ruiz embody the roles of Slim, Dammit and Duras, respectively. They speak to the difficulty of surviving in a capitalist, normative world that’s built to marginalize them. They relate stories of abuse and violence. And, in the most thrilling sequences of the video, they sing and dance.\u003c/p>\n\u003cfigure id=\"attachment_13827289\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Hustlers_2_1200.jpg\" alt=\"Still from Michelle Handelman's 'Hustlers & Empires,' 2018.\" width=\"1200\" height=\"632\" class=\"size-full wp-image-13827289\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Hustlers_2_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Hustlers_2_1200-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Hustlers_2_1200-800x421.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Hustlers_2_1200-768x404.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Hustlers_2_1200-1020x537.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Hustlers_2_1200-1180x621.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Hustlers_2_1200-960x506.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Hustlers_2_1200-240x126.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Hustlers_2_1200-375x198.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Hustlers_2_1200-520x274.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from Michelle Handelman’s ‘Hustlers & Empires,’ 2018. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The songs were really the heart of the piece for me,” Handelman says. “The reason I selected these performers was because they’re all amazing singers.” Each performer (sometimes in collaboration with Handelman) wrote two songs from the point of view of their character.\u003c/p>\n\u003cp>Funchess sings in a cyborg-esque rock star get-up of black leather and extreme shoulder pads. Kelly, his style described in Handelman’s production notes as “crumpled fashionable rogue,” sings in a serene voice about crossfades, dreams and the devil. Ruiz does an electronic dance number in thigh-high boots. \u003c/p>\n\u003cp>Their glamorous facades are undeniable. “Surfaces are fascinating,” Handelman says, “because surfaces are very deep. The more artifice people wear, the deeper the pain that’s masking. And I’m really interested in trying to get to both the character and the performer’s vulnerability — and let it leak out the shiny veneer.” \u003c/p>\n\u003cfigure id=\"attachment_13827287\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Blackmagic-DaVinci-Resolvestill1491_COVER.jpg\" alt=\"John Kelly as Toby Dammit in Michelle Handelman's 'Hustlers & Empires,' 2018.\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13827287\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Blackmagic-DaVinci-Resolvestill1491_COVER.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Blackmagic-DaVinci-Resolvestill1491_COVER-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Blackmagic-DaVinci-Resolvestill1491_COVER-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Blackmagic-DaVinci-Resolvestill1491_COVER-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Blackmagic-DaVinci-Resolvestill1491_COVER-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Blackmagic-DaVinci-Resolvestill1491_COVER-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Blackmagic-DaVinci-Resolvestill1491_COVER-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Blackmagic-DaVinci-Resolvestill1491_COVER-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Blackmagic-DaVinci-Resolvestill1491_COVER-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Blackmagic-DaVinci-Resolvestill1491_COVER-520x293.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">John Kelly as Toby Dammit in Michelle Handelman’s ‘Hustlers & Empires,’ 2018. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Interspersed between the music video moments are monologues from the characters in varying layers of costume. Handelman wants to dissolve the lines between performer and character, acting and being, because for her, “It doesn’t matter who says what, it matters what’s been said.” Fictions, after all, are informed by and influence facts.\u003c/p>\n\u003cp>Even though each of the stories Handelman draws upon in \u003ci>Hustlers & Empires\u003c/i> is set in a very particular place and time (1929 Saigon, mid-20th-century Chicago and 1960s Rome), the resulting video takes place on a soundstage she alternately calls a “void space,” “limbo” or “the talk show.” “I’m not interested in making period recreations of anything, ever,” she says.\u003c/p>\n\u003cp>The characters sit at a round table answering philosophical questions like “What gets you out of bed in the morning?” Canned laughter and applause tracks play at inappropriate moments. In Handelman’s hands, Slim, Duras and Dammit become contemporary, or perhaps more accurately: timeless. Their struggles against “empires” — repressive governments, racism, gender taboos, sexual mores, societal expectations — are as relevant now as they were in their respective times.\u003c/p>\n\u003cfigure id=\"attachment_13827293\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/VivaRuiz.jpg\" alt=\"Viva Ruiz as Marguerite Duras in Michelle Handelman's 'Hustlers & Empires,' 2018.\" width=\"800\" height=\"462\" class=\"size-full wp-image-13827293\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VivaRuiz.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VivaRuiz-160x92.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VivaRuiz-768x444.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VivaRuiz-240x139.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VivaRuiz-375x217.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VivaRuiz-520x300.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Viva Ruiz as Marguerite Duras in Michelle Handelman’s ‘Hustlers & Empires,’ 2018. \u003ccite>(Photo: Mr. Means)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A physical footnote to the three-channel video nails that relevancy. On a separate screen, without sound, costume or script, the talk show set reappears darker and less surreal. Funchess, Kelly and Ruiz return to answer the same questions (“What are you resisting?” “What is empire?”), but this time as themselves.\u003c/p>\n\u003cp>As an added layer of “realness,” their raw answers embody a line repeated by all three characters in \u003ci>Hustlers & Empires\u003c/i>: “You have no idea how weak I am.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Hustlers & Empires’ is on view at SFMOMA through March 18, with live performances on Saturday, March 17, 1-4pm and a special performance with Shannon Funchess, John Kelly and Viva Ruiz the same day at 6pm. For more information, \u003ca href=\"https://www.sfmoma.org/event/series/michelle-handelman/\" 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>The real trick with any durational art — video or performance — is holding the audience’s attention. Sure, anyone will watch a 30-second Instagram video, a \u003ca href=\"https://www.kqed.org/arts/13827053\" rel=\"noopener\" target=\"_blank\">2-minute-30-second movie trailer\u003c/a>, and maybe, if you’re blessed, a \u003ca href=\"https://www.kqed.org/arts/13825213/filmmaker-leo-herrera-imagines-an-alternate-world-without-aids\" rel=\"noopener\" target=\"_blank\">6-minute long mini-doc\u003c/a> about a visionary local filmmaker. But an hour-long, non-narrative, three-channel video installation? Good luck.\u003c/p>\n\u003cp>And then there’s New York-based artist \u003ca href=\"http://www.michellehandelman.com/\" rel=\"noopener\" target=\"_blank\">Michelle Handelman\u003c/a>’s latest piece, \u003ci>\u003ca href=\"https://www.sfmoma.org/event/series/michelle-handelman/\" rel=\"noopener\" target=\"_blank\">Hustlers & Empires\u003c/a>\u003c/i>, commissioned by and on view at the San Francisco Museum of Modern Art, which doesn’t just hold the audience’s attention — it commands it. \u003c/p>\n\u003cp>Drawing from three very different sources — Iceberg Slim’s 1967 memoir \u003ci>Pimp\u003c/i>, Federico Fellini’s 1968 short film \u003ci>Toby Dammit\u003c/i> and Marguerite Duras’ 1984 autobiographical novel \u003ci>The Lover\u003c/i> — Handelman layers fact, fiction and mesmerizing performances to create a compelling, fragmented, hallucinatory depiction of those living on society’s edges.\u003c/p>\n\u003cfigure id=\"attachment_13827300\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Hustlers_3_final_1200.jpg\" alt=\"Shannon Funchess, John Kelly and Viva Ruiz playing Iceberg Slim, Toby Dammit and Marguerite Duras in Michelle Handelman's 'Hustlers & Empires,' 2018.\" width=\"1200\" height=\"749\" class=\"size-full wp-image-13827300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Hustlers_3_final_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Hustlers_3_final_1200-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Hustlers_3_final_1200-800x499.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Hustlers_3_final_1200-768x479.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Hustlers_3_final_1200-1020x637.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Hustlers_3_final_1200-1180x737.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Hustlers_3_final_1200-960x599.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Hustlers_3_final_1200-240x150.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Hustlers_3_final_1200-375x234.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Hustlers_3_final_1200-520x325.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Shannon Funchess, John Kelly and Viva Ruiz playing Iceberg Slim, Toby Dammit and Marguerite Duras in Michelle Handelman’s ‘Hustlers & Empires,’ 2018. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We all know we live in a sound-bite culture and we’re all aware of people’s short attention spans, yet I’m compelled to make these pieces a certain way,” Handelman says of her commitment to longform video, talking with KQED Arts. “The way my projects are designed — through the use of repetition, sound and long takes that stare at you — there’s a structure built into them that, at best, is hypnotic.”\u003c/p>\n\u003cp>“Hypnotic” is the operative word here. In SFMOMA’s White Box gallery space, the three video channels project large onto adjacent walls, alternating focus between the three “hustlers,” played by artists, musicians and performers Shannon Funchess, John Kelly and Viva Ruiz. Filling the gallery floor below are portable stages, props from the video and light stands holding 2D replicas of video cameras. Other stands support T-shirts bearing the faces of young Terence Stamp (star of \u003ci>Toby Dammit\u003c/i>), Duras and Slim.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As the trio swaps in and out of consistently fabulous outfits (including a sequence in which everyone looks like the space opera version of themselves), Funchess, Kelly and Ruiz embody the roles of Slim, Dammit and Duras, respectively. They speak to the difficulty of surviving in a capitalist, normative world that’s built to marginalize them. They relate stories of abuse and violence. And, in the most thrilling sequences of the video, they sing and dance.\u003c/p>\n\u003cfigure id=\"attachment_13827289\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Hustlers_2_1200.jpg\" alt=\"Still from Michelle Handelman's 'Hustlers & Empires,' 2018.\" width=\"1200\" height=\"632\" class=\"size-full wp-image-13827289\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Hustlers_2_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Hustlers_2_1200-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Hustlers_2_1200-800x421.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Hustlers_2_1200-768x404.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Hustlers_2_1200-1020x537.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Hustlers_2_1200-1180x621.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Hustlers_2_1200-960x506.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Hustlers_2_1200-240x126.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Hustlers_2_1200-375x198.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Hustlers_2_1200-520x274.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from Michelle Handelman’s ‘Hustlers & Empires,’ 2018. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The songs were really the heart of the piece for me,” Handelman says. “The reason I selected these performers was because they’re all amazing singers.” Each performer (sometimes in collaboration with Handelman) wrote two songs from the point of view of their character.\u003c/p>\n\u003cp>Funchess sings in a cyborg-esque rock star get-up of black leather and extreme shoulder pads. Kelly, his style described in Handelman’s production notes as “crumpled fashionable rogue,” sings in a serene voice about crossfades, dreams and the devil. Ruiz does an electronic dance number in thigh-high boots. \u003c/p>\n\u003cp>Their glamorous facades are undeniable. “Surfaces are fascinating,” Handelman says, “because surfaces are very deep. The more artifice people wear, the deeper the pain that’s masking. And I’m really interested in trying to get to both the character and the performer’s vulnerability — and let it leak out the shiny veneer.” \u003c/p>\n\u003cfigure id=\"attachment_13827287\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Blackmagic-DaVinci-Resolvestill1491_COVER.jpg\" alt=\"John Kelly as Toby Dammit in Michelle Handelman's 'Hustlers & Empires,' 2018.\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13827287\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Blackmagic-DaVinci-Resolvestill1491_COVER.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Blackmagic-DaVinci-Resolvestill1491_COVER-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Blackmagic-DaVinci-Resolvestill1491_COVER-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Blackmagic-DaVinci-Resolvestill1491_COVER-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Blackmagic-DaVinci-Resolvestill1491_COVER-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Blackmagic-DaVinci-Resolvestill1491_COVER-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Blackmagic-DaVinci-Resolvestill1491_COVER-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Blackmagic-DaVinci-Resolvestill1491_COVER-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Blackmagic-DaVinci-Resolvestill1491_COVER-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Blackmagic-DaVinci-Resolvestill1491_COVER-520x293.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">John Kelly as Toby Dammit in Michelle Handelman’s ‘Hustlers & Empires,’ 2018. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Interspersed between the music video moments are monologues from the characters in varying layers of costume. Handelman wants to dissolve the lines between performer and character, acting and being, because for her, “It doesn’t matter who says what, it matters what’s been said.” Fictions, after all, are informed by and influence facts.\u003c/p>\n\u003cp>Even though each of the stories Handelman draws upon in \u003ci>Hustlers & Empires\u003c/i> is set in a very particular place and time (1929 Saigon, mid-20th-century Chicago and 1960s Rome), the resulting video takes place on a soundstage she alternately calls a “void space,” “limbo” or “the talk show.” “I’m not interested in making period recreations of anything, ever,” she says.\u003c/p>\n\u003cp>The characters sit at a round table answering philosophical questions like “What gets you out of bed in the morning?” Canned laughter and applause tracks play at inappropriate moments. In Handelman’s hands, Slim, Duras and Dammit become contemporary, or perhaps more accurately: timeless. Their struggles against “empires” — repressive governments, racism, gender taboos, sexual mores, societal expectations — are as relevant now as they were in their respective times.\u003c/p>\n\u003cfigure id=\"attachment_13827293\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/VivaRuiz.jpg\" alt=\"Viva Ruiz as Marguerite Duras in Michelle Handelman's 'Hustlers & Empires,' 2018.