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"title": "Video Installation of Medical Training Breaks Down Art and Science Divide",
"headTitle": "Video Installation of Medical Training Breaks Down Art and Science Divide | KQED",
"content": "\u003cp>Among its many characters, Los Angeles-based artist \u003ca href=\"http://www.kerrytribe.com/\" target=\"_blank\" rel=\"noopener\">Kerry Tribe\u003c/a>’s sharp and riveting video at SFMOMA, \u003cem>\u003ca href=\"https://www.sfmoma.org/exhibition/new-work-kerry-tribe/\" target=\"_blank\" rel=\"noopener\">Standardized Patient\u003c/a>\u003c/em>, features a woman in a doctor’s office who isn’t quite sure why she’s there.\u003c/p>\n\u003cp>The woman, Judy, says with soft, upturned eyes to the doctor, “My daughter wanted me to come in… she says I’m a little forgetful.” Judy is older, she has brown hair that hovers above her peach cardigan. She laughs sweetly at her own absentmindedness. Sometimes she gets lost, and admits to having left the stove on for too long, but “only once,” she insists. Though it will eventually become obvious why, it’s hard not to become irritated that Judy’s daughter sent her unaccompanied to the doctor. Judy’s initial curiosity fades into concern as the evaluation persists. The doctor asks Judy to spell the word “world” backwards. Judy, cautious and seemingly unsuspecting, complies: “D-R-L-W.”\u003c/p>\n\u003cp>Medicine and science, to the extent that they concern themselves with the individual, tend to do so from on high. They tend to analyze, to treat the phenomenon, to explain. Judy’s doctor falls into this trap — one that Judy has, in fact, expertly set.\u003c/p>\n\u003cp>\u003cem>Standardized Patient\u003c/em> tracks doctors-in-training interacting with “standardized patients”: actors portraying characters with specific motivations, family backgrounds, personalities, and sets of symptoms. The camera follows the doctors as they discern the actor-patients’ ailments and communicate a treatment plan. After Judy’s misspelling, her doctor, as if ordering a cheeseburger from the drive-thru window, flatly states: “So Judy, some of these signs and symptoms could be consistent with the initial stages of Alzheimer’s or dementia.”\u003c/p>\n\u003cfigure id=\"attachment_13824797\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13824797\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/5.-New-Work-Kerry-Tribe-2017-installation-view-SFMOMA-photo-Katherine-Du-Tiel_1200.jpg\" alt=\"Kerry Tribe, 'Standardized Patient' (installation view), 2017; Commissioned by SFMOMA.\" width=\"1200\" height=\"858\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/5.-New-Work-Kerry-Tribe-2017-installation-view-SFMOMA-photo-Katherine-Du-Tiel_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/5.-New-Work-Kerry-Tribe-2017-installation-view-SFMOMA-photo-Katherine-Du-Tiel_1200-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/5.-New-Work-Kerry-Tribe-2017-installation-view-SFMOMA-photo-Katherine-Du-Tiel_1200-800x572.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/5.-New-Work-Kerry-Tribe-2017-installation-view-SFMOMA-photo-Katherine-Du-Tiel_1200-768x549.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/5.-New-Work-Kerry-Tribe-2017-installation-view-SFMOMA-photo-Katherine-Du-Tiel_1200-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/5.-New-Work-Kerry-Tribe-2017-installation-view-SFMOMA-photo-Katherine-Du-Tiel_1200-1180x844.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/5.-New-Work-Kerry-Tribe-2017-installation-view-SFMOMA-photo-Katherine-Du-Tiel_1200-960x686.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/5.-New-Work-Kerry-Tribe-2017-installation-view-SFMOMA-photo-Katherine-Du-Tiel_1200-240x172.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/5.-New-Work-Kerry-Tribe-2017-installation-view-SFMOMA-photo-Katherine-Du-Tiel_1200-375x268.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/5.-New-Work-Kerry-Tribe-2017-installation-view-SFMOMA-photo-Katherine-Du-Tiel_1200-520x372.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Kerry Tribe, ‘Standardized Patient’ (installation view), 2017; Commissioned by SFMOMA. \u003ccite>(Courtesy of the artist and 1301PE, Los Angles; Photo by Katherine Du Tiel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"mceTemp\">\u003c/div>\n\u003cdiv class=\"mceTemp\">\u003c/div>\n\u003cp>Judy cuts her off: “Alzheimer’s? You think I could have Alzheimer’s?”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The doctor realizes her mistake. She vigorously shakes her head, backtracking on her indifferent delivery, “Oh n–no. I’m not saying you do have, at the moment — at all. I’m just saying…”\u003c/p>\n\u003cp>Judy goes in for the kill. She stares back and quotes the doctor: “\u003cem>at the moment\u003c/em>?”\u003c/p>\n\u003cp>Tribe’s video is a two-channel installation. On one channel, viewers watch a straightforward narrative of these doctors-to-be either succeed or, in some cases, fail miserably (like Judy’s practitioner). Other doctors rise to the occasion, like one who stays with a distraught teenager through a herpes diagnosis: “I can be there to talk to him with you. Or if you want to tell someone else, I can be there with you if you need that. My job is just to be here for you.”\u003c/p>\n\u003cp>The second channel projects onto the backside of the same screen. It consists of an assemblage of documentation, charts, transcripts, and closed circuit video footage of the interactions between the doctors and standardized patients. Every utterance and action by the medical student and standardized patient is described, recorded, and cataloged. This parallel video gives the viewer a peek behind the curtain at the abstracted and mechanical nature of medical bureaucracy and efficiencies. Indeed, the collage of roles, scripts and documentation escalates into an exciting confusion. Who is actually acting and from where is the direction coming?\u003c/p>\n\u003cfigure id=\"attachment_13824795\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13824795\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/3.-New-Work-Kerry-Tribe-2017-installation-view-SFMOMA-photo-Katherine-Du-Tiel_1200.jpg\" alt=\"Kerry Tribe, 'Standardized Patient' (installation view), 2017; Commissioned by SFMOMA.\" width=\"1200\" height=\"899\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/3.-New-Work-Kerry-Tribe-2017-installation-view-SFMOMA-photo-Katherine-Du-Tiel_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/3.-New-Work-Kerry-Tribe-2017-installation-view-SFMOMA-photo-Katherine-Du-Tiel_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/3.-New-Work-Kerry-Tribe-2017-installation-view-SFMOMA-photo-Katherine-Du-Tiel_1200-800x599.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/3.-New-Work-Kerry-Tribe-2017-installation-view-SFMOMA-photo-Katherine-Du-Tiel_1200-768x575.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/3.-New-Work-Kerry-Tribe-2017-installation-view-SFMOMA-photo-Katherine-Du-Tiel_1200-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/3.-New-Work-Kerry-Tribe-2017-installation-view-SFMOMA-photo-Katherine-Du-Tiel_1200-1180x884.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/3.-New-Work-Kerry-Tribe-2017-installation-view-SFMOMA-photo-Katherine-Du-Tiel_1200-960x719.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/3.-New-Work-Kerry-Tribe-2017-installation-view-SFMOMA-photo-Katherine-Du-Tiel_1200-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/3.