\" width=\"800\" height=\"462\" class=\"size-full wp-image-13827293\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VivaRuiz.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VivaRuiz-160x92.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VivaRuiz-768x444.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VivaRuiz-240x139.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VivaRuiz-375x217.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VivaRuiz-520x300.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Viva Ruiz as Marguerite Duras in Michelle Handelman’s ‘Hustlers & Empires,’ 2018. \u003ccite>(Photo: Mr. Means)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A physical footnote to the three-channel video nails that relevancy. On a separate screen, without sound, costume or script, the talk show set reappears darker and less surreal. Funchess, Kelly and Ruiz return to answer the same questions (“What are you resisting?” “What is empire?”), but this time as themselves.\u003c/p>\n\u003cp>As an added layer of “realness,” their raw answers embody a line repeated by all three characters in \u003ci>Hustlers & Empires\u003c/i>: “You have no idea how weak I am.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Hustlers & Empires’ is on view at SFMOMA through March 18, with live performances on Saturday, March 17, 1-4pm and a special performance with Shannon Funchess, John Kelly and Viva Ruiz the same day at 6pm. For more information, \u003ca href=\"https://www.sfmoma.org/event/series/michelle-handelman/\" rel=\"noopener\" target=\"_blank\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>There’s a phrase, coined by Eric B. & Rakim, that’s embedded in rap music’s lexicon: “It ain’t where you’re from, it’s where you’re at.” Now, a new exhibit in Oakland flips that idea of the present, called \u003cem>Respect: Hip-Hop Style and Wisdom\u003c/em>. \u003c/p>\n\u003cp>Starting back in the 1970s with block parties in the Bronx, the timeline of the show means you’ll see artifacts from all over — Grandmaster Flash’s turntables, LL Cool J’s tracksuit and more. But of course, we’re interested in the Bay Area history here, including a handwritten essay by Tupac comparing black men in America to early American revolutionaries (remember, Tupac once \u003ca href=\"https://www.kqed.org/arts/11696060\" rel=\"noopener\" target=\"_blank\">sued the Oakland police department — and won\u003c/a>). There’s work by two of our favorite Oakland street photographers, \u003ca href=\"https://www.kqed.org/arts/11508333\" rel=\"noopener\" target=\"_blank\">Brittsense\u003c/a> and \u003ca href=\"https://www.instagram.com/amandasade/?hl=en\" rel=\"noopener\" target=\"_blank\">Amanda Sade\u003c/a>, showing how hip-hop still resonates in street style. And veteran rap writer Eric Arnold has put together a huge map of Bay Area hip-hop history that expands on his epic \u003cem>\u003ca href=\"http://www.complex.com/pop-culture/2011/02/rap-atlas-oakland/\" rel=\"noopener\" target=\"_blank\">Rap Atlas: Oakland\u003c/a>\u003c/em>, marking important locations like the studio where Too Short recorded \u003cem>Born to Mack\u003c/em>, or the Eastmont Mall, which birthed the \u003ca href=\"https://www.kqed.org/arts/13824571\" rel=\"noopener\" target=\"_blank\">sideshow as we know it\u003c/a>.\u003c/p>\n\u003cp>There’s a wealth of rap history here in the Bay Area and it hasn’t always been well-chronicled. But with input from well-regarded local rap historians like Davy D and Jeff Chang, \u003cem>Respect: Hip-Hop Style and Wisdom\u003c/em> is bound to help fix that. It opens at the Oakland Museum of California on March 24, and runs until mid-August. \u003ca href=\"http://museumca.org/exhibit/respect-hip-hop-style-wisdom\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There’s a phrase, coined by Eric B. & Rakim, that’s embedded in rap music’s lexicon: “It ain’t where you’re from, it’s where you’re at.” Now, a new exhibit in Oakland flips that idea of the present, called \u003cem>Respect: Hip-Hop Style and Wisdom\u003c/em>. \u003c/p>\n\u003cp>Starting back in the 1970s with block parties in the Bronx, the timeline of the show means you’ll see artifacts from all over — Grandmaster Flash’s turntables, LL Cool J’s tracksuit and more. But of course, we’re interested in the Bay Area history here, including a handwritten essay by Tupac comparing black men in America to early American revolutionaries (remember, Tupac once \u003ca href=\"https://www.kqed.org/arts/11696060\" rel=\"noopener\" target=\"_blank\">sued the Oakland police department — and won\u003c/a>). There’s work by two of our favorite Oakland street photographers, \u003ca href=\"https://www.kqed.org/arts/11508333\" rel=\"noopener\" target=\"_blank\">Brittsense\u003c/a> and \u003ca href=\"https://www.instagram.com/amandasade/?hl=en\" rel=\"noopener\" target=\"_blank\">Amanda Sade\u003c/a>, showing how hip-hop still resonates in street style. And veteran rap writer Eric Arnold has put together a huge map of Bay Area hip-hop history that expands on his epic \u003cem>\u003ca href=\"http://www.complex.com/pop-culture/2011/02/rap-atlas-oakland/\" rel=\"noopener\" target=\"_blank\">Rap Atlas: Oakland\u003c/a>\u003c/em>, marking important locations like the studio where Too Short recorded \u003cem>Born to Mack\u003c/em>, or the Eastmont Mall, which birthed the \u003ca href=\"https://www.kqed.org/arts/13824571\" rel=\"noopener\" target=\"_blank\">sideshow as we know it\u003c/a>.\u003c/p>\n\u003cp>There’s a wealth of rap history here in the Bay Area and it hasn’t always been well-chronicled. But with input from well-regarded local rap historians like Davy D and Jeff Chang, \u003cem>Respect: Hip-Hop Style and Wisdom\u003c/em> is bound to help fix that. It opens at the Oakland Museum of California on March 24, and runs until mid-August. \u003ca href=\"http://museumca.org/exhibit/respect-hip-hop-style-wisdom\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There’s no doubt that animation is big business. But a festival in Berkeley wants to showcase, and nurture, the artistry of indie animation. That’s the GLAS Fest — the Global Animation Syndicate Festival — featuring work from animators around the world.\u003c/p>\n\u003cp>The festival’s variety means you get feature films like \u003cem>The Lego Movie\u003c/em>, but also experimental shorts and international works. And if you’re an aspiring animator yourself, you’ll find plenty of behind-the-scenes programs about how animation studios work. There’ll even be representatives from Nickelodeon and Cartoon Network who can review your portfolio and give you direction on the spot.\u003c/p>\n\u003cp>But GLAS isn’t really a festival for kids. As festival director Jeanette Bonds says, “A lot of what we’re showing is not geared toward children. It’s much more adult-focused. These are serious films and serious filmmaking that happens to be animated.”\u003c/p>\n\u003cp>The GLAS Animation Festival is at six different venues in Berkeley. It runs March 22–25; \u003ca href=\"http://www.glasanimation.com/\" rel=\"noopener\" target=\"_blank\">details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Wielding a silver shovel instead of a lightsaber, \u003cem>Star Wars\u003c/em> creator George Lucas joined a handful of elected officials Wednesday in breaking ground on a billion-dollar museum dedicated to the art of visual storytelling.\u003c/p>\n\u003cp>Construction of the Lucas Museum of Narrative Art, a dream of the 73-year-old writer-director for more than a decade, is expected to be completed by the end of 2021.\u003c/p>\n\u003cp>Trucks rumbled by the museum site near downtown Los Angeles as Lucas, dressed casually in a white- and blue-checkered shirt, jeans and tennis shoes, thanked more than 100 well-wishers. Among them was his collaborator and longtime friend, director Steven Spielberg.\u003c/p>\n\u003cp>“I think it’s important to have a museum that, as I was joking and saying, supports all the orphan arts that nobody else wants to see, but that everybody loves,” Lucas said, describing the project.\u003c/p>\n\u003cp>His museum’s mission, he added, will be to explain the myths, legends, stories and portraits of people that shape societies and bring them together as one. The art will range from paintings and digital works to comic strips and, yes, movies like \u003cem>Star Wars\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“To my feeling, popular art is an insight into a society and what they aspire to, what they really want, what they really are,” Lucas said before grabbing a shovel and joining several local officials in turning over some dirt.\u003c/p>\n\u003cp>At times, the groundbreaking resembled a movie premiere minus the red carpet, with television cameras and photographers capturing the moment. Lucas called on Spielberg to join him on the mound of dirt, directing his friend to give a thumbs-up to the cameras.\u003c/p>\n\u003cp>“It’s a great location,” Spielberg told him as they headed to a private reception. Lucas pointed out the blocks-long museum site that until recently was a parking lot behind the Los Angeles Memorial Coliseum where the 1932 and 1984 Olympics took place.\u003c/p>\n\u003cp>It will be transformed into a multistory museum resembling Han Solo’s Millennium Falcon spacecraft that appears to hover over an area surrounded by 11 acres of green space. The museum itself will contain more than 100,000 square feet of gallery space, underground parking, a restaurant, movie theaters and other amenities. Numerous programs are being planned for children from surrounding schools.\u003c/p>\n\u003cp>Lucas and his wife, Mellody Hobson, are picking up the cost, which museum officials expect will exceed $1 billion for construction and its operating endowment. That will make it the largest public gift ever given to a municipality, local officials say.\u003c/p>\n\u003cp>The museum will be in Exposition Park, across the street from the Natural History Museum of Los Angeles County, the California Science Center and the California African American Museum and on the edge of the University of Southern California, where Lucas studied in the 1960s.\u003c/p>\n\u003cp>Although Lucas attended college nearby, the site was the third choice for the museum. Lucas and his wife couldn’t reach an agreement with the director’s hometown of San Francisco or his wife’s hometown of Chicago.\u003c/p>\n\u003cp>The museum’s wide-ranging collection will include paintings by Norman Rockwell, Edgar Degas and Pierre-Auguste Renoir, comic strips by \u003cem>Peanuts\u003c/em> creator Charles Schulz and underground artist Robert Crumb, animation from films such as \u003cem>Who Framed Roger Rabbit\u003c/em> and special effects from films such as \u003cem>E.T. the Extra-Terrestrial\u003c/em>.\u003c/p>\n\u003cp>Classic films represented will range from 1927’s futuristic masterpiece \u003cem>Metropolis\u003c/em> and Orson Welles’ groundbreaking 1941 film \u003cem>Citizen Kane\u003c/em> to the Lucas-Spielberg collaborations on the \u003cem>Indiana Jones\u003c/em> movies.\u003c/p>\n\u003cp>And, of course, The Force will be strong at the museum. People will find everything from Luke Skywalker’s first lightsaber to Darth Vader’s helmet. Storyboards laying out the tale that Lucas created and that lives on in new film iterations also will be on display, along with stormtrooper uniforms and other set pieces.\u003c/p>\n\u003cp>Lucas, who has said mythologist Joseph Campbell’s \u003cem>The Hero With a Thousand Faces\u003c/em> helped inspire his \u003cem>Star Wars\u003c/em> stories, remarked Wednesday that he believes that without such tales, people don’t come together to gain common cultural understanding.\u003c/p>\n\u003cp>“Whether it’s a cave painting or whether it’s Apollo as a statue or whether it’s the Sistine Chapel, whether it’s Napoleon on a horse, whatever it is, that’s what we aspire to,” he said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And that’s a message, he added, that he hopes museum visitors will come away with.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Wielding a silver shovel instead of a lightsaber, \u003cem>Star Wars\u003c/em> creator George Lucas joined a handful of elected officials Wednesday in breaking ground on a billion-dollar museum dedicated to the art of visual storytelling.\u003c/p>\n\u003cp>Construction of the Lucas Museum of Narrative Art, a dream of the 73-year-old writer-director for more than a decade, is expected to be completed by the end of 2021.\u003c/p>\n\u003cp>Trucks rumbled by the museum site near downtown Los Angeles as Lucas, dressed casually in a white- and blue-checkered shirt, jeans and tennis shoes, thanked more than 100 well-wishers. Among them was his collaborator and longtime friend, director Steven Spielberg.\u003c/p>\n\u003cp>“I think it’s important to have a museum that, as I was joking and saying, supports all the orphan arts that nobody else wants to see, but that everybody loves,” Lucas said, describing the project.\u003c/p>\n\u003cp>His museum’s mission, he added, will be to explain the myths, legends, stories and portraits of people that shape societies and bring them together as one. The art will range from paintings and digital works to comic strips and, yes, movies like \u003cem>Star Wars\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“To my feeling, popular art is an insight into a society and what they aspire to, what they really want, what they really are,” Lucas said before grabbing a shovel and joining several local officials in turning over some dirt.\u003c/p>\n\u003cp>At times, the groundbreaking resembled a movie premiere minus the red carpet, with television cameras and photographers capturing the moment. Lucas called on Spielberg to join him on the mound of dirt, directing his friend to give a thumbs-up to the cameras.\u003c/p>\n\u003cp>“It’s a great location,” Spielberg told him as they headed to a private reception. Lucas pointed out the blocks-long museum site that until recently was a parking lot behind the Los Angeles Memorial Coliseum where the 1932 and 1984 Olympics took place.\u003c/p>\n\u003cp>It will be transformed into a multistory museum resembling Han Solo’s Millennium Falcon spacecraft that appears to hover over an area surrounded by 11 acres of green space. The museum itself will contain more than 100,000 square feet of gallery space, underground parking, a restaurant, movie theaters and other amenities. Numerous programs are being planned for children from surrounding schools.\u003c/p>\n\u003cp>Lucas and his wife, Mellody Hobson, are picking up the cost, which museum officials expect will exceed $1 billion for construction and its operating endowment. That will make it the largest public gift ever given to a municipality, local officials say.\u003c/p>\n\u003cp>The museum will be in Exposition Park, across the street from the Natural History Museum of Los Angeles County, the California Science Center and the California African American Museum and on the edge of the University of Southern California, where Lucas studied in the 1960s.\u003c/p>\n\u003cp>Although Lucas attended college nearby, the site was the third choice for the museum. Lucas and his wife couldn’t reach an agreement with the director’s hometown of San Francisco or his wife’s hometown of Chicago.\u003c/p>\n\u003cp>The museum’s wide-ranging collection will include paintings by Norman Rockwell, Edgar Degas and Pierre-Auguste Renoir, comic strips by \u003cem>Peanuts\u003c/em> creator Charles Schulz and underground artist Robert Crumb, animation from films such as \u003cem>Who Framed Roger Rabbit\u003c/em> and special effects from films such as \u003cem>E.T. the Extra-Terrestrial\u003c/em>.\u003c/p>\n\u003cp>Classic films represented will range from 1927’s futuristic masterpiece \u003cem>Metropolis\u003c/em> and Orson Welles’ groundbreaking 1941 film \u003cem>Citizen Kane\u003c/em> to the Lucas-Spielberg collaborations on the \u003cem>Indiana Jones\u003c/em> movies.\u003c/p>\n\u003cp>And, of course, The Force will be strong at the museum. People will find everything from Luke Skywalker’s first lightsaber to Darth Vader’s helmet. Storyboards laying out the tale that Lucas created and that lives on in new film iterations also will be on display, along with stormtrooper uniforms and other set pieces.\u003c/p>\n\u003cp>Lucas, who has said mythologist Joseph Campbell’s \u003cem>The Hero With a Thousand Faces\u003c/em> helped inspire his \u003cem>Star Wars\u003c/em> stories, remarked Wednesday that he believes that without such tales, people don’t come together to gain common cultural understanding.\u003c/p>\n\u003cp>“Whether it’s a cave painting or whether it’s Apollo as a statue or whether it’s the Sistine Chapel, whether it’s Napoleon on a horse, whatever it is, that’s what we aspire to,” he said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And that’s a message, he added, that he hopes museum visitors will come away with.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The cartoonist who created Pepe the Frog has resolved a copyright infringement lawsuit that accused a Missouri woman of misusing the character to sell hate-promoting oil paintings.\u003c/p>\n\u003cp>The settlement is the latest milestone in California-based cartoonist Matt Furie’s legal campaign to reclaim his creation from far-right extremists who hijacked Pepe, mixing images of Furie’s “chill frog-dude” with Nazi symbols and other hateful imagery. On Monday, Furie sued conspiracy-promoting website Infowars for selling a poster that included an image of Pepe.\u003c/p>\n\u003cp>A court filing Friday says Furie and Kansas City resident Jessica Logsdon agreed to the dismissal of the federal lawsuit he filed against her in October. Each side is bearing their own legal expenses.\u003c/p>\n\u003cp>Furie isn’t seeking any money from Logsdon, who agreed to stop using Pepe’s image, according to a statement released by one of Furie’s attorneys. Logsdon didn’t immediately respond to a phone call or email seeking comment.\u003c/p>\n\u003cp>The statement says Logsdon admits she inadvertently and unintentionally infringed on Furie’s copyrights. It adds that Logsdon disavows any association with the “alt-right,” a white nationalist, anti-Semitic fringe movement that adopted Pepe as a mascot.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“As a political artist, Logsdon documented the 2016 election. Logsdon maintains that she creates artwork that promotes unity and laughter, the exact opposite of hate and violence,” the statement says.\u003c/p>\n\u003cp>Furie, however, viewed her artwork as misappropriation of Pepe’s likeness to promote hate and violence. One of her paintings, called “Antifa,” depicted a masked Pepe holding a rifle in front of what appears to be the White House, the lawsuit says. Another of her paintings, entitled “Pepe Patrol,” included an image of Pepe pointing a gun over a wall labeled “U.S. Border,” according to the lawsuit.\u003c/p>\n\u003cp>“Despite Furie’s efforts, individuals like Logsdon have misused Furie’s Pepe character and copied Pepe images for use in dozens of images sold online to promote the violent and hateful messages espoused by the alt-right fringe groups,” the suit says.\u003c/p>\n\u003cp>Furie’s character debuted in a 2006 comic book called “Boy’s Club” and became a popular canvas for benevolent internet memes. But the user-generated mutations grew increasingly hateful and ubiquitous more than a year before the 2016 presidential election.\u003c/p>\n\u003cp>The Anti-Defamation League branded Pepe as a hate symbol in September 2016 and promoted Furie’s efforts to reclaim the character.\u003c/p>\n\u003cp>Furie’s copyright infringement lawsuit against Infowars is the second such case he has filed.\u003c/p>\n\u003cp>Infowars’ website is the online platform for right-wing radio host and conspiracy theorist Alex Jones. Furie’s lawsuit says he didn’t authorize the site to sell a poster that depicts the anthropomorphic frog alongside images of Jones, President Donald Trump, far-right agitator Milo Yiannopoulos and other right-wing figures.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Jones described the lawsuit as a frivolous “publicity stunt.” Although he stressed that Infowars didn’t produce the poster, Jones told The Associated Press he views it as an expression of political speech protected by the First Amendment.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The cartoonist who created Pepe the Frog has resolved a copyright infringement lawsuit that accused a Missouri woman of misusing the character to sell hate-promoting oil paintings.\u003c/p>\n\u003cp>The settlement is the latest milestone in California-based cartoonist Matt Furie’s legal campaign to reclaim his creation from far-right extremists who hijacked Pepe, mixing images of Furie’s “chill frog-dude” with Nazi symbols and other hateful imagery. On Monday, Furie sued conspiracy-promoting website Infowars for selling a poster that included an image of Pepe.\u003c/p>\n\u003cp>A court filing Friday says Furie and Kansas City resident Jessica Logsdon agreed to the dismissal of the federal lawsuit he filed against her in October. Each side is bearing their own legal expenses.\u003c/p>\n\u003cp>Furie isn’t seeking any money from Logsdon, who agreed to stop using Pepe’s image, according to a statement released by one of Furie’s attorneys. Logsdon didn’t immediately respond to a phone call or email seeking comment.\u003c/p>\n\u003cp>The statement says Logsdon admits she inadvertently and unintentionally infringed on Furie’s copyrights. It adds that Logsdon disavows any association with the “alt-right,” a white nationalist, anti-Semitic fringe movement that adopted Pepe as a mascot.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“As a political artist, Logsdon documented the 2016 election. Logsdon maintains that she creates artwork that promotes unity and laughter, the exact opposite of hate and violence,” the statement says.\u003c/p>\n\u003cp>Furie, however, viewed her artwork as misappropriation of Pepe’s likeness to promote hate and violence. One of her paintings, called “Antifa,” depicted a masked Pepe holding a rifle in front of what appears to be the White House, the lawsuit says. Another of her paintings, entitled “Pepe Patrol,” included an image of Pepe pointing a gun over a wall labeled “U.S. Border,” according to the lawsuit.\u003c/p>\n\u003cp>“Despite Furie’s efforts, individuals like Logsdon have misused Furie’s Pepe character and copied Pepe images for use in dozens of images sold online to promote the violent and hateful messages espoused by the alt-right fringe groups,” the suit says.\u003c/p>\n\u003cp>Furie’s character debuted in a 2006 comic book called “Boy’s Club” and became a popular canvas for benevolent internet memes. But the user-generated mutations grew increasingly hateful and ubiquitous more than a year before the 2016 presidential election.\u003c/p>\n\u003cp>The Anti-Defamation League branded Pepe as a hate symbol in September 2016 and promoted Furie’s efforts to reclaim the character.\u003c/p>\n\u003cp>Furie’s copyright infringement lawsuit against Infowars is the second such case he has filed.\u003c/p>\n\u003cp>Infowars’ website is the online platform for right-wing radio host and conspiracy theorist Alex Jones. Furie’s lawsuit says he didn’t authorize the site to sell a poster that depicts the anthropomorphic frog alongside images of Jones, President Donald Trump, far-right agitator Milo Yiannopoulos and other right-wing figures.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Jones described the lawsuit as a frivolous “publicity stunt.” Although he stressed that Infowars didn’t produce the poster, Jones told The Associated Press he views it as an expression of political speech protected by the First Amendment.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "An Artist With Four Jobs and a 380-Mile Weekly Commute",
"headTitle": "An Artist With Four Jobs and a 380-Mile Weekly Commute | KQED",
"content": "\u003cp>The San Francisco-based artist \u003ca href=\"http://www.danahemenway.com/\" rel=\"noopener\" target=\"_blank\">Dana Hemenway\u003c/a> has gotten not one, but two parking tickets at UC Santa Cruz this school year.\u003c/p>\n\u003cfigure id=\"attachment_13826640\" class=\"wp-caption alignright\" style=\"max-width: 250px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Dana-stats-250.jpg\" alt=\"By the numbers.\" width=\"250\" height=\"333\" class=\"size-full wp-image-13826640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dana-stats-250.jpg 250w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dana-stats-250-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dana-stats-250-240x320.jpg 240w\" sizes=\"(max-width: 250px) 100vw, 250px\">\u003cfigcaption class=\"wp-caption-text\">By the numbers. \u003ccite>(KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As an adjunct faculty member, she \u003ci>has\u003c/i> a parking permit that should prevent such fines, but she also carries around placards for CSU East Bay and SF State. And after driving the 60 miles between Hayward and Santa Cruz from one adjunct faculty gig to another, she forgot to hang up her Santa Cruz placard. Twice. Hence, the tickets.\u003c/p>\n\u003cp>The irony isn’t lost on her. “The whole reason why I got the parking permits at all three places was so I wouldn’t have worry about finding free parking!”\u003c/p>\n\u003cp>Her current teaching schedule would mess with anyone’s sense of parking placard awareness. She teaches two days a week at SF State, two days at both CSU East Bay and UC Santa Cruz. All in all, she drives around 380 miles a week between the three. \u003c/p>\n\u003ch2>Nothing left to cut\u003c/h2>\n\u003cp>Little expenses like those parking tickets add up for Hemenway, who carefully balances her income from teaching, grants, commissions and art sales against the expenses of living in her $1,700-a-month one bedroom in San Francisco’s Mission District, owning a car, renting a studio and paying for health insurance, among other everyday necessities. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In 2017, she spent $6,000 in studio rent, $5,000 in art-related travel (including a month-long residency in Iceland and trips to NY and LA), $1,700 on art supplies, over $600 on the artist-run space \u003ca href=\"http://www.royalnonesuchgallery.com/\" rel=\"noopener\" target=\"_blank\">Royal NoneSuch Gallery\u003c/a>, where she was co-director for over two years, and almost $450 on “advertising,” which is how she classifies application fees and website costs. It adds up to around $18,000 spent on her art practice.\u003c/p>\n\u003cfigure id=\"attachment_13826685\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_1_1200.jpg\" alt=\"Hemenway with her SF State, CSU East Bay and UC Santa Cruz parking permits.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13826685\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_1_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_1_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_1_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_1_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_1_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_1_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_1_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_1_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_1_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_1_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Hemenway with her SF State, CSU East Bay and UC Santa Cruz parking permits. \u003ccite>(Graham Holoch / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But she also made money from that practice: about $11,000 in art sales (she’s represented by \u003ca href=\"http://eleanorharwood.com/\" rel=\"noopener\" target=\"_blank\">Eleanor Harwood Gallery\u003c/a>), a \u003ca href=\"http://www.sfartscommission.org/content/2017-grantees\" rel=\"noopener\" target=\"_blank\">$11,250 grant\u003c/a> from the San Francisco Arts Commission and $14,000 from teaching. \u003c/p>\n\u003cp>This year, because of the SFAC grant and a commission for a piece in SFO’s Terminal 1, Hemenway, who works primarily in sculpture, will earn more than half her yearly income from her art practice. But that kind of success comes with its own costs: she’s hired a studio assistant one day a week to meet deadlines in the midst of her busy teaching schedule, she will likely hire an accountant to help her manage the $350,000 budget for the airport piece, and she still has to be extremely regimented about her spending.\u003c/p>\n\u003cp>In her words, “The \u003ci>New Yorker\u003c/i> subscription went out years ago.”\u003c/p>\n\u003cp>And last year, she came out just $8,000 ahead. “In terms of trying to figure out how to save money, I can’t get rid of the car because the car allows me to have the jobs at all the schools where I have to drive,” she says. “And I couldn’t get rid of my studio, because a big part of my income is actually coming from my art now.”\u003c/p>\n\u003cfigure id=\"attachment_13826689\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Hemenway_AllThatGlowsSees_1200.jpg\" alt=\"Dana Hemenway, 'Untitled (Drywall Weave),' 2016. Lasercut drywall, wood, cords, custom fixtures, colored compact fluorescent light bulbs; installed at Eleanor Harwood Gallery.\" width=\"1200\" height=\"847\" class=\"size-full wp-image-13826689\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Hemenway_AllThatGlowsSees_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Hemenway_AllThatGlowsSees_1200-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Hemenway_AllThatGlowsSees_1200-800x565.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Hemenway_AllThatGlowsSees_1200-768x542.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Hemenway_AllThatGlowsSees_1200-1020x720.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Hemenway_AllThatGlowsSees_1200-1180x833.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Hemenway_AllThatGlowsSees_1200-960x678.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Hemenway_AllThatGlowsSees_1200-240x169.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Hemenway_AllThatGlowsSees_1200-375x265.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Hemenway_AllThatGlowsSees_1200-520x367.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Dana Hemenway, ‘Untitled (Drywall Weave),’ 2016. Lasercut drywall, wood, cords, custom fixtures, colored compact fluorescent light bulbs; installed at Eleanor Harwood Gallery. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of her biggest unavoidable expenses is health insurance, which went up 50 percent from last year to about $400 a month — her income grew and her subsidy went down, but plan prices also increased. That’s almost as much as Hemenway pays for her studio at Minnesota Street Project. And because of her position as adjunct faculty, she’s ineligible for coverage from any of the three schools where she teaches classes like intro to sculpture and professional practices. \u003c/p>\n\u003cp>“They’re very careful not to get you past a certain place where they either have to contract with you or give you health insurance, because it costs the department so much more money,” Hemenway says. “It’s this chain effect of no one finding a way to resolve the issue and going through the loopholes as a result. I don’t fault the departments so specifically for that, but it is kind of like … oof.”\u003c/p>\n\u003ch2>Path of instability\u003c/h2>\n\u003cp>Hemenway has juggled multiple roles within the art world — and patchworked together a living — ever since she graduated from Mills College’s M.F.A. program in 2010. An experienced art administrator (she worked at the SFAC Galleries for four years before grad school), she had two paths in front of her: take a full-time administrative job at California College of the Arts, or work part-time for interactive video artist Camille Utterback as a studio manager. \u003c/p>\n\u003cp>“I very consciously chose to take the path of instability,” she says. “I knew that based on my experience prior to grad school that I couldn’t have a full time job and go to the studio afterwards. I like making art during the day. And I had to come to terms with that.”