-New-Work-Kerry-Tribe-2017-installation-view-SFMOMA-photo-Katherine-Du-Tiel_1200-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/3.-New-Work-Kerry-Tribe-2017-installation-view-SFMOMA-photo-Katherine-Du-Tiel_1200-520x390.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Kerry Tribe, ‘Standardized Patient’ (installation view), 2017; Commissioned by SFMOMA. \u003ccite>(Courtesy of the artist and 1301PE, Los Angles; Photo by Katherine Du Tiel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Tribe’s \u003cem>Standardized Patient\u003c/em> represents her most recent entry into an ongoing study of various medical worlds and their characters. That work includes 2009’s \u003cem>H.M.\u003c/em>, about “Patient H.M.,” a famous amnesiac who had only 20 seconds of memory recall, and a 2015 collaboration with a group afflicted with aphasia that led to the redoubtable video, \u003cem>The Aphasia Poetry Club\u003c/em>.\u003c/p>\n\u003cp>\u003cem>Standardized Patient\u003c/em> is that rare artwork that is unconcerned with itself, an installation that transcends the status of mere gesture among an art world in-crowd. Instead, it demonstrates how medical technologies have organized us — doctors and patients alike — into what the scientist and novelist C.P. Snow famously described as the “two cultures,” humanities and science. Viewers of \u003cem>Standardized Patient\u003c/em> see directly into that chasm: again and again, the actors draw out a painful realism, while many medical students choose to be right without being considerate.\u003c/p>\n\u003cp>Recently, artist and writer Bean Gilsdorf \u003ca href=\"https://openspace.sfmoma.org/2018/01/palliative-care/\" target=\"_blank\" rel=\"noopener\">wrote powerfully\u003c/a> of her own experience with the medical world. At one point, deep into the onerous journey of her mother’s acute myeloid leukemia, an attending physician condescendingly said to her mother, “Now, I know that’s a big word…” Gilsdorf remembers at that moment it was “as though my mother’s physical wasting was an outward sign of mental incapacity,” an arrogant misdiagnosis by the attending.\u003c/p>\n\u003cfigure id=\"attachment_13824796\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13824796\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/4.-New-Work-Kerry-Tribe-2017-installation-view-SFMOMA-photo-Katherine-Du-Tiel_1200.jpg\" alt=\"Kerry Tribe, 'Standardized Patient' (installation view), 2017; Commissioned by SFMOMA.\" width=\"1200\" height=\"841\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/4.-New-Work-Kerry-Tribe-2017-installation-view-SFMOMA-photo-Katherine-Du-Tiel_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/4.-New-Work-Kerry-Tribe-2017-installation-view-SFMOMA-photo-Katherine-Du-Tiel_1200-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/4.-New-Work-Kerry-Tribe-2017-installation-view-SFMOMA-photo-Katherine-Du-Tiel_1200-800x561.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/4.-New-Work-Kerry-Tribe-2017-installation-view-SFMOMA-photo-Katherine-Du-Tiel_1200-768x538.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/4.-New-Work-Kerry-Tribe-2017-installation-view-SFMOMA-photo-Katherine-Du-Tiel_1200-1020x715.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/4.-New-Work-Kerry-Tribe-2017-installation-view-SFMOMA-photo-Katherine-Du-Tiel_1200-1180x827.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/4.-New-Work-Kerry-Tribe-2017-installation-view-SFMOMA-photo-Katherine-Du-Tiel_1200-960x673.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/4.-New-Work-Kerry-Tribe-2017-installation-view-SFMOMA-photo-Katherine-Du-Tiel_1200-240x168.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/4.-New-Work-Kerry-Tribe-2017-installation-view-SFMOMA-photo-Katherine-Du-Tiel_1200-375x263.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/4.-New-Work-Kerry-Tribe-2017-installation-view-SFMOMA-photo-Katherine-Du-Tiel_1200-520x364.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Kerry Tribe, ‘Standardized Patient’ (installation view), 2017; Commissioned by SFMOMA. \u003ccite>(Courtesy of the artist and 1301PE, Los Angles; Photo by Katherine Du Tiel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A medical student in \u003cem>Standardized Patient\u003c/em> employs a similar eminence and absence of self-awareness. When speaking to an actor ostensibly near death, the student begins evangelizing, “I believe in heaven and hell and I believe in God and that Jesus died on the cross for me. I plan to go to heaven and live my life the best that I can.” The observing faculty member gently intervenes before the medical student can go on.\u003c/p>\n\u003cp>Medical education requires doctors to spend years looking at human beings as matter and mechanism. It shouldn’t be a surprise when they articulate this perspective out loud. And, unfortunately, their job is not always to “just be here for you,” as one student in the video reassuringly says. Yet, it doesn’t have to be this way.\u003c/p>\n\u003cp>By dint of its very existence, \u003cem>Standardized Patient\u003c/em> epitomizes art’s necessity in a society that prioritizes the STEM fields. The medical students in the videos will eventually become doctors somewhere. Some will be extremely fluent in specific deductive strategies. They will summon the pertinent swaths of medical knowledge. But when examining an anxious patient, will they also summon a capacity for patience and compassion? Will they push back against the structural forces that privilege efficiency over empathy? And will they recognize the need to be with their patients, rather than knowingly explain the patient’s world to them?\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>‘New Work: Kerry Tribe’ featuring the video piece ‘Standardized Patient’ is on view at the San Francisco Museum of Modern Art through Feb. 25, 2018. For more information, \u003ca href=\"https://www.sfmoma.org/exhibition/new-work-kerry-tribe/\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"excerpt": "At SFMOMA, doctors-in-training interact with actors playing patients in Kerry Tribe's 'Standardized Patient.'",
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"description": "At SFMOMA, doctors-in-training interact with actors playing patients in Kerry Tribe's 'Standardized Patient.'",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Among its many characters, Los Angeles-based artist \u003ca href=\"http://www.kerrytribe.com/\" target=\"_blank\" rel=\"noopener\">Kerry Tribe\u003c/a>’s sharp and riveting video at SFMOMA, \u003cem>\u003ca href=\"https://www.sfmoma.org/exhibition/new-work-kerry-tribe/\" target=\"_blank\" rel=\"noopener\">Standardized Patient\u003c/a>\u003c/em>, features a woman in a doctor’s office who isn’t quite sure why she’s there.\u003c/p>\n\u003cp>The woman, Judy, says with soft, upturned eyes to the doctor, “My daughter wanted me to come in… she says I’m a little forgetful.” Judy is older, she has brown hair that hovers above her peach cardigan. She laughs sweetly at her own absentmindedness. Sometimes she gets lost, and admits to having left the stove on for too long, but “only once,” she insists. Though it will eventually become obvious why, it’s hard not to become irritated that Judy’s daughter sent her unaccompanied to the doctor. Judy’s initial curiosity fades into concern as the evaluation persists. The doctor asks Judy to spell the word “world” backwards. Judy, cautious and seemingly unsuspecting, complies: “D-R-L-W.”