\u003c/p>\n\u003cp>That experience as a studio manager, watching Utterback receive, negotiate and execute public art commissions alongside her daily art practice, taught Hemenway valuable lessons about how to be an artist in the world. When she received the SFO commission, she negotiated a slightly higher artist fee than the contract initially offered.\u003c/p>\n\u003cfigure id=\"attachment_13826690\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Interface_1200.jpg\" alt=\"Dana Hemenway, 'Untitled (object mounts),' 2015. Silicone, urethane, plaster, borrowed brass and steel object mounts, bolt-less storage shelf, wood; installed at Interface Gallery.\" width=\"1200\" height=\"830\" class=\"size-full wp-image-13826690\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Interface_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Interface_1200-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Interface_1200-800x553.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Interface_1200-768x531.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Interface_1200-1020x706.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Interface_1200-1180x816.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Interface_1200-960x664.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Interface_1200-240x166.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Interface_1200-375x259.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Interface_1200-520x360.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Dana Hemenway, ‘Untitled (object mounts),’ 2015. Silicone, urethane, plaster, borrowed brass and steel object mounts, bolt-less storage shelf, wood; installed at Interface Gallery. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I had seen how much work is involved in public art. I knew that if the fee was too low, that the hourly rate for the amount of time I was going to put into the project would be almost nothing,” Hemenway says. “I should just try it and get as much as I possibly could for the fee part of the project identified and allocated, given that track record in public art.”\u003c/p>\n\u003cp>This is a piece of wisdom Hemenway imparts to all of her students. Even if you’re over the moon about an opportunity offered to you — to be in a show, to give a talk, to have your art featured somewhere in some way — you have to ask for compensation.\u003c/p>\n\u003cp>“We’re trained as artists — and perhaps even more so depending on your class, or gender or race background — to not ask for things,” Hemenway says. “Always ask.”\u003c/p>\n\u003ch2>‘Investing in your future’\u003c/h2>\n\u003cp>The New York-based \u003ca href=\"https://wageforwork.com/home\" rel=\"noopener\" target=\"_blank\">Working Artists for a Greater Economy\u003c/a> (W.A.G.E.), a nonprofit dedicated to establishing sustainable economic relationships between artists and institutions, makes the exact same argument, expanding the rationale beyond the individual artist. “In providing unpaid labor we not only exploit ourselves, we exploit each other,” \u003ca href=\"https://web.archive.org/web/20170622185351/http://www.wageforwork.com/news/2/updates\" rel=\"noopener\" target=\"_blank\">W.A.G.E. writes\u003c/a>. “When we participate in a race to the bottom we deny the participation of those who can’t afford to work for free.”\u003c/p>\n\u003cp>Organizations like W.A.G.E. and the Bay Area-based Compensation Foundation are part of a growing movement within the art world to make the financial workings of arts institutions more transparent and exhibition practices more equitable. W.A.G.E. provides an \u003ca href=\"https://wageforwork.com/fee-calculator\" rel=\"noopener\" target=\"_blank\">online fee calculator\u003c/a> where artists can measure the total operating budget of an institution against what W.A.G.E. argues they should be paid for various services (solo exhibitions, lectures, performances of existing works, etc.). \u003c/p>\n\u003cp>The Compensation Foundation’s \u003ca href=\"http://compensationfoundation.org/bayareaartistreport#/results\" rel=\"noopener\" target=\"_blank\">Bay Area Artists Report\u003c/a> offers a more bottom-up approach, creating a database of charts and graphs based on self-reported artist fees received from various local institutions. Interestingly, the Compensation Foundation also tracks non-monetary benefits, like “creative freedom” and “stimulating peer environment.”\u003c/p>\n\u003cfigure id=\"attachment_13826688\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_6_1200.jpg\" alt=\"Hemenway with a cardboard mock-up of a commissioned piece for a hotel in Healdsburg.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13826688\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_6_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_6_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_6_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_6_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_6_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_6_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_6_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_6_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_6_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_6_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Hemenway with a cardboard mock-up of a commissioned piece for a hotel in Healdsburg. \u003ccite>(Graham Holoch / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>These are factors Hemenway also takes into account when making decisions about her art career. The trick, she says, is to commit to the mindset of running a business — a business the greater economy tends not to recognize. \u003c/p>\n\u003cp>“As an artist, there’s no way you could ever get an investment loan for your business,” she says. “Restaurants are known for being wildly unsuccessful, but you can go to the bank with a business plan and ask for a loan. You can’t do that as an artist. You have to be your own bank as you’re starting out, investing in your future as an artist.”\u003c/p>\n\u003cp>When it comes to deciding whether or not to be in a group show, for example, she suggests weighing the financial burden (fabricating the work, possibly shipping it to and from the venue) against the potential benefits (showing with artists you respect, getting your artwork seen by people who might help you later). In this way, participating in an art exhibition, even without pay, can be an investment in your practice — and the future of your business. But you should always, always ask for more than you’re offered. “If you don’t ask for it, you’re not going to find out if that person’s willing to do it,” says Hemenway. “And people are so afraid to lose the opportunity that they won’t even ask.”\u003c/p>\n\u003cp>Artists should be paid for their labor, Hemenway says, and “pointing that out to people in a generous way is not a bad thing.”\u003c/p>\n\u003ch2>‘Next to impossible’\u003c/h2>\n\u003cp>Even though she’s savvy enough to negotiate for higher fees, carefully lines up her expenses in spreadsheets and packs her breakfast and lunch every morning, living in the Bay Area puts Hemenway in a precarious situation.\u003c/p>\n\u003cp>“This lifestyle that I’m doing right now is only sustainable for so long,” she says. “I could not have a kid in this budget. I could not have any long-term financial security in this budget. Giving to retirement is fairly limited in my situation. And those kinds of bigger life things you’d want to attain seem next to impossible in this current situation.”\u003c/p>\n\u003cfigure id=\"attachment_13826691\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_2_1200.jpg\" alt=\"Hemenway outside her Minnesota Street Project studio.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13826691\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_2_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_2_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_2_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_2_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_2_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_2_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_2_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_2_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_2_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_2_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Hemenway outside her Minnesota Street Project studio. \u003ccite>(Graham Holoch / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The timeline for figuring out whether she can stay in the Bay Area as a practicing artist depends on a variety of factors. Hemenway is looking into San Francisco’s affordable housing program. (The SFAC recently \u003ca href=\"http://www.sfartscommission.org/our-role-impact/press-room/press-release/san-francisco-arts-commission-partners-mission-economic\" rel=\"noopener\" target=\"_blank\">provided a grant\u003c/a> to the Mission Economic Development Agency to provide free coaching to artists and cultural workers navigating the city’s below-market-rate rental and purchasing options).\u003c/p>\n\u003cp>She also applies to tenure-track sculpture faculty positions wherever she can. None of those openings, thus far, have been in Bay Area schools. She’ll also keep applying to public art opportunities to raise her income and hopefully put more in savings.\u003c/p>\n\u003cp>Despite what many would deem as her success, Hemenway is anything but relaxed about her finances. “I constantly question if I’m making the right trade-offs,” she says. She moved to San Francisco in 2004. “Your rent and all of that is one thing. But then all the little expenses that have increased feel like the harder part. Because you feel like you can’t have a chill interaction with your finances.”\u003c/p>\n\u003cp>“You can’t be like ‘Yeah, I’m gonna get that cookie because I want it.’ You’re like, ‘Should I get it?’”\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 floatright]\u003c/p>\n\u003cp>\u003ci>To see more of Dana Hemenway’s artwork, \u003ca href=\"http://www.danahemenway.com/\" rel=\"noopener\" target=\"_blank\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"excerpt": "How does sculptor and adjunct professor Dana Hemenway get by in the Bay Area? By always packing her lunch.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The San Francisco-based artist \u003ca href=\"http://www.danahemenway.com/\" rel=\"noopener\" target=\"_blank\">Dana Hemenway\u003c/a> has gotten not one, but two parking tickets at UC Santa Cruz this school year.\u003c/p>\n\u003cfigure id=\"attachment_13826640\" class=\"wp-caption alignright\" style=\"max-width: 250px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Dana-stats-250.jpg\" alt=\"By the numbers.\" width=\"250\" height=\"333\" class=\"size-full wp-image-13826640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dana-stats-250.jpg 250w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dana-stats-250-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dana-stats-250-240x320.jpg 240w\" sizes=\"(max-width: 250px) 100vw, 250px\">\u003cfigcaption class=\"wp-caption-text\">By the numbers. \u003ccite>(KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As an adjunct faculty member, she \u003ci>has\u003c/i> a parking permit that should prevent such fines, but she also carries around placards for CSU East Bay and SF State. And after driving the 60 miles between Hayward and Santa Cruz from one adjunct faculty gig to another, she forgot to hang up her Santa Cruz placard. Twice. Hence, the tickets.\u003c/p>\n\u003cp>The irony isn’t lost on her. “The whole reason why I got the parking permits at all three places was so I wouldn’t have worry about finding free parking!”\u003c/p>\n\u003cp>Her current teaching schedule would mess with anyone’s sense of parking placard awareness. She teaches two days a week at SF State, two days at both CSU East Bay and UC Santa Cruz. All in all, she drives around 380 miles a week between the three. \u003c/p>\n\u003ch2>Nothing left to cut\u003c/h2>\n\u003cp>Little expenses like those parking tickets add up for Hemenway, who carefully balances her income from teaching, grants, commissions and art sales against the expenses of living in her $1,700-a-month one bedroom in San Francisco’s Mission District, owning a car, renting a studio and paying for health insurance, among other everyday necessities. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In 2017, she spent $6,000 in studio rent, $5,000 in art-related travel (including a month-long residency in Iceland and trips to NY and LA), $1,700 on art supplies, over $600 on the artist-run space \u003ca href=\"http://www.royalnonesuchgallery.com/\" rel=\"noopener\" target=\"_blank\">Royal NoneSuch Gallery\u003c/a>, where she was co-director for over two years, and almost $450 on “advertising,” which is how she classifies application fees and website costs. It adds up to around $18,000 spent on her art practice.\u003c/p>\n\u003cfigure id=\"attachment_13826685\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_1_1200.jpg\" alt=\"Hemenway with her SF State, CSU East Bay and UC Santa Cruz parking permits.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13826685\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_1_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_1_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_1_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_1_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_1_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_1_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_1_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_1_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_1_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_1_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Hemenway with her SF State, CSU East Bay and UC Santa Cruz parking permits. \u003ccite>(Graham Holoch / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But she also made money from that practice: about $11,000 in art sales (she’s represented by \u003ca href=\"http://eleanorharwood.com/\" rel=\"noopener\" target=\"_blank\">Eleanor Harwood Gallery\u003c/a>), a \u003ca href=\"http://www.sfartscommission.org/content/2017-grantees\" rel=\"noopener\" target=\"_blank\">$11,250 grant\u003c/a> from the San Francisco Arts Commission and $14,000 from teaching. \u003c/p>\n\u003cp>This year, because of the SFAC grant and a commission for a piece in SFO’s Terminal 1, Hemenway, who works primarily in sculpture, will earn more than half her yearly income from her art practice. But that kind of success comes with its own costs: she’s hired a studio assistant one day a week to meet deadlines in the midst of her busy teaching schedule, she will likely hire an accountant to help her manage the $350,000 budget for the airport piece, and she still has to be extremely regimented about her spending.\u003c/p>\n\u003cp>In her words, “The \u003ci>New Yorker\u003c/i> subscription went out years ago.”\u003c/p>\n\u003cp>And last year, she came out just $8,000 ahead. “In terms of trying to figure out how to save money, I can’t get rid of the car because the car allows me to have the jobs at all the schools where I have to drive,” she says. “And I couldn’t get rid of my studio, because a big part of my income is actually coming from my art now.”\u003c/p>\n\u003cfigure id=\"attachment_13826689\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Hemenway_AllThatGlowsSees_1200.jpg\" alt=\"Dana Hemenway, 'Untitled (Drywall Weave),' 2016. Lasercut drywall, wood, cords, custom fixtures, colored compact fluorescent light bulbs; installed at Eleanor Harwood Gallery.\" width=\"1200\" height=\"847\" class=\"size-full wp-image-13826689\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Hemenway_AllThatGlowsSees_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Hemenway_AllThatGlowsSees_1200-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Hemenway_AllThatGlowsSees_1200-800x565.