\u003c/p>\n\u003cp>Medicine and science, to the extent that they concern themselves with the individual, tend to do so from on high. They tend to analyze, to treat the phenomenon, to explain. Judy’s doctor falls into this trap — one that Judy has, in fact, expertly set.\u003c/p>\n\u003cp>\u003cem>Standardized Patient\u003c/em> tracks doctors-in-training interacting with “standardized patients”: actors portraying characters with specific motivations, family backgrounds, personalities, and sets of symptoms. The camera follows the doctors as they discern the actor-patients’ ailments and communicate a treatment plan. After Judy’s misspelling, her doctor, as if ordering a cheeseburger from the drive-thru window, flatly states: “So Judy, some of these signs and symptoms could be consistent with the initial stages of Alzheimer’s or dementia.”\u003c/p>\n\u003cfigure id=\"attachment_13824797\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13824797\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/5.-New-Work-Kerry-Tribe-2017-installation-view-SFMOMA-photo-Katherine-Du-Tiel_1200.jpg\" alt=\"Kerry Tribe, 'Standardized Patient' (installation view), 2017; Commissioned by SFMOMA.\" width=\"1200\" height=\"858\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/5.-New-Work-Kerry-Tribe-2017-installation-view-SFMOMA-photo-Katherine-Du-Tiel_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/5.-New-Work-Kerry-Tribe-2017-installation-view-SFMOMA-photo-Katherine-Du-Tiel_1200-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/5.-New-Work-Kerry-Tribe-2017-installation-view-SFMOMA-photo-Katherine-Du-Tiel_1200-800x572.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/5.-New-Work-Kerry-Tribe-2017-installation-view-SFMOMA-photo-Katherine-Du-Tiel_1200-768x549.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/5.-New-Work-Kerry-Tribe-2017-installation-view-SFMOMA-photo-Katherine-Du-Tiel_1200-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/5.-New-Work-Kerry-Tribe-2017-installation-view-SFMOMA-photo-Katherine-Du-Tiel_1200-1180x844.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/5.-New-Work-Kerry-Tribe-2017-installation-view-SFMOMA-photo-Katherine-Du-Tiel_1200-960x686.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/5.-New-Work-Kerry-Tribe-2017-installation-view-SFMOMA-photo-Katherine-Du-Tiel_1200-240x172.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/5.-New-Work-Kerry-Tribe-2017-installation-view-SFMOMA-photo-Katherine-Du-Tiel_1200-375x268.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/5.-New-Work-Kerry-Tribe-2017-installation-view-SFMOMA-photo-Katherine-Du-Tiel_1200-520x372.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Kerry Tribe, ‘Standardized Patient’ (installation view), 2017; Commissioned by SFMOMA. \u003ccite>(Courtesy of the artist and 1301PE, Los Angles; Photo by Katherine Du Tiel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"mceTemp\">\u003c/div>\n\u003cdiv class=\"mceTemp\">\u003c/div>\n\u003cp>Judy cuts her off: “Alzheimer’s? You think I could have Alzheimer’s?”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The doctor realizes her mistake. She vigorously shakes her head, backtracking on her indifferent delivery, “Oh n–no. I’m not saying you do have, at the moment — at all. I’m just saying…”\u003c/p>\n\u003cp>Judy goes in for the kill. She stares back and quotes the doctor: “\u003cem>at the moment\u003c/em>?”\u003c/p>\n\u003cp>Tribe’s video is a two-channel installation. On one channel, viewers watch a straightforward narrative of these doctors-to-be either succeed or, in some cases, fail miserably (like Judy’s practitioner). Other doctors rise to the occasion, like one who stays with a distraught teenager through a herpes diagnosis: “I can be there to talk to him with you. Or if you want to tell someone else, I can be there with you if you need that. My job is just to be here for you.”\u003c/p>\n\u003cp>The second channel projects onto the backside of the same screen. It consists of an assemblage of documentation, charts, transcripts, and closed circuit video footage of the interactions between the doctors and standardized patients. Every utterance and action by the medical student and standardized patient is described, recorded, and cataloged. This parallel video gives the viewer a peek behind the curtain at the abstracted and mechanical nature of medical bureaucracy and efficiencies. Indeed, the collage of roles, scripts and documentation escalates into an exciting confusion. Who is actually acting and from where is the direction coming?\u003c/p>\n\u003cfigure id=\"attachment_13824795\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13824795\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/3.-New-Work-Kerry-Tribe-2017-installation-view-SFMOMA-photo-Katherine-Du-Tiel_1200.jpg\" alt=\"Kerry Tribe, 'Standardized Patient' (installation view), 2017; Commissioned by SFMOMA.\" width=\"1200\" height=\"899\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/3.-New-Work-Kerry-Tribe-2017-installation-view-SFMOMA-photo-Katherine-Du-Tiel_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/3.-New-Work-Kerry-Tribe-2017-installation-view-SFMOMA-photo-Katherine-Du-Tiel_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/3.-New-Work-Kerry-Tribe-2017-installation-view-SFMOMA-photo-Katherine-Du-Tiel_1200-800x599.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/3.-New-Work-Kerry-Tribe-2017-installation-view-SFMOMA-photo-Katherine-Du-Tiel_1200-768x575.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/3.-New-Work-Kerry-Tribe-2017-installation-view-SFMOMA-photo-Katherine-Du-Tiel_1200-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/3.-New-Work-Kerry-Tribe-2017-installation-view-SFMOMA-photo-Katherine-Du-Tiel_1200-1180x884.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/3.-New-Work-Kerry-Tribe-2017-installation-view-SFMOMA-photo-Katherine-Du-Tiel_1200-960x719.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/3.-New-Work-Kerry-Tribe-2017-installation-view-SFMOMA-photo-Katherine-Du-Tiel_1200-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/3.-New-Work-Kerry-Tribe-2017-installation-view-SFMOMA-photo-Katherine-Du-Tiel_1200-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/3.-New-Work-Kerry-Tribe-2017-installation-view-SFMOMA-photo-Katherine-Du-Tiel_1200-520x390.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Kerry Tribe, ‘Standardized Patient’ (installation view), 2017; Commissioned by SFMOMA. \u003ccite>(Courtesy of the artist and 1301PE, Los Angles; Photo by Katherine Du Tiel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Tribe’s \u003cem>Standardized Patient\u003c/em> represents her most recent entry into an ongoing study of various medical worlds and their characters. That work includes 2009’s \u003cem>H.M.\u003c/em>, about “Patient H.M.,” a famous amnesiac who had only 20 seconds of memory recall, and a 2015 collaboration with a group afflicted with aphasia that led to the redoubtable video, \u003cem>The Aphasia Poetry Club\u003c/em>.\u003c/p>\n\u003cp>\u003cem>Standardized Patient\u003c/em> is that rare artwork that is unconcerned with itself, an installation that transcends the status of mere gesture among an art world in-crowd. Instead, it demonstrates how medical technologies have organized us — doctors and patients alike — into what the scientist and novelist C.P. Snow famously described as the “two cultures,” humanities and science. Viewers of \u003cem>Standardized Patient\u003c/em> see directly into that chasm: again and again, the actors draw out a painful realism, while many medical students choose to be right without being considerate.\u003c/p>\n\u003cp>Recently, artist and writer Bean Gilsdorf \u003ca href=\"https://openspace.sfmoma.org/2018/01/palliative-care/\" target=\"_blank\" rel=\"noopener\">wrote powerfully\u003c/a> of her own experience with the medical world. At one point, deep into the onerous journey of her mother’s acute myeloid leukemia, an attending physician condescendingly said to her mother, “Now, I know that’s a big word…” Gilsdorf remembers at that moment it was “as though my mother’s physical wasting was an outward sign of mental incapacity,” an arrogant misdiagnosis by the attending.\u003c/p>\n\u003cfigure id=\"attachment_13824796\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13824796\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/4.-New-Work-Kerry-Tribe-2017-installation-view-SFMOMA-photo-Katherine-Du-Tiel_1200.jpg\" alt=\"Kerry Tribe, 'Standardized Patient' (installation view), 2017; Commissioned by SFMOMA.\" width=\"1200\" height=\"841\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/4.-New-Work-Kerry-Tribe-2017-installation-view-SFMOMA-photo-Katherine-Du-Tiel_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/4.-New-Work-Kerry-Tribe-2017-installation-view-SFMOMA-photo-Katherine-Du-Tiel_1200-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/4.-New-Work-Kerry-Tribe-2017-installation-view-SFMOMA-photo-Katherine-Du-Tiel_1200-800x561.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/4.-New-Work-Kerry-Tribe-2017-installation-view-SFMOMA-photo-Katherine-Du-Tiel_1200-768x538.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/4.-New-Work-Kerry-Tribe-2017-installation-view-SFMOMA-photo-Katherine-Du-Tiel_1200-1020x715.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/4.-New-Work-Kerry-Tribe-2017-installation-view-SFMOMA-photo-Katherine-Du-Tiel_1200-1180x827.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/4.-New-Work-Kerry-Tribe-2017-installation-view-SFMOMA-photo-Katherine-Du-Tiel_1200-960x673.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/4.-New-Work-Kerry-Tribe-2017-installation-view-SFMOMA-photo-Katherine-Du-Tiel_1200-240x168.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/4.-New-Work-Kerry-Tribe-2017-installation-view-SFMOMA-photo-Katherine-Du-Tiel_1200-375x263.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/4.-New-Work-Kerry-Tribe-2017-installation-view-SFMOMA-photo-Katherine-Du-Tiel_1200-520x364.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Kerry Tribe, ‘Standardized Patient’ (installation view), 2017; Commissioned by SFMOMA. \u003ccite>(Courtesy of the artist and 1301PE, Los Angles; Photo by Katherine Du Tiel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A medical student in \u003cem>Standardized Patient\u003c/em> employs a similar eminence and absence of self-awareness. When speaking to an actor ostensibly near death, the student begins evangelizing, “I believe in heaven and hell and I believe in God and that Jesus died on the cross for me. I plan to go to heaven and live my life the best that I can.” The observing faculty member gently intervenes before the medical student can go on.\u003c/p>\n\u003cp>Medical education requires doctors to spend years looking at human beings as matter and mechanism. It shouldn’t be a surprise when they articulate this perspective out loud. And, unfortunately, their job is not always to “just be here for you,” as one student in the video reassuringly says. Yet, it doesn’t have to be this way.\u003c/p>\n\u003cp>By dint of its very existence, \u003cem>Standardized Patient\u003c/em> epitomizes art’s necessity in a society that prioritizes the STEM fields. The medical students in the videos will eventually become doctors somewhere. Some will be extremely fluent in specific deductive strategies. They will summon the pertinent swaths of medical knowledge. But when examining an anxious patient, will they also summon a capacity for patience and compassion? Will they push back against the structural forces that privilege efficiency over empathy? And will they recognize the need to be with their patients, rather than knowingly explain the patient’s world to them?\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>‘New Work: Kerry Tribe’ featuring the video piece ‘Standardized Patient’ is on view at the San Francisco Museum of Modern Art through Feb. 25, 2018. For more information, \u003ca href=\"https://www.sfmoma.org/exhibition/new-work-kerry-tribe/\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Why Are You Hearing Foghorns on a Sunny Day?",
"headTitle": "Why Are You Hearing Foghorns on a Sunny Day? | KQED",
"content": "\u003cp>It’s not every day you get to travel through time — but a carefully arranged group of audio speakers along the San Francisco waterfront allows visitors to do just that.\u003c/p>\n\u003cp>The centerpiece of \u003ca href=\"http://resoundings.org/\" rel=\"noopener\" target=\"_blank\">Bill Fontana\u003c/a>’s three-month-long installation at SFAI’s Fort Mason Campus, \u003ci>Landscape Sculpture with Foghorns\u003c/i>, transports its audiences through time — but not space — to 1981. It was then that Fontana participated in the \u003ca href=\"https://en.wikipedia.org/wiki/List_of_New_Music_America_performances\" rel=\"noopener\" target=\"_blank\">New Music America festival\u003c/a>, a week-long gathering of experimental sound and music luminaries in the Bay Area.\u003c/p>\n\u003cfigure id=\"attachment_13824768\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/Bill-Fontana_Landscape-Sculpture-with-Fog-Horns_Map-image_Reduced.jpg\" alt=\"Project ephemera from 'Landscape Sculpture with Foghorns,' June 1981; Design by Catherine Caldwell.\" width=\"2048\" height=\"1263\" class=\"size-full wp-image-13824768\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Bill-Fontana_Landscape-Sculpture-with-Fog-Horns_Map-image_Reduced.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Bill-Fontana_Landscape-Sculpture-with-Fog-Horns_Map-image_Reduced-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Bill-Fontana_Landscape-Sculpture-with-Fog-Horns_Map-image_Reduced-800x493.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Bill-Fontana_Landscape-Sculpture-with-Fog-Horns_Map-image_Reduced-768x474.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Bill-Fontana_Landscape-Sculpture-with-Fog-Horns_Map-image_Reduced-1020x629.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Bill-Fontana_Landscape-Sculpture-with-Fog-Horns_Map-image_Reduced-1920x1184.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Bill-Fontana_Landscape-Sculpture-with-Fog-Horns_Map-image_Reduced-1180x728.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Bill-Fontana_Landscape-Sculpture-with-Fog-Horns_Map-image_Reduced-960x592.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Bill-Fontana_Landscape-Sculpture-with-Fog-Horns_Map-image_Reduced-240x148.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Bill-Fontana_Landscape-Sculpture-with-Fog-Horns_Map-image_Reduced-375x231.