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Hemenway_AllThatGlowsSees_1200-768x542.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Hemenway_AllThatGlowsSees_1200-1020x720.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Hemenway_AllThatGlowsSees_1200-1180x833.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Hemenway_AllThatGlowsSees_1200-960x678.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Hemenway_AllThatGlowsSees_1200-240x169.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Hemenway_AllThatGlowsSees_1200-375x265.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Hemenway_AllThatGlowsSees_1200-520x367.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Dana Hemenway, ‘Untitled (Drywall Weave),’ 2016. Lasercut drywall, wood, cords, custom fixtures, colored compact fluorescent light bulbs; installed at Eleanor Harwood Gallery. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of her biggest unavoidable expenses is health insurance, which went up 50 percent from last year to about $400 a month — her income grew and her subsidy went down, but plan prices also increased. That’s almost as much as Hemenway pays for her studio at Minnesota Street Project. And because of her position as adjunct faculty, she’s ineligible for coverage from any of the three schools where she teaches classes like intro to sculpture and professional practices. \u003c/p>\n\u003cp>“They’re very careful not to get you past a certain place where they either have to contract with you or give you health insurance, because it costs the department so much more money,” Hemenway says. “It’s this chain effect of no one finding a way to resolve the issue and going through the loopholes as a result. I don’t fault the departments so specifically for that, but it is kind of like … oof.”\u003c/p>\n\u003ch2>Path of instability\u003c/h2>\n\u003cp>Hemenway has juggled multiple roles within the art world — and patchworked together a living — ever since she graduated from Mills College’s M.F.A. program in 2010. An experienced art administrator (she worked at the SFAC Galleries for four years before grad school), she had two paths in front of her: take a full-time administrative job at California College of the Arts, or work part-time for interactive video artist Camille Utterback as a studio manager. \u003c/p>\n\u003cp>“I very consciously chose to take the path of instability,” she says. “I knew that based on my experience prior to grad school that I couldn’t have a full time job and go to the studio afterwards. I like making art during the day. And I had to come to terms with that.”\u003c/p>\n\u003cp>That experience as a studio manager, watching Utterback receive, negotiate and execute public art commissions alongside her daily art practice, taught Hemenway valuable lessons about how to be an artist in the world. When she received the SFO commission, she negotiated a slightly higher artist fee than the contract initially offered.\u003c/p>\n\u003cfigure id=\"attachment_13826690\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Interface_1200.jpg\" alt=\"Dana Hemenway, 'Untitled (object mounts),' 2015. Silicone, urethane, plaster, borrowed brass and steel object mounts, bolt-less storage shelf, wood; installed at Interface Gallery.\" width=\"1200\" height=\"830\" class=\"size-full wp-image-13826690\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Interface_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Interface_1200-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Interface_1200-800x553.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Interface_1200-768x531.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Interface_1200-1020x706.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Interface_1200-1180x816.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Interface_1200-960x664.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Interface_1200-240x166.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Interface_1200-375x259.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Interface_1200-520x360.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Dana Hemenway, ‘Untitled (object mounts),’ 2015. Silicone, urethane, plaster, borrowed brass and steel object mounts, bolt-less storage shelf, wood; installed at Interface Gallery. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I had seen how much work is involved in public art. I knew that if the fee was too low, that the hourly rate for the amount of time I was going to put into the project would be almost nothing,” Hemenway says. “I should just try it and get as much as I possibly could for the fee part of the project identified and allocated, given that track record in public art.”\u003c/p>\n\u003cp>This is a piece of wisdom Hemenway imparts to all of her students. Even if you’re over the moon about an opportunity offered to you — to be in a show, to give a talk, to have your art featured somewhere in some way — you have to ask for compensation.\u003c/p>\n\u003cp>“We’re trained as artists — and perhaps even more so depending on your class, or gender or race background — to not ask for things,” Hemenway says. “Always ask.”\u003c/p>\n\u003ch2>‘Investing in your future’\u003c/h2>\n\u003cp>The New York-based \u003ca href=\"https://wageforwork.com/home\" rel=\"noopener\" target=\"_blank\">Working Artists for a Greater Economy\u003c/a> (W.A.G.E.), a nonprofit dedicated to establishing sustainable economic relationships between artists and institutions, makes the exact same argument, expanding the rationale beyond the individual artist. “In providing unpaid labor we not only exploit ourselves, we exploit each other,” \u003ca href=\"https://web.archive.org/web/20170622185351/http://www.wageforwork.com/news/2/updates\" rel=\"noopener\" target=\"_blank\">W.A.G.E. writes\u003c/a>. “When we participate in a race to the bottom we deny the participation of those who can’t afford to work for free.”\u003c/p>\n\u003cp>Organizations like W.A.G.E. and the Bay Area-based Compensation Foundation are part of a growing movement within the art world to make the financial workings of arts institutions more transparent and exhibition practices more equitable. W.A.G.E. provides an \u003ca href=\"https://wageforwork.com/fee-calculator\" rel=\"noopener\" target=\"_blank\">online fee calculator\u003c/a> where artists can measure the total operating budget of an institution against what W.A.G.E. argues they should be paid for various services (solo exhibitions, lectures, performances of existing works, etc.). \u003c/p>\n\u003cp>The Compensation Foundation’s \u003ca href=\"http://compensationfoundation.org/bayareaartistreport#/results\" rel=\"noopener\" target=\"_blank\">Bay Area Artists Report\u003c/a> offers a more bottom-up approach, creating a database of charts and graphs based on self-reported artist fees received from various local institutions. Interestingly, the Compensation Foundation also tracks non-monetary benefits, like “creative freedom” and “stimulating peer environment.”\u003c/p>\n\u003cfigure id=\"attachment_13826688\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_6_1200.jpg\" alt=\"Hemenway with a cardboard mock-up of a commissioned piece for a hotel in Healdsburg.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13826688\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_6_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_6_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_6_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_6_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_6_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_6_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_6_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_6_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_6_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_6_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Hemenway with a cardboard mock-up of a commissioned piece for a hotel in Healdsburg. \u003ccite>(Graham Holoch / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>These are factors Hemenway also takes into account when making decisions about her art career. The trick, she says, is to commit to the mindset of running a business — a business the greater economy tends not to recognize. \u003c/p>\n\u003cp>“As an artist, there’s no way you could ever get an investment loan for your business,” she says. “Restaurants are known for being wildly unsuccessful, but you can go to the bank with a business plan and ask for a loan. You can’t do that as an artist. You have to be your own bank as you’re starting out, investing in your future as an artist.”\u003c/p>\n\u003cp>When it comes to deciding whether or not to be in a group show, for example, she suggests weighing the financial burden (fabricating the work, possibly shipping it to and from the venue) against the potential benefits (showing with artists you respect, getting your artwork seen by people who might help you later). In this way, participating in an art exhibition, even without pay, can be an investment in your practice — and the future of your business. But you should always, always ask for more than you’re offered. “If you don’t ask for it, you’re not going to find out if that person’s willing to do it,” says Hemenway. “And people are so afraid to lose the opportunity that they won’t even ask.”\u003c/p>\n\u003cp>Artists should be paid for their labor, Hemenway says, and “pointing that out to people in a generous way is not a bad thing.”\u003c/p>\n\u003ch2>‘Next to impossible’\u003c/h2>\n\u003cp>Even though she’s savvy enough to negotiate for higher fees, carefully lines up her expenses in spreadsheets and packs her breakfast and lunch every morning, living in the Bay Area puts Hemenway in a precarious situation.\u003c/p>\n\u003cp>“This lifestyle that I’m doing right now is only sustainable for so long,” she says. “I could not have a kid in this budget. I could not have any long-term financial security in this budget. Giving to retirement is fairly limited in my situation. And those kinds of bigger life things you’d want to attain seem next to impossible in this current situation.”\u003c/p>\n\u003cfigure id=\"attachment_13826691\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_2_1200.jpg\" alt=\"Hemenway outside her Minnesota Street Project studio.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13826691\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_2_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_2_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_2_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_2_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_2_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_2_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_2_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_2_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_2_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_2_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Hemenway outside her Minnesota Street Project studio. \u003ccite>(Graham Holoch / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The timeline for figuring out whether she can stay in the Bay Area as a practicing artist depends on a variety of factors. Hemenway is looking into San Francisco’s affordable housing program. (The SFAC recently \u003ca href=\"http://www.sfartscommission.org/our-role-impact/press-room/press-release/san-francisco-arts-commission-partners-mission-economic\" rel=\"noopener\" target=\"_blank\">provided a grant\u003c/a> to the Mission Economic Development Agency to provide free coaching to artists and cultural workers navigating the city’s below-market-rate rental and purchasing options).\u003c/p>\n\u003cp>She also applies to tenure-track sculpture faculty positions wherever she can. None of those openings, thus far, have been in Bay Area schools. She’ll also keep applying to public art opportunities to raise her income and hopefully put more in savings.\u003c/p>\n\u003cp>Despite what many would deem as her success, Hemenway is anything but relaxed about her finances. “I constantly question if I’m making the right trade-offs,” she says. She moved to San Francisco in 2004. “Your rent and all of that is one thing. But then all the little expenses that have increased feel like the harder part. Because you feel like you can’t have a chill interaction with your finances.”\u003c/p>\n\u003cp>“You can’t be like ‘Yeah, I’m gonna get that cookie because I want it.’ You’re like, ‘Should I get it?’”\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>\u003ci>To see more of Dana Hemenway’s artwork, \u003ca href=\"http://www.danahemenway.com/\" rel=\"noopener\" target=\"_blank\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "directory-of-female-illustrators-puts-thousands-of-options-before-editors-eyes",
"title": "Directory of Female Illustrators Puts Thousands of Options Before Editors' Eyes",
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"headTitle": "Directory of Female Illustrators Puts Thousands of Options Before Editors’ Eyes | KQED",
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"content": "\u003cp>There is no shortage of women who draw and paint, but as in so many other industries, female artists struggle to get anything close to a proportional share of the paid work. It’s a similar story for LGTBQ and artists of color. Which may explain the growing number of digital databases designed to help those editors in the market for art pick from a more diverse field of candidates.\u003c/p>\n\u003cp>Graphic journalist and illustrator \u003ca href=\"http://wendymacnaughton.com\" target=\"_blank\" rel=\"noopener\">Wendy MacNaughton\u003c/a> loves to tell the story of how she and her pal \u003ca href=\"http://www.juliarothman.com/\" target=\"_blank\" rel=\"noopener\">Julia Rothman\u003c/a> came up with the idea for the website \u003ca href=\"http://www.womenwhodraw.com\" target=\"_blank\" rel=\"noopener\">Women Who Draw\u003c/a>.\u003c/p>\n\u003cp>It started with Rothman in New York, having a flash of inspiration while sitting on a toilet, “as you do, looking at her stack of magazines, thumbing through the covers,” MacNaughton says.\u003c/p>\n\u003cp>Rothman was flipping through issues of a certain magazine they won’t name, “wondering how many of the illustrations on the cover were actually done by women,” MacNaughton says.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-13826574\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Screen-Shot-2018-03-07-at-2.10.26-PM.png\" alt=\"\" width=\"292\" height=\"487\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Screen-Shot-2018-03-07-at-2.10.26-PM.png 292w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Screen-Shot-2018-03-07-at-2.10.26-PM-160x267.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Screen-Shot-2018-03-07-at-2.10.26-PM-240x400.png 240w\" sizes=\"(max-width: 292px) 100vw, 292px\">It turned out to be just four were by women, out of 55 cover illustrations in 2015. Rothman called up MacNaughton in San Francisco. At first, they got angry. Then they started thinking about how to get even — not in terms of revenge, but parity.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>MacNaughton says, “I don’t think anybody is intentionally not hiring women. It’s that, generally, humans, we work with people that we know. We work with people that we feel comfortable with, and oftentimes that ends up being a man, and specifically, a white man, you know, historically in this field.”\u003c/p>\n\u003cp>A little more than a year after MacNaughton and Rothman launched Women Who Draw with their own pocket money, their team of two has grown to include a third artist, \u003ca href=\"http://www.womenwhodraw.com/kaylani-juanita/\" target=\"_blank\" rel=\"noopener\">Kaylani McCard\u003c/a>.\u003c/p>\n\u003cp>The directory has also grown from 50 artists to more than 5,000, browsable through categories like race, religion, sexuality and location.