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Bill-Fontana_Landscape-Sculpture-with-Fog-Horns_Map-image_Reduced-520x321.jpg 520w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Project ephemera from ‘Landscape Sculpture with Foghorns,’ June 1981; Design by Catherine Caldwell. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>During that festival, Brian Eno performed “Music for Museums” at the Berkeley Art Museum. Pauline Oliveros performed “Travelling Companions” in the Marx Meadow of Golden Gate Park. And Fontana, still early in his career as a composer and sound artist, installed eight microphones at points throughout the San Francisco Bay to pick up the sounds of foghorns in the foggy first weeks of June. (As much as the built landscape and demographics of San Francisco change, perhaps there is comfort in the fact that it will always be foggy in June.)\u003c/p>\n\u003cp>\u003ci>Landscape Sculpture with Foghorns\u003c/i> was such a mammoth project — with microphones positioned on Treasure Island, Alcatraz, Angel Island, the Golden Gate Bridge, the Marin Headlands and elsewhere — that it attracted the attention of KQED, who partnered with Fontana to release a \u003ca href=\"https://www.discogs.com/Bill-Fontana-Landscape-Sculpture-With-Fog-Horns/release/1719702\" rel=\"noopener\" target=\"_blank\">now sought-after long-playing LP\u003c/a> of Fontana’s recordings of the bay.\u003c/p>\n\u003cp>For the current reinstallation, eight speakers mounted along the eastern wall of Pier 2 broadcast the same ambient sounds heard by listeners in 1981: wind, waves, foghorns, the occasional automobile and seagulls. Mingling with the nearly identical sounds of 2018, the only clue that \u003ci>Landscape Sculpture with Foghorns\u003c/i> is temporally out of place is the fact that it can be heard on a perfectly sunny day.\u003c/p>\n\u003cfigure id=\"attachment_13824772\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/Fort-Mason-Black-Sea-Study_Bill-Fontana_Still1_1200.jpg\" alt=\"Bill Fontana, Video still from 'Black Sea Study,' 2014.\" width=\"1200\" height=\"899\" class=\"size-full wp-image-13824772\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Fort-Mason-Black-Sea-Study_Bill-Fontana_Still1_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Fort-Mason-Black-Sea-Study_Bill-Fontana_Still1_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Fort-Mason-Black-Sea-Study_Bill-Fontana_Still1_1200-800x599.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Fort-Mason-Black-Sea-Study_Bill-Fontana_Still1_1200-768x575.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Fort-Mason-Black-Sea-Study_Bill-Fontana_Still1_1200-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Fort-Mason-Black-Sea-Study_Bill-Fontana_Still1_1200-1180x884.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Fort-Mason-Black-Sea-Study_Bill-Fontana_Still1_1200-960x719.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Fort-Mason-Black-Sea-Study_Bill-Fontana_Still1_1200-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Fort-Mason-Black-Sea-Study_Bill-Fontana_Still1_1200-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Fort-Mason-Black-Sea-Study_Bill-Fontana_Still1_1200-520x390.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Bill Fontana, Video still from ‘Black Sea Study,’ 2014. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Complementing this “sound sculpture” — as Fontana terms such work — is a group of video pieces inside SFAI’s exhibition space. Three screens play \u003ci>Space Voyage\u003c/i>, studies of sound and moving image Fontana recently made around the Fort Mason waterfront. On one, a split pier piling moves hypnotically with the motion of the water beneath it, a glug-glug sound mingling with other watery noises. For those prone to motion sickness, gripping the cushioned bench provided may help. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Around the corner in the Gray Box Gallery (previously home to \u003ca href=\"https://ww2.kqed.org/arts/2017/12/12/dont-let-its-title-confuse-you-playtime-isnt-all-fun-and-games/\" rel=\"noopener\" target=\"_blank\">Isaac Julien\u003c/a>’s \u003ci>Better Life (Ten Thousand Waves)\u003c/i>), Fontana shows a newly created diptych from two recordings made years and thousands of miles apart. Attaching seismic accelerometers to a bell used in New York’s MetLife Tower and a temple bell in Kyoto, Fontana recorded the internal resonance of the bells at rest, capturing sounds imperceptible to the human ear. A technologically aided form of “deep listening,” Fontana describes the process as capturing the bells’ “acoustic energy.” \u003c/p>\n\u003cfigure id=\"attachment_13824773\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/Resonant-Silences_South-facing-Bell_Bill-Fontana_Still1_1200.jpg\" alt=\"Bill Fontana, Video still from 'Resonant Silences (Southern facing bell, MetLife Tower, New York),' 2015.\" width=\"1200\" height=\"714\" class=\"size-full wp-image-13824773\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Resonant-Silences_South-facing-Bell_Bill-Fontana_Still1_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Resonant-Silences_South-facing-Bell_Bill-Fontana_Still1_1200-160x95.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Resonant-Silences_South-facing-Bell_Bill-Fontana_Still1_1200-800x476.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Resonant-Silences_South-facing-Bell_Bill-Fontana_Still1_1200-768x457.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Resonant-Silences_South-facing-Bell_Bill-Fontana_Still1_1200-1020x607.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Resonant-Silences_South-facing-Bell_Bill-Fontana_Still1_1200-1180x702.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Resonant-Silences_South-facing-Bell_Bill-Fontana_Still1_1200-960x571.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Resonant-Silences_South-facing-Bell_Bill-Fontana_Still1_1200-240x143.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Resonant-Silences_South-facing-Bell_Bill-Fontana_Still1_1200-375x223.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Resonant-Silences_South-facing-Bell_Bill-Fontana_Still1_1200-520x309.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Bill Fontana, Video still from ‘Resonant Silences (Southern facing bell, MetLife Tower, New York),’ 2015. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to that internal resonance, Fontana’s equipment picks up the sounds each bell “hears,” depending on its location: city life, New York weather, chirping birds, footsteps on gravel. As Fontana says: “The bell is always listening.”\u003c/p>\n\u003cp>If it’s daunting to dwell too long on the magnitude of what humans cannot hear, the sonic space created by \u003ci>Landscape Sculpture with Foghorns\u003c/i> offers something a bit more soothing, despite its eerie displacement in time. As a foghorn blares on one speaker, another location picks up the same blast a bit later, creating a deep call and response that sounds symphonic.\u003c/p>\n\u003cp>I found myself walking away from Fort Mason listening intently. How long could I hear the foghorns fading behind me? What was that new gurgling sound coming from under the sidewalk? From its outset, \u003ci>Landscape Sculpture with Foghorns\u003c/i> asks if deep looking and listening can change the way we experience the world. Thankfully, even nearly four decades later — it can.\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>‘Bill Fontana: Landscape Sculpture with Foghorns’ is on view at the San Francisco Art Institute’s Fort Mason Campus through April 22, 2018. For more information, \u003ca href=\"http://www.sfai.edu/exhibitions-public-events/detail/bill-fontana\" rel=\"noopener\" target=\"_blank\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"excerpt": "SFAI reinstalls a 1981 project by Bill Fontana on a Fort Mason pier, mingling the past and present sounds of the San Francisco Bay.",
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"description": "SFAI reinstalls a 1981 project by Bill Fontana on a Fort Mason pier, mingling the past and present sounds of the San Francisco Bay.",
"title": "Why Are You Hearing Foghorns on a Sunny Day? | KQED",
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"headline": "Why Are You Hearing Foghorns on a Sunny Day?",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s not every day you get to travel through time — but a carefully arranged group of audio speakers along the San Francisco waterfront allows visitors to do just that.\u003c/p>\n\u003cp>The centerpiece of \u003ca href=\"http://resoundings.org/\" rel=\"noopener\" target=\"_blank\">Bill Fontana\u003c/a>’s three-month-long installation at SFAI’s Fort Mason Campus, \u003ci>Landscape Sculpture with Foghorns\u003c/i>, transports its audiences through time — but not space — to 1981. It was then that Fontana participated in the \u003ca href=\"https://en.wikipedia.org/wiki/List_of_New_Music_America_performances\" rel=\"noopener\" target=\"_blank\">New Music America festival\u003c/a>, a week-long gathering of experimental sound and music luminaries in the Bay Area.\u003c/p>\n\u003cfigure id=\"attachment_13824768\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/Bill-Fontana_Landscape-Sculpture-with-Fog-Horns_Map-image_Reduced.jpg\" alt=\"Project ephemera from 'Landscape Sculpture with Foghorns,' June 1981; Design by Catherine Caldwell.\" width=\"2048\" height=\"1263\" class=\"size-full wp-image-13824768\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Bill-Fontana_Landscape-Sculpture-with-Fog-Horns_Map-image_Reduced.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Bill-Fontana_Landscape-Sculpture-with-Fog-Horns_Map-image_Reduced-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Bill-Fontana_Landscape-Sculpture-with-Fog-Horns_Map-image_Reduced-800x493.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Bill-Fontana_Landscape-Sculpture-with-Fog-Horns_Map-image_Reduced-768x474.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Bill-Fontana_Landscape-Sculpture-with-Fog-Horns_Map-image_Reduced-1020x629.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Bill-Fontana_Landscape-Sculpture-with-Fog-Horns_Map-image_Reduced-1920x1184.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Bill-Fontana_Landscape-Sculpture-with-Fog-Horns_Map-image_Reduced-1180x728.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Bill-Fontana_Landscape-Sculpture-with-Fog-Horns_Map-image_Reduced-960x592.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Bill-Fontana_Landscape-Sculpture-with-Fog-Horns_Map-image_Reduced-240x148.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Bill-Fontana_Landscape-Sculpture-with-Fog-Horns_Map-image_Reduced-375x231.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Bill-Fontana_Landscape-Sculpture-with-Fog-Horns_Map-image_Reduced-520x321.jpg 520w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Project ephemera from ‘Landscape Sculpture with Foghorns,’ June 1981; Design by Catherine Caldwell. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>During that festival, Brian Eno performed “Music for Museums” at the Berkeley Art Museum. Pauline Oliveros performed “Travelling Companions” in the Marx Meadow of Golden Gate Park. And Fontana, still early in his career as a composer and sound artist, installed eight microphones at points throughout the San Francisco Bay to pick up the sounds of foghorns in the foggy first weeks of June. (As much as the built landscape and demographics of San Francisco change, perhaps there is comfort in the fact that it will always be foggy in June.)\u003c/p>\n\u003cp>\u003ci>Landscape Sculpture with Foghorns\u003c/i> was such a mammoth project — with microphones positioned on Treasure Island, Alcatraz, Angel Island, the Golden Gate Bridge, the Marin Headlands and elsewhere — that it attracted the attention of KQED, who partnered with Fontana to release a \u003ca href=\"https://www.discogs.com/Bill-Fontana-Landscape-Sculpture-With-Fog-Horns/release/1719702\" rel=\"noopener\" target=\"_blank\">now sought-after long-playing LP\u003c/a> of Fontana’s recordings of the bay.\u003c/p>\n\u003cp>For the current reinstallation, eight speakers mounted along the eastern wall of Pier 2 broadcast the same ambient sounds heard by listeners in 1981: wind, waves, foghorns, the occasional automobile and seagulls. Mingling with the nearly identical sounds of 2018, the only clue that \u003ci>Landscape Sculpture with Foghorns\u003c/i> is temporally out of place is the fact that it can be heard on a perfectly sunny day.\u003c/p>\n\u003cfigure id=\"attachment_13824772\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/Fort-Mason-Black-Sea-Study_Bill-Fontana_Still1_1200.jpg\" alt=\"Bill Fontana, Video still from 'Black Sea Study,' 2014.\" width=\"1200\" height=\"899\" class=\"size-full wp-image-13824772\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Fort-Mason-Black-Sea-Study_Bill-Fontana_Still1_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Fort-Mason-Black-Sea-Study_Bill-Fontana_Still1_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Fort-Mason-Black-Sea-Study_Bill-Fontana_Still1_1200-800x599.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Fort-Mason-Black-Sea-Study_Bill-Fontana_Still1_1200-768x575.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Fort-Mason-Black-Sea-Study_Bill-Fontana_Still1_1200-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Fort-Mason-Black-Sea-Study_Bill-Fontana_Still1_1200-1180x884.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Fort-Mason-Black-Sea-Study_Bill-Fontana_Still1_1200-960x719.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Fort-Mason-Black-Sea-Study_Bill-Fontana_Still1_1200-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Fort-Mason-Black-Sea-Study_Bill-Fontana_Still1_1200-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Fort-Mason-Black-Sea-Study_Bill-Fontana_Still1_1200-520x390.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Bill Fontana, Video still from ‘Black Sea Study,’ 2014. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Complementing this “sound sculpture” — as Fontana terms such work — is a group of video pieces inside SFAI’s exhibition space. Three screens play \u003ci>Space Voyage\u003c/i>, studies of sound and moving image Fontana recently made around the Fort Mason waterfront. On one, a split pier piling moves hypnotically with the motion of the water beneath it, a glug-glug sound mingling with other watery noises. For those prone to motion sickness, gripping the cushioned bench provided may help. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Around the corner in the Gray Box Gallery (previously home to \u003ca href=\"https://ww2.kqed.org/arts/2017/12/12/dont-let-its-title-confuse-you-playtime-isnt-all-fun-and-games/\" rel=\"noopener\" target=\"_blank\">Isaac Julien\u003c/a>’s \u003ci>Better Life (Ten Thousand Waves)\u003c/i>), Fontana shows a newly created diptych from two recordings made years and thousands of miles apart. Attaching seismic accelerometers to a bell used in New York’s MetLife Tower and a temple bell in Kyoto, Fontana recorded the internal resonance of the bells at rest, capturing sounds imperceptible to the human ear. A technologically aided form of “deep listening,” Fontana describes the process as capturing the bells’ “acoustic energy.” \u003c/p>\n\u003cfigure id=\"attachment_13824773\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/Resonant-Silences_South-facing-Bell_Bill-Fontana_Still1_1200.jpg\" alt=\"Bill Fontana, Video still from 'Resonant Silences (Southern facing bell, MetLife Tower, New York),' 2015.\" width=\"1200\" height=\"714\" class=\"size-full wp-image-13824773\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Resonant-Silences_South-facing-Bell_Bill-Fontana_Still1_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Resonant-Silences_South-facing-Bell_Bill-Fontana_Still1_1200-160x95.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Resonant-Silences_South-facing-Bell_Bill-Fontana_Still1_1200-800x476.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Resonant-Silences_South-facing-Bell_Bill-Fontana_Still1_1200-768x457.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Resonant-Silences_South-facing-Bell_Bill-Fontana_Still1_1200-1020x607.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Resonant-Silences_South-facing-Bell_Bill-Fontana_Still1_1200-1180x702.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Resonant-Silences_South-facing-Bell_Bill-Fontana_Still1_1200-960x571.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Resonant-Silences_South-facing-Bell_Bill-Fontana_Still1_1200-240x143.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Resonant-Silences_South-facing-Bell_Bill-Fontana_Still1_1200-375x223.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Resonant-Silences_South-facing-Bell_Bill-Fontana_Still1_1200-520x309.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Bill Fontana, Video still from ‘Resonant Silences (Southern facing bell, MetLife Tower, New York),’ 2015. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to that internal resonance, Fontana’s equipment picks up the sounds each bell “hears,” depending on its location: city life, New York weather, chirping birds, footsteps on gravel. As Fontana says: “The bell is always listening.”\u003c/p>\n\u003cp>If it’s daunting to dwell too long on the magnitude of what humans cannot hear, the sonic space created by \u003ci>Landscape Sculpture with Foghorns\u003c/i> offers something a bit more soothing, despite its eerie displacement in time. As a foghorn blares on one speaker, another location picks up the same blast a bit later, creating a deep call and response that sounds symphonic.\u003c/p>\n\u003cp>I found myself walking away from Fort Mason listening intently. How long could I hear the foghorns fading behind me? What was that new gurgling sound coming from under the sidewalk? From its outset, \u003ci>Landscape Sculpture with Foghorns\u003c/i> asks if deep looking and listening can change the way we experience the world. Thankfully, even nearly four decades later — it can.\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>‘Bill Fontana: Landscape Sculpture with Foghorns’ is on view at the San Francisco Art Institute’s Fort Mason Campus through April 22, 2018. For more information, \u003ca href=\"http://www.sfai.edu/exhibitions-public-events/detail/bill-fontana\" rel=\"noopener\" target=\"_blank\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "black-panther-costume-designer-draws-on-the-sacred-geometry-of-africa",
"title": "'Black Panther' Costume Designer Draws on 'the Sacred Geometry of Africa'",
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"headTitle": "‘Black Panther’ Costume Designer Draws on ‘the Sacred Geometry of Africa’ | KQED",
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"content": "\u003cp>\u003cem>Black Panther\u003c/em> is the latest offering from Marvel and Disney — if you don’t already know the story, here’s quick synopsis: It’s about T’Challa, the superhero Black Panther and the king of Wakanda, an isolated, technologically advanced African country that sits upon a rich deposit of the metal vibranium, the strongest substance in the Marvel world.\u003c/p>\n\u003cp>When you see the movie, you’ll notice quickly how Wakanda looks like the future: It’s full of details like healing tables and hovercraft, all powered by vibranium. But if you look at the costumes, you can see that that Wakanda’s Afro-futurism is grounded in the past.\u003c/p>\n\u003cp>Designer Ruth Carter — whose previous films include \u003cem>Selma\u003c/em>, \u003cem>Malcolm X\u003c/em> and \u003cem>Roots\u003c/em> — pulled colors, shapes, jewelry, and textures from tribes all over Africa. She says she wanted to tell a story “of brilliance, royalty, intrigue — you name it. I feel that you can tell a story through clothing.”\u003c/p>\n\u003cp>One detail Carter particularly likes is in the Black Panther suit worn by Chadwick Boseman, who plays T’Challa. The suit was created by Marvel character designer Ryan Meinerding, but the fabric has a triangular surface pattern that’s all Carter.\u003c/p>\n\u003cp>“That triangle is the sacred geometry of Africa,” Carter says. “I call that pattern the ‘Okavango’ pattern. I felt that it made his suit have this character that would, in the wide shots, make him this superhero but in the close-up, you see this beautiful pattern that is consistent with a lot of the art of Africa and would turn him into this African king.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Carter’s costumes needed to evoke an African country that had never been colonized, one that looked toward the future but was based on a real past. So she found inspiration from African art and craft, and indigenous tribal wear from all over the continent. Then she and her team worked to create group drawings of the various groups in Wakanda.\u003c/p>\n\u003cfigure id=\"attachment_13824873\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/ml_doramilaje_d2_afrancisco_091616_custom-aba06086cde7367d700541099ea8ad0aab41fb03-800x1006.jpg\" alt=\"The armor worn by the Dora Milaje -- Wakanda's elite female guard -- draws on traditions from Kenya, South Africa and Namibia.\" width=\"800\" height=\"1006\" class=\"size-medium wp-image-13824873\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ml_doramilaje_d2_afrancisco_091616_custom-aba06086cde7367d700541099ea8ad0aab41fb03-800x1006.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ml_doramilaje_d2_afrancisco_091616_custom-aba06086cde7367d700541099ea8ad0aab41fb03-160x201.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ml_doramilaje_d2_afrancisco_091616_custom-aba06086cde7367d700541099ea8ad0aab41fb03-768x965.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ml_doramilaje_d2_afrancisco_091616_custom-aba06086cde7367d700541099ea8ad0aab41fb03-1020x1282.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ml_doramilaje_d2_afrancisco_091616_custom-aba06086cde7367d700541099ea8ad0aab41fb03-1920x2413.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ml_doramilaje_d2_afrancisco_091616_custom-aba06086cde7367d700541099ea8ad0aab41fb03-1180x1483.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ml_doramilaje_d2_afrancisco_091616_custom-aba06086cde7367d700541099ea8ad0aab41fb03-960x1207.