\u003c/p>\n\u003cp>Sexuality is defined inclusively on the site, welcoming trans and gender-nonconforming illustrators. “We’re interested in promoting visibility for anybody who is less visible in our culture,” MacNaughton notes.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-13826575\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Screen-Shot-2018-03-07-at-2.11.50-PM.png\" alt=\"\" width=\"296\" height=\"376\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Screen-Shot-2018-03-07-at-2.11.50-PM.png 296w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Screen-Shot-2018-03-07-at-2.11.50-PM-160x203.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Screen-Shot-2018-03-07-at-2.11.50-PM-240x305.png 240w\" sizes=\"(max-width: 296px) 100vw, 296px\">In the meantime, the website has also become a community of the like-minded, and MacNaughton says she and her partners will host events and parties throughout this year.\u003c/p>\n\u003cp>That sense of community is particularly intriguing for \u003ca href=\"https://www.stacytang.com\" target=\"_blank\" rel=\"noopener\">Stacy Tang\u003c/a> of South San Francisco, who signed up at the prompting of friends. Tang has done all kinds of visual work, including concept art for video games and visual effects for feature films. (She also teaches digital painting at the \u003ca href=\"https://www.cca.edu/academics/faculty/stang\" target=\"_blank\" rel=\"noopener\">California College of the Arts\u003c/a>.) “I usually call myself a visual artist, because I do more than illustration,” Tang says.\u003c/p>\n\u003cp>Her favorite project so far? The 2013 Marvel movie \u003ci>Thor: The Dark World\u003c/i>. And while Tang hasn’t gotten any gigs from Women Who Draw just yet, “Even now in my job, in my team, I’m the only woman. This is great. I mean, finally someone’s doing something, you know, to promote women artists,” she says.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-13826567\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Screen-Shot-2018-03-05-at-9.09.08-AM.png\" alt=\"\" width=\"313\" height=\"366\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Screen-Shot-2018-03-05-at-9.09.08-AM.png 313w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Screen-Shot-2018-03-05-at-9.09.08-AM-160x187.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Screen-Shot-2018-03-05-at-9.09.08-AM-240x281.png 240w\" sizes=\"(max-width: 313px) 100vw, 313px\">The site’s next recruit might well be \u003ca href=\"https://www.etsy.com/shop/CaseyGirard\" target=\"_blank\" rel=\"noopener\">Casey Girard\u003c/a> of Redwood City. Girard operates a tidy business selling digital art and jewelry, much of it inspired by Bay Area bird life. Girard started out “doing just the birds that were in my yard,” she says — and then her backyard became inundated with pine siskin.\u003c/p>\n\u003cp>Soon she was drawing species like sparrows, hermit thrushes, ruby-crowned kinglets and California scrub jay, too. Girard says, “I think I’ve always been interested in science and making art about science.” As you can imagine, Girard dreams of landing contracts with nature magazines and the like.\u003c/p>\n\u003cp>“It’s exciting and always wonderful to get recognition for your work. You always hope to get people to know about it and bring better awareness to what you care about,” Girard says.\u003c/p>\n\u003cp>Women Who Draw is hardly the only artist directory online. There’s \u003ca href=\"http://cartoonistsofcolor.com\" target=\"_blank\" rel=\"noopener\">Cartoonists of Color\u003c/a>, \u003ca href=\"http://queercartoonists.com\" target=\"_blank\" rel=\"noopener\">Queer Cartoonists\u003c/a>, \u003ca href=\"http://www.diversify.photo\" target=\"_blank\" rel=\"noopener\">Diversify.photo\u003c/a>, and \u003ca href=\"https://www.womenphotograph.com\" target=\"_blank\" rel=\"noopener\">Women Photograph\u003c/a>, to name a few.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-13826576\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Screen-Shot-2018-03-07-at-2.11.01-PM.png\" alt=\"\" width=\"257\" height=\"482\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Screen-Shot-2018-03-07-at-2.11.01-PM.png 257w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Screen-Shot-2018-03-07-at-2.11.01-PM-160x300.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Screen-Shot-2018-03-07-at-2.11.01-PM-240x450.png 240w\" sizes=\"(max-width: 257px) 100vw, 257px\">Despite anecdotally reported individual success stories, there’s no comprehensive data yet that indicates these databases are making a big dent in hiring practices. But art editors and creative directors profess to be aware of the sites.\u003c/p>\n\u003cp>Bridget Watson Payne, Executive Editor of Art Publishing at Chronicle Books, writes she “absolutely” plans to use these databases in the near future to expand her Rolodex, especially for women of color.\u003c/p>\n\u003cp>I decided to contact the \u003ca href=\"http://newyorker.com\" target=\"_blank\" rel=\"noopener\">\u003cem>New Yorker\u003c/em>\u003c/a>, well-known for its prominent illustrations both inside and on the cover of the magazine. Communications Director Natalie Raabe wrote, “Just as editor David Remnick and team are working to bring a broader range of voices and perspectives to the magazine and website, he and [art editor] Françoise [Mouly] are similarly focused on the cover.”\u003c/p>\n\u003cp>Regardless, MacNaughton says the effort involved in Women Who Draw is well worth it. “Ultimately, we don’t want this to exist. OK? That is the goal here, is that this is no longer necessary.”\u003c/p>\n\u003cp>Picture \u003ci>that\u003c/i>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"excerpt": "No longer can editors say \"I just don't know where to find them,\" now that there's Women Who Draw, a database founded by Wendy MacNaughton and Julia Rothman. ",
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"title": "Directory of Female Illustrators Puts Thousands of Options Before Editors' Eyes | KQED",
"description": "No longer can editors say "I just don't know where to find them," now that there's Women Who Draw, a database founded by Wendy MacNaughton and Julia Rothman. ",
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"headline": "Directory of Female Illustrators Puts Thousands of Options Before Editors' Eyes",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There is no shortage of women who draw and paint, but as in so many other industries, female artists struggle to get anything close to a proportional share of the paid work. It’s a similar story for LGTBQ and artists of color. Which may explain the growing number of digital databases designed to help those editors in the market for art pick from a more diverse field of candidates.\u003c/p>\n\u003cp>Graphic journalist and illustrator \u003ca href=\"http://wendymacnaughton.com\" target=\"_blank\" rel=\"noopener\">Wendy MacNaughton\u003c/a> loves to tell the story of how she and her pal \u003ca href=\"http://www.juliarothman.com/\" target=\"_blank\" rel=\"noopener\">Julia Rothman\u003c/a> came up with the idea for the website \u003ca href=\"http://www.womenwhodraw.com\" target=\"_blank\" rel=\"noopener\">Women Who Draw\u003c/a>.\u003c/p>\n\u003cp>It started with Rothman in New York, having a flash of inspiration while sitting on a toilet, “as you do, looking at her stack of magazines, thumbing through the covers,” MacNaughton says.\u003c/p>\n\u003cp>Rothman was flipping through issues of a certain magazine they won’t name, “wondering how many of the illustrations on the cover were actually done by women,” MacNaughton says.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-13826574\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Screen-Shot-2018-03-07-at-2.10.26-PM.png\" alt=\"\" width=\"292\" height=\"487\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Screen-Shot-2018-03-07-at-2.10.26-PM.png 292w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Screen-Shot-2018-03-07-at-2.10.26-PM-160x267.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Screen-Shot-2018-03-07-at-2.10.26-PM-240x400.png 240w\" sizes=\"(max-width: 292px) 100vw, 292px\">It turned out to be just four were by women, out of 55 cover illustrations in 2015. Rothman called up MacNaughton in San Francisco. At first, they got angry. Then they started thinking about how to get even — not in terms of revenge, but parity.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>MacNaughton says, “I don’t think anybody is intentionally not hiring women. It’s that, generally, humans, we work with people that we know. We work with people that we feel comfortable with, and oftentimes that ends up being a man, and specifically, a white man, you know, historically in this field.”\u003c/p>\n\u003cp>A little more than a year after MacNaughton and Rothman launched Women Who Draw with their own pocket money, their team of two has grown to include a third artist, \u003ca href=\"http://www.womenwhodraw.com/kaylani-juanita/\" target=\"_blank\" rel=\"noopener\">Kaylani McCard\u003c/a>.\u003c/p>\n\u003cp>The directory has also grown from 50 artists to more than 5,000, browsable through categories like race, religion, sexuality and location.\u003c/p>\n\u003cp>Sexuality is defined inclusively on the site, welcoming trans and gender-nonconforming illustrators. “We’re interested in promoting visibility for anybody who is less visible in our culture,” MacNaughton notes.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-13826575\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Screen-Shot-2018-03-07-at-2.11.50-PM.png\" alt=\"\" width=\"296\" height=\"376\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Screen-Shot-2018-03-07-at-2.11.50-PM.png 296w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Screen-Shot-2018-03-07-at-2.11.50-PM-160x203.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Screen-Shot-2018-03-07-at-2.11.50-PM-240x305.png 240w\" sizes=\"(max-width: 296px) 100vw, 296px\">In the meantime, the website has also become a community of the like-minded, and MacNaughton says she and her partners will host events and parties throughout this year.\u003c/p>\n\u003cp>That sense of community is particularly intriguing for \u003ca href=\"https://www.stacytang.com\" target=\"_blank\" rel=\"noopener\">Stacy Tang\u003c/a> of South San Francisco, who signed up at the prompting of friends. Tang has done all kinds of visual work, including concept art for video games and visual effects for feature films. (She also teaches digital painting at the \u003ca href=\"https://www.cca.edu/academics/faculty/stang\" target=\"_blank\" rel=\"noopener\">California College of the Arts\u003c/a>.) “I usually call myself a visual artist, because I do more than illustration,” Tang says.\u003c/p>\n\u003cp>Her favorite project so far? The 2013 Marvel movie \u003ci>Thor: The Dark World\u003c/i>. And while Tang hasn’t gotten any gigs from Women Who Draw just yet, “Even now in my job, in my team, I’m the only woman. This is great. I mean, finally someone’s doing something, you know, to promote women artists,” she says.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-13826567\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Screen-Shot-2018-03-05-at-9.09.08-AM.png\" alt=\"\" width=\"313\" height=\"366\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Screen-Shot-2018-03-05-at-9.09.08-AM.png 313w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Screen-Shot-2018-03-05-at-9.09.08-AM-160x187.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Screen-Shot-2018-03-05-at-9.09.08-AM-240x281.png 240w\" sizes=\"(max-width: 313px) 100vw, 313px\">The site’s next recruit might well be \u003ca href=\"https://www.etsy.com/shop/CaseyGirard\" target=\"_blank\" rel=\"noopener\">Casey Girard\u003c/a> of Redwood City. Girard operates a tidy business selling digital art and jewelry, much of it inspired by Bay Area bird life. Girard started out “doing just the birds that were in my yard,” she says — and then her backyard became inundated with pine siskin.\u003c/p>\n\u003cp>Soon she was drawing species like sparrows, hermit thrushes, ruby-crowned kinglets and California scrub jay, too. Girard says, “I think I’ve always been interested in science and making art about science.” As you can imagine, Girard dreams of landing contracts with nature magazines and the like.\u003c/p>\n\u003cp>“It’s exciting and always wonderful to get recognition for your work. You always hope to get people to know about it and bring better awareness to what you care about,” Girard says.\u003c/p>\n\u003cp>Women Who Draw is hardly the only artist directory online. There’s \u003ca href=\"http://cartoonistsofcolor.com\" target=\"_blank\" rel=\"noopener\">Cartoonists of Color\u003c/a>, \u003ca href=\"http://queercartoonists.com\" target=\"_blank\" rel=\"noopener\">Queer Cartoonists\u003c/a>, \u003ca href=\"http://www.diversify.photo\" target=\"_blank\" rel=\"noopener\">Diversify.photo\u003c/a>, and \u003ca href=\"https://www.womenphotograph.com\" target=\"_blank\" rel=\"noopener\">Women Photograph\u003c/a>, to name a few.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-13826576\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Screen-Shot-2018-03-07-at-2.11.01-PM.png\" alt=\"\" width=\"257\" height=\"482\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Screen-Shot-2018-03-07-at-2.11.01-PM.png 257w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Screen-Shot-2018-03-07-at-2.11.01-PM-160x300.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Screen-Shot-2018-03-07-at-2.11.01-PM-240x450.png 240w\" sizes=\"(max-width: 257px) 100vw, 257px\">Despite anecdotally reported individual success stories, there’s no comprehensive data yet that indicates these databases are making a big dent in hiring practices. But art editors and creative directors profess to be aware of the sites.\u003c/p>\n\u003cp>Bridget Watson Payne, Executive Editor of Art Publishing at Chronicle Books, writes she “absolutely” plans to use these databases in the near future to expand her Rolodex, especially for women of color.\u003c/p>\n\u003cp>I decided to contact the \u003ca href=\"http://newyorker.com\" target=\"_blank\" rel=\"noopener\">\u003cem>New Yorker\u003c/em>\u003c/a>, well-known for its prominent illustrations both inside and on the cover of the magazine. Communications Director Natalie Raabe wrote, “Just as editor David Remnick and team are working to bring a broader range of voices and perspectives to the magazine and website, he and [art editor] Françoise [Mouly] are similarly focused on the cover.”\u003c/p>\n\u003cp>Regardless, MacNaughton says the effort involved in Women Who Draw is well worth it. “Ultimately, we don’t want this to exist. OK? That is the goal here, is that this is no longer necessary.”\u003c/p>\n\u003cp>Picture \u003ci>that\u003c/i>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'Architecture is a Backdrop for Life,' Says 2018 Pritzker Winner Balkrishna Doshi",
"headTitle": "‘Architecture is a Backdrop for Life,’ Says 2018 Pritzker Winner Balkrishna Doshi | KQED",
"content": "\u003cp>Bal Krishna is the name sometimes given to the young Hindu god Krishna. Balkrishna Doshi was named for him, when he was born in 1927.\u003c/p>\n\u003cp>“They wanted me to remain young,” the 90-year-old architect explains, as he bursts into peals of laughter.\u003c/p>\n\u003cfigure id=\"attachment_13826488\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/balkrishna-doshi_-courtesy-of-vsf-184c7d784088efcbf5b3024cf8b99adbcae272ee-800x600.jpg\" alt=\"Doshi started studying architecture in 1947, the same year India gained independence.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13826488\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/balkrishna-doshi_-courtesy-of-vsf-184c7d784088efcbf5b3024cf8b99adbcae272ee-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/balkrishna-doshi_-courtesy-of-vsf-184c7d784088efcbf5b3024cf8b99adbcae272ee-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/balkrishna-doshi_-courtesy-of-vsf-184c7d784088efcbf5b3024cf8b99adbcae272ee-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/balkrishna-doshi_-courtesy-of-vsf-184c7d784088efcbf5b3024cf8b99adbcae272ee-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/balkrishna-doshi_-courtesy-of-vsf-184c7d784088efcbf5b3024cf8b99adbcae272ee-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/balkrishna-doshi_-courtesy-of-vsf-184c7d784088efcbf5b3024cf8b99adbcae272ee-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/balkrishna-doshi_-courtesy-of-vsf-184c7d784088efcbf5b3024cf8b99adbcae272ee-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/balkrishna-doshi_-courtesy-of-vsf-184c7d784088efcbf5b3024cf8b99adbcae272ee-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/balkrishna-doshi_-courtesy-of-vsf-184c7d784088efcbf5b3024cf8b99adbcae272ee-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/balkrishna-doshi_-courtesy-of-vsf-184c7d784088efcbf5b3024cf8b99adbcae272ee-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/balkrishna-doshi_-courtesy-of-vsf-184c7d784088efcbf5b3024cf8b99adbcae272ee.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Doshi started studying architecture in 1947, the same year India gained independence. \u003ccite>(Courtesy of VSF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Doshi is the newest winner of the Pritzker Architecture Prize, known as the Nobel for architects.\u003c/p>\n\u003cp>Over the course of six decades, he has become famous in his native India as an educator who transformed practices in his field, partly by establishing several schools of architecture and design. He has built more than a hundred buildings that reflect his investment in local materials, social change and the environment. As a student and young architect himself, Doshi worked with two of the great Modernists of the 20th century: Le Corbusier and Louis Kahn.\u003c/p>\n\u003cp>“For me, the best lessons ever given by Le Corbusier was by drawing on my table — he was sitting on the table and drawing with me,” Doshi tells NPR. “So he was showing me how people would move, how they would go, how the birds would fly through the buildings, how you would see nature, landscapes. And when he drew a sketch of a tree, you could see the tree \u003cem>moving\u003c/em>. And I think those experiences have stayed with me, and connected me to my childhood and my family and my life.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Doshi started studying architecture in 1947, the same year India gained independence. His family built furniture, not buildings, but one of the architect’s earliest inspirations was his grandfather’s house, upon which new levels were repeatedly added, to accommodate three uncles and their families.\u003c/p>\n\u003cp>“I always sensed the space as alive,” Doshi remembers. “Space and light and the kind of movement that gets into the space for me are very, very significant. That’s what generates a dialogue. That’s what generates activities. And that’s where you begin to become part of life. My architecture philosophy is: Architecture is a backdrop for life.”\u003c/p>\n\u003cfigure id=\"attachment_13826486\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/indian-institute-of-management-bangalore_courtesy-of-vsf_slide-62acbfd2c4c6553abce6f7414d6ac00b01331969-800x533.jpg\" alt=\"Doshi's design for Bangalore's Indian Institute of Management was inspired by traditional maze-like Indian cities and temples.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13826486\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/indian-institute-of-management-bangalore_courtesy-of-vsf_slide-62acbfd2c4c6553abce6f7414d6ac00b01331969-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/indian-institute-of-management-bangalore_courtesy-of-vsf_slide-62acbfd2c4c6553abce6f7414d6ac00b01331969-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/indian-institute-of-management-bangalore_courtesy-of-vsf_slide-62acbfd2c4c6553abce6f7414d6ac00b01331969-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/indian-institute-of-management-bangalore_courtesy-of-vsf_slide-62acbfd2c4c6553abce6f7414d6ac00b01331969-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/indian-institute-of-management-bangalore_courtesy-of-vsf_slide-62acbfd2c4c6553abce6f7414d6ac00b01331969-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/indian-institute-of-management-bangalore_courtesy-of-vsf_slide-62acbfd2c4c6553abce6f7414d6ac00b01331969-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/indian-institute-of-management-bangalore_courtesy-of-vsf_slide-62acbfd2c4c6553abce6f7414d6ac00b01331969-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/indian-institute-of-management-bangalore_courtesy-of-vsf_slide-62acbfd2c4c6553abce6f7414d6ac00b01331969-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/indian-institute-of-management-bangalore_courtesy-of-vsf_slide-62acbfd2c4c6553abce6f7414d6ac00b01331969-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/indian-institute-of-management-bangalore_courtesy-of-vsf_slide-62acbfd2c4c6553abce6f7414d6ac00b01331969.jpg 1425w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Doshi’s design for Bangalore’s Indian Institute of Management was inspired by traditional maze-like Indian cities and temples. \u003ccite>(Courtesy of VSF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Doshi’s most significant buildings over the past decades include two housing projects and at least 10 schools of higher education, ranging from the Indian Institute of Management in Lucknow to New Delhi’s National Institute of Fashion Technology.\u003c/p>\n\u003cp>He remembers sitting outside under a tree for some of his childhood classes, so when he designs buildings meant for education, Doshi aims to connect the students with their natural environment. “We are constantly preoccupied with ourselves,” he tells NPR. “And we are never aware of what goes on around us, or what the space is. And for me, [the] experiences I try to create in the work are those where people really begin to feel what is here and inside them, and what brings it out.”\u003c/p>\n\u003cfigure id=\"attachment_13826489\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/centre-for-environmental-planning-and-technology_courtesy-of-vsf_slide-1ab09fedbd994686b340bced6a4fbaf9139207c2-800x533.jpg\" alt=\"Doshi's design for Ahmedabad's Centre for Environmental Planning and Technology dates back to 1966.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13826489\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/centre-for-environmental-planning-and-technology_courtesy-of-vsf_slide-1ab09fedbd994686b340bced6a4fbaf9139207c2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/centre-for-environmental-planning-and-technology_courtesy-of-vsf_slide-1ab09fedbd994686b340bced6a4fbaf9139207c2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/centre-for-environmental-planning-and-technology_courtesy-of-vsf_slide-1ab09fedbd994686b340bced6a4fbaf9139207c2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/centre-for-environmental-planning-and-technology_courtesy-of-vsf_slide-1ab09fedbd994686b340bced6a4fbaf9139207c2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/centre-for-environmental-planning-and-technology_courtesy-of-vsf_slide-1ab09fedbd994686b340bced6a4fbaf9139207c2-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/centre-for-environmental-planning-and-technology_courtesy-of-vsf_slide-1ab09fedbd994686b340bced6a4fbaf9139207c2-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/centre-for-environmental-planning-and-technology_courtesy-of-vsf_slide-1ab09fedbd994686b340bced6a4fbaf9139207c2-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/centre-for-environmental-planning-and-technology_courtesy-of-vsf_slide-1ab09fedbd994686b340bced6a4fbaf9139207c2-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/centre-for-environmental-planning-and-technology_courtesy-of-vsf_slide-1ab09fedbd994686b340bced6a4fbaf9139207c2-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/centre-for-environmental-planning-and-technology_courtesy-of-vsf_slide-1ab09fedbd994686b340bced6a4fbaf9139207c2.jpg 1425w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Doshi’s design for Ahmedabad’s Centre for Environmental Planning and Technology dates back to 1966. \u003ccite>(Courtesy of VSF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While giving the \u003ca href=\"https://www.youtube.com/watch?v=H_kz-KxzExs\" target=\"_blank\" rel=\"noopener\">annual architecture lecture last year\u003c/a> at the Royal Academy of Arts in London, Doshi remarked on the three principles that guide his work: “porosity, paradox and practice.” He also compared his architecture to a celebratory Indian meal, with lots of elements meant to be consumed in any order, rather than sequentially; diners may experience the meal however they please.\u003c/p>\n\u003cp>As an example, Doshi pointed to his own office, Sangath, in the city of Ahmedabad, which he completed in 1980.\u003c/p>\n\u003cp>“You don’t see the place as an office because it doesn’t look like an office, really,” he explains. “There’s a garden. Meandering through, you don’t see anybody. So you wonder whether the office has any people or not. You don’t know where the entrance is. So actually, it’s a surprise to discover it. But in the meantime, you change your attitude. You’ve forgotten the crowd. Then you are listening to the music that’s going on through the small speakers around. Then you go into the office and you are … below ground. I think it’s like a journey. Architecture is a journey — a journey of discovery.”\u003c/p>\n\u003cfigure id=\"attachment_13826490\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/institute-of-indology_courtesy-of-vsf_slide-00e7c1c5e8d9147034babd083eaf6dc5de3a2ab7-800x533.jpg\" alt=\"Doshi created Ahmedabad's Institute of Indology building in 1962.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13826490\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/institute-of-indology_courtesy-of-vsf_slide-00e7c1c5e8d9147034babd083eaf6dc5de3a2ab7-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/institute-of-indology_courtesy-of-vsf_slide-00e7c1c5e8d9147034babd083eaf6dc5de3a2ab7-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/institute-of-indology_courtesy-of-vsf_slide-00e7c1c5e8d9147034babd083eaf6dc5de3a2ab7-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/institute-of-indology_courtesy-of-vsf_slide-00e7c1c5e8d9147034babd083eaf6dc5de3a2ab7-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/institute-of-indology_courtesy-of-vsf_slide-00e7c1c5e8d9147034babd083eaf6dc5de3a2ab7-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/institute-of-indology_courtesy-of-vsf_slide-00e7c1c5e8d9147034babd083eaf6dc5de3a2ab7-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/institute-of-indology_courtesy-of-vsf_slide-00e7c1c5e8d9147034babd083eaf6dc5de3a2ab7-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/institute-of-indology_courtesy-of-vsf_slide-00e7c1c5e8d9147034babd083eaf6dc5de3a2ab7-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/institute-of-indology_courtesy-of-vsf_slide-00e7c1c5e8d9147034babd083eaf6dc5de3a2ab7-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/institute-of-indology_courtesy-of-vsf_slide-00e7c1c5e8d9147034babd083eaf6dc5de3a2ab7.jpg 1425w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Doshi created Ahmedabad’s Institute of Indology building in 1962. \u003ccite>(Courtesy of VSF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And that’s exactly what he wants visitors to all of his buildings to experience.\u003c/p>\n\u003cp>“I want them to forget why they came. This is the way to hypnotize them,” the Pritzker winner explains, his voice catching with laughter. “This is such a wonderful thing to do. Why should we take architecture seriously?”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Balkrishna Doshi believes that, like life itself, architecture should be experienced with exuberance and wonder, and with an abiding sense of its endless possibilities. \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=%27Architecture+Is+A+Backdrop+For+Life%2C%27+Says+2018+Pritzker+Winner+Balkrishna+Doshi&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Bal Krishna is the name sometimes given to the young Hindu god Krishna. Balkrishna Doshi was named for him, when he was born in 1927.\u003c/p>\n\u003cp>“They wanted me to remain young,” the 90-year-old architect explains, as he bursts into peals of laughter.\u003c/p>\n\u003cfigure id=\"attachment_13826488\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/balkrishna-doshi_-courtesy-of-vsf-184c7d784088efcbf5b3024cf8b99adbcae272ee-800x600.jpg\" alt=\"Doshi started studying architecture in 1947, the same year India gained independence.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13826488\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/balkrishna-doshi_-courtesy-of-vsf-184c7d784088efcbf5b3024cf8b99adbcae272ee-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/balkrishna-doshi_-courtesy-of-vsf-184c7d784088efcbf5b3024cf8b99adbcae272ee-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/balkrishna-doshi_-courtesy-of-vsf-184c7d784088efcbf5b3024cf8b99adbcae272ee-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/balkrishna-doshi_-courtesy-of-vsf-184c7d784088efcbf5b3024cf8b99adbcae272ee-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/balkrishna-doshi_-courtesy-of-vsf-184c7d784088efcbf5b3024cf8b99adbcae272ee-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/balkrishna-doshi_-courtesy-of-vsf-184c7d784088efcbf5b3024cf8b99adbcae272ee-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/balkrishna-doshi_-courtesy-of-vsf-184c7d784088efcbf5b3024cf8b99adbcae272ee-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/balkrishna-doshi_-courtesy-of-vsf-184c7d784088efcbf5b3024cf8b99adbcae272ee-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/balkrishna-doshi_-courtesy-of-vsf-184c7d784088efcbf5b3024cf8b99adbcae272ee-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/balkrishna-doshi_-courtesy-of-vsf-184c7d784088efcbf5b3024cf8b99adbcae272ee-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/balkrishna-doshi_-courtesy-of-vsf-184c7d784088efcbf5b3024cf8b99adbcae272ee.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Doshi started studying architecture in 1947, the same year India gained independence. \u003ccite>(Courtesy of VSF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Doshi is the newest winner of the Pritzker Architecture Prize, known as the Nobel for architects.\u003c/p>\n\u003cp>Over the course of six decades, he has become famous in his native India as an educator who transformed practices in his field, partly by establishing several schools of architecture and design. He has built more than a hundred buildings that reflect his investment in local materials, social change and the environment. As a student and young architect himself, Doshi worked with two of the great Modernists of the 20th century: Le Corbusier and Louis Kahn.\u003c/p>\n\u003cp>“For me, the best lessons ever given by Le Corbusier was by drawing on my table — he was sitting on the table and drawing with me,” Doshi tells NPR. “So he was showing me how people would move, how they would go, how the birds would fly through the buildings, how you would see nature, landscapes. And when he drew a sketch of a tree, you could see the tree \u003cem>moving\u003c/em>. And I think those experiences have stayed with me, and connected me to my childhood and my family and my life.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Doshi started studying architecture in 1947, the same year India gained independence. His family built furniture, not buildings, but one of the architect’s earliest inspirations was his grandfather’s house, upon which new levels were repeatedly added, to accommodate three uncles and their families.\u003c/p>\n\u003cp>“I always sensed the space as alive,” Doshi remembers. “Space and light and the kind of movement that gets into the space for me are very, very significant. That’s what generates a dialogue. That’s what generates activities. And that’s where you begin to become part of life. My architecture philosophy is: Architecture is a backdrop for life.”\u003c/p>\n\u003cfigure id=\"attachment_13826486\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/indian-institute-of-management-bangalore_courtesy-of-vsf_slide-62acbfd2c4c6553abce6f7414d6ac00b01331969-800x533.jpg\" alt=\"Doshi's design for Bangalore's Indian Institute of Management was inspired by traditional maze-like Indian cities and temples.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13826486\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/indian-institute-of-management-bangalore_courtesy-of-vsf_slide-62acbfd2c4c6553abce6f7414d6ac00b01331969-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/indian-institute-of-management-bangalore_courtesy-of-vsf_slide-62acbfd2c4c6553abce6f7414d6ac00b01331969-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/indian-institute-of-management-bangalore_courtesy-of-vsf_slide-62acbfd2c4c6553abce6f7414d6ac00b01331969-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/indian-institute-of-management-bangalore_courtesy-of-vsf_slide-62acbfd2c4c6553abce6f7414d6ac00b01331969-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/indian-institute-of-management-bangalore_courtesy-of-vsf_slide-62acbfd2c4c6553abce6f7414d6ac00b01331969-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/indian-institute-of-management-bangalore_courtesy-of-vsf_slide-62acbfd2c4c6553abce6f7414d6ac00b01331969-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/indian-institute-of-management-bangalore_courtesy-of-vsf_slide-62acbfd2c4c6553abce6f7414d6ac00b01331969-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/indian-institute-of-management-bangalore_courtesy-of-vsf_slide-62acbfd2c4c6553abce6f7414d6ac00b01331969-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/indian-institute-of-management-bangalore_courtesy-of-vsf_slide-62acbfd2c4c6553abce6f7414d6ac00b01331969-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/indian-institute-of-management-bangalore_courtesy-of-vsf_slide-62acbfd2c4c6553abce6f7414d6ac00b01331969.jpg 1425w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Doshi’s design for Bangalore’s Indian Institute of Management was inspired by traditional maze-like Indian cities and temples. \u003ccite>(Courtesy of VSF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Doshi’s most significant buildings over the past decades include two housing projects and at least 10 schools of higher education, ranging from the Indian Institute of Management in Lucknow to New Delhi’s National Institute of Fashion Technology.\u003c/p>\n\u003cp>He remembers sitting outside under a tree for some of his childhood classes, so when he designs buildings meant for education, Doshi aims to connect the students with their natural environment. “We are constantly preoccupied with ourselves,” he tells NPR. “And we are never aware of what goes on around us, or what the space is. And for me, [the] experiences I try to create in the work are those where people really begin to feel what is here and inside them, and what brings it out.”\u003c/p>\n\u003cfigure id=\"attachment_13826489\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/centre-for-environmental-planning-and-technology_courtesy-of-vsf_slide-1ab09fedbd994686b340bced6a4fbaf9139207c2-800x533.jpg\" alt=\"Doshi's design for Ahmedabad's Centre for Environmental Planning and Technology dates back to 1966.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13826489\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/centre-for-environmental-planning-and-technology_courtesy-of-vsf_slide-1ab09fedbd994686b340bced6a4fbaf9139207c2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/centre-for-environmental-planning-and-technology_courtesy-of-vsf_slide-1ab09fedbd994686b340bced6a4fbaf9139207c2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/centre-for-environmental-planning-and-technology_courtesy-of-vsf_slide-1ab09fedbd994686b340bced6a4fbaf9139207c2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/centre-for-environmental-planning-and-technology_courtesy-of-vsf_slide-1ab09fedbd994686b340bced6a4fbaf9139207c2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/centre-for-environmental-planning-and-technology_courtesy-of-vsf_slide-1ab09fedbd994686b340bced6a4fbaf9139207c2-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/centre-for-environmental-planning-and-technology_courtesy-of-vsf_slide-1ab09fedbd994686b340bced6a4fbaf9139207c2-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/centre-for-environmental-planning-and-technology_courtesy-of-vsf_slide-1ab09fedbd994686b340bced6a4fbaf9139207c2-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/centre-for-environmental-planning-and-technology_courtesy-of-vsf_slide-1ab09fedbd994686b340bced6a4fbaf9139207c2-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/centre-for-environmental-planning-and-technology_courtesy-of-vsf_slide-1ab09fedbd994686b340bced6a4fbaf9139207c2-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/centre-for-environmental-planning-and-technology_courtesy-of-vsf_slide-1ab09fedbd994686b340bced6a4fbaf9139207c2.jpg 1425w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Doshi’s design for Ahmedabad’s Centre for Environmental Planning and Technology dates back to 1966. \u003ccite>(Courtesy of VSF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While giving the \u003ca href=\"https://www.youtube.com/watch?v=H_kz-KxzExs\" target=\"_blank\" rel=\"noopener\">annual architecture lecture last year\u003c/a> at the Royal Academy of Arts in London, Doshi remarked on the three principles that guide his work: “porosity, paradox and practice.” He also compared his architecture to a celebratory Indian meal, with lots of elements meant to be consumed in any order, rather than sequentially; diners may experience the meal however they please.\u003c/p>\n\u003cp>As an example, Doshi pointed to his own office, Sangath, in the city of Ahmedabad, which he completed in 1980.\u003c/p>\n\u003cp>“You don’t see the place as an office because it doesn’t look like an office, really,” he explains. “There’s a garden. Meandering through, you don’t see anybody. So you wonder whether the office has any people or not. You don’t know where the entrance is. So actually, it’s a surprise to discover it. But in the meantime, you change your attitude. You’ve forgotten the crowd. Then you are listening to the music that’s going on through the small speakers around. Then you go into the office and you are … below ground. I think it’s like a journey. Architecture is a journey — a journey of discovery.”\u003c/p>\n\u003cfigure id=\"attachment_13826490\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/institute-of-indology_courtesy-of-vsf_slide-00e7c1c5e8d9147034babd083eaf6dc5de3a2ab7-800x533.jpg\" alt=\"Doshi created Ahmedabad's Institute of Indology building in 1962.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13826490\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/institute-of-indology_courtesy-of-vsf_slide-00e7c1c5e8d9147034babd083eaf6dc5de3a2ab7-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/institute-of-indology_courtesy-of-vsf_slide-00e7c1c5e8d9147034babd083eaf6dc5de3a2ab7-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/institute-of-indology_courtesy-of-vsf_slide-00e7c1c5e8d9147034babd083eaf6dc5de3a2ab7-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/institute-of-indology_courtesy-of-vsf_slide-00e7c1c5e8d9147034babd083eaf6dc5de3a2ab7-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/institute-of-indology_courtesy-of-vsf_slide-00e7c1c5e8d9147034babd083eaf6dc5de3a2ab7-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/institute-of-indology_courtesy-of-vsf_slide-00e7c1c5e8d9147034babd083eaf6dc5de3a2ab7-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/institute-of-indology_courtesy-of-vsf_slide-00e7c1c5e8d9147034babd083eaf6dc5de3a2ab7-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/institute-of-indology_courtesy-of-vsf_slide-00e7c1c5e8d9147034babd083eaf6dc5de3a2ab7-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/institute-of-indology_courtesy-of-vsf_slide-00e7c1c5e8d9147034babd083eaf6dc5de3a2ab7-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/institute-of-indology_courtesy-of-vsf_slide-00e7c1c5e8d9147034babd083eaf6dc5de3a2ab7.jpg 1425w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Doshi created Ahmedabad’s Institute of Indology building in 1962. \u003ccite>(Courtesy of VSF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And that’s exactly what he wants visitors to all of his buildings to experience.\u003c/p>\n\u003cp>“I want them to forget why they came. This is the way to hypnotize them,” the Pritzker winner explains, his voice catching with laughter. “This is such a wonderful thing to do. Why should we take architecture seriously?”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Balkrishna Doshi believes that, like life itself, architecture should be experienced with exuberance and wonder, and with an abiding sense of its endless possibilities. \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=%27Architecture+Is+A+Backdrop+For+Life%2C%27+Says+2018+Pritzker+Winner+Balkrishna+Doshi&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>A 19th century statue that some say is degrading to Native Americans will be removed from its touristy public spot near San Francisco’s City Hall, joining a growing list of historic markers being ousted under pressure from the public.\u003c/p>\n\u003cp>The San Francisco Arts Commission voted unanimously Monday to remove the “Early Days” sculpture, which depicts a Native American at the feet of a Spanish cowboy and Catholic missionary. It is part of the Pioneer Monument cluster that depicts the founding of California.\u003c/p>\n\u003cp>People in the audience who had lobbied for the statue’s removal cheered at the vote.\u003c/p>\n\u003cp>“It definitely feels like a long time coming,” said Barbara Mumby, an arts commission employee who is descended from Native tribes in California and New York. “I think some people may not understand how big of a symbol it is to be able to take this down.”\u003c/p>\n\u003cp>The issue has been percolating for decades but the San Francisco Arts Commission started the removal process in October after demonstrators clashed over the removal of a Confederate statue in Charlottesville, Virginia, last August.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>San Francisco’s Historic Preservation Commission agreed in February to the statue’s removal with the condition that a plaque be placed to explain why it was removed.\u003cbr>\nCritics of removal say the public shouldn’t erase what happened, even if the history is ugly. The Ohlone inhabited the San Francisco area before they were driven out by Spanish settlers.\u003c/p>\n\u003cp>Tom DeCaigny, who oversees the arts commission as the city’s cultural affairs director, said the commission wasn’t trying to forget or revise history.\u003c/p>\n\u003cp>“It’s the right thing to do,” he said. “I think we heard loud and clear from the community and from diverse stakeholders that this was not a monument that reflected San Francisco’s values.”\u003c/p>\n\u003cp>He also said it didn’t merit its spot so close to City Hall. Other statues in the cluster will not be affected by the vote.\u003c/p>\n\u003cp>Randy Burns, a Northern Paiute who has fought against the statue for decades, couldn’t make it to the meeting. But he had something to say.\u003c/p>\n\u003cp>“Monuments like that, it’s time to go,” he said. “Things are changing we want our kids to grow up in a diverse society.”\u003c/p>\n\u003cp>In January, San Francisco voted to replace the Columbus Day holiday with Indigenous Peoples Day to honor Native American people decimated by the arrival of European immigrants.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In San Jose, California, the City Council voted recently to remove a hand-carved statue of Christopher Columbus from its City Hall.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>San Francisco’s Historic Preservation Commission agreed in February to the statue’s removal with the condition that a plaque be placed to explain why it was removed.\u003cbr>\nCritics of removal say the public shouldn’t erase what happened, even if the history is ugly. The Ohlone inhabited the San Francisco area before they were driven out by Spanish settlers.\u003c/p>\n\u003cp>Tom DeCaigny, who oversees the arts commission as the city’s cultural affairs director, said the commission wasn’t trying to forget or revise history.\u003c/p>\n\u003cp>“It’s the right thing to do,” he said. “I think we heard loud and clear from the community and from diverse stakeholders that this was not a monument that reflected San Francisco’s values.”\u003c/p>\n\u003cp>He also said it didn’t merit its spot so close to City Hall. Other statues in the cluster will not be affected by the vote.\u003c/p>\n\u003cp>Randy Burns, a Northern Paiute who has fought against the statue for decades, couldn’t make it to the meeting. But he had something to say.\u003c/p>\n\u003cp>“Monuments like that, it’s time to go,” he said. “Things are changing we want our kids to grow up in a diverse society.”\u003c/p>\n\u003cp>In January, San Francisco voted to replace the Columbus Day holiday with Indigenous Peoples Day to honor Native American people decimated by the arrival of European immigrants.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In San Jose, California, the City Council voted recently to remove a hand-carved statue of Christopher Columbus from its City Hall.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"id": "bbc-world-service",
"title": "BBC World Service",
"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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"meta": {
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},
"link": "/radio/program/bbc-world-service",
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"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
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},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareport",
"meta": {
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"source": "kqed",
"order": 8
},
"link": "/californiareport",
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}
},
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"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
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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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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
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"order": 1
},
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
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"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"here-and-now": {
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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",
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"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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"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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},
"link": "/radio/program/how-i-built-this",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"order": 15
},
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
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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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},
"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"
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},
"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)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"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",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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