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ml_doramilaje_d2_afrancisco_091616_custom-aba06086cde7367d700541099ea8ad0aab41fb03-240x302.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ml_doramilaje_d2_afrancisco_091616_custom-aba06086cde7367d700541099ea8ad0aab41fb03-375x471.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ml_doramilaje_d2_afrancisco_091616_custom-aba06086cde7367d700541099ea8ad0aab41fb03-520x654.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ml_doramilaje_d2_afrancisco_091616_custom-aba06086cde7367d700541099ea8ad0aab41fb03.jpg 1629w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The armor worn by the Dora Milaje — Wakanda’s elite female guard — draws on traditions from Kenya, South Africa and Namibia. \u003ccite>(Ryan Meinderding, Anthony Francisco/Marvel Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“And we did them as they were centuries ago,” she says. “Then, it was a process of deciding how we go from there in the past, to where Wakanda would be in the future.” For Carter and her team, that meant using the same color palette, the same headdresses or beadwork but with more modern sillhouettes. The Dora Milaje, for example, are Wakanda’s elite team of female warriors, and they wear bright red military uniforms, a leather harness and beaded tabard, and metal neck rings and armor. It’s a striking look that Carter created “based on some of the beloved practices of many indiginous tribes” like the Maasai of Kenya, the Ndebele of South Africa, the Himba people of Namibia.\u003c/p>\n\u003cp>The bright red color comes from those tribes in Kenya. The Dora Milaje’s leather harnesses were crafted in the way of South African leathersmiths — woven together with a big heavy stitch. Their tabards feature intricate beading, a nod to the beadwork found throughout Africa. Even their tights are patterned with the same triangular pattern you can see on the Black Panther suit.\u003c/p>\n\u003cp>“I really wanted this to have a feeling that if you were an aspiring Dora Milaje and you were granted permission to be a member, you would be presented with this beautiful honor and this beautiful uniform that was exclusively yours and handsmade by craftsmen.”\u003c/p>\n\u003cp>But where Carter stayed closer to traditional tribal wear for the Dora Milaje, an institution in Wakanda, Carter looked further into the future with another character, Shuri. She’s T’Challa’s younger sister and the resident tech genius — her lab is a science fiction dream and she creates and builds all of Wakanda’s technology, including the Black Panther suit. For Shuri, Carter was guided by one scene in the film: Representatives from each tribe have gathered for the King’s Challenge — anyone wishing to take the throne must challenge T’Challa to a fight. Shuri wears a traditional costume, including a corset inspired by the Dinka people, and she shouts at one point, “Can we get a move on? This corset is uncomfortable.\u003c/p>\n\u003cp>“So she told us right away that that’s not where she comes from, that’s not where she wants to be mentally,” Carter says. From there on out, Shuri dresses in clothes with modern sillhouettes and fabrics — Carter chose youthful, vibrant colors overlaid with mesh fabrics or bold outlines. But Carter says the shape of her clothing still holds meaning.\u003c/p>\n\u003cfigure id=\"attachment_13824874\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/shuri_silver-dress_custom-91772dba2c35b9cc11f1ccb9bd29eb08ff61534a-800x1700.jpg\" alt=\"T'Challa's sister Shuri wears a more modern silhouette.\" width=\"800\" height=\"1700\" class=\"size-medium wp-image-13824874\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/shuri_silver-dress_custom-91772dba2c35b9cc11f1ccb9bd29eb08ff61534a-800x1700.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/shuri_silver-dress_custom-91772dba2c35b9cc11f1ccb9bd29eb08ff61534a-160x340.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/shuri_silver-dress_custom-91772dba2c35b9cc11f1ccb9bd29eb08ff61534a-768x1632.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/shuri_silver-dress_custom-91772dba2c35b9cc11f1ccb9bd29eb08ff61534a-1020x2167.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/shuri_silver-dress_custom-91772dba2c35b9cc11f1ccb9bd29eb08ff61534a-1920x4079.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/shuri_silver-dress_custom-91772dba2c35b9cc11f1ccb9bd29eb08ff61534a-1180x2507.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/shuri_silver-dress_custom-91772dba2c35b9cc11f1ccb9bd29eb08ff61534a-960x2040.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/shuri_silver-dress_custom-91772dba2c35b9cc11f1ccb9bd29eb08ff61534a-240x510.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/shuri_silver-dress_custom-91772dba2c35b9cc11f1ccb9bd29eb08ff61534a-375x797.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/shuri_silver-dress_custom-91772dba2c35b9cc11f1ccb9bd29eb08ff61534a-520x1105.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/shuri_silver-dress_custom-91772dba2c35b9cc11f1ccb9bd29eb08ff61534a.jpg 964w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">T’Challa’s sister Shuri wears a more modern silhouette. \u003ccite>(Ruth Carter/Marvel Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Her first dress is a white dress and we created the front of it to be this cylindrical round shape — and I was trying to connect shapes within Wakanda so you see them repeat. It’s the language of Wakanda.”\u003c/p>\n\u003cp>Carter knows a lot about the world of Wakanda now, but when she was first asked to interview for Black Panther, she thought it was a simple superhero film. “I knew about him as a superhero, but I didn’t know that he lived in a secret place called Wakanda — I knew he was from Africa, but I didn’t know that they weren’t colonized and they had all different types of tribes within their little hidden country.”\u003c/p>\n\u003cp>Carter says the more she understood about Black Panther and the people of Wakanda, she began to get scared. “This is [a character] that’s gone back fifty years and I’m going to be given the task to create this world on camera for the fans!”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>But she got over her fear and set about creating a rich tapestry of color and texture. She says her experience on the film underscored how costume design is art. “I learned that I was an artist, that I could communicate and tell stories through this wonderful medium of adornment. The adornment of Africa has always been a part of their beauty from scarification to beadwork to woodwork, and I fell in love with it even more.” \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=%27Black+Panther%27+Costume+Designer+Draws+On+%27The+Sacred+Geometry+Of+Africa%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Black Panther\u003c/em> is the latest offering from Marvel and Disney — if you don’t already know the story, here’s quick synopsis: It’s about T’Challa, the superhero Black Panther and the king of Wakanda, an isolated, technologically advanced African country that sits upon a rich deposit of the metal vibranium, the strongest substance in the Marvel world.\u003c/p>\n\u003cp>When you see the movie, you’ll notice quickly how Wakanda looks like the future: It’s full of details like healing tables and hovercraft, all powered by vibranium. But if you look at the costumes, you can see that that Wakanda’s Afro-futurism is grounded in the past.\u003c/p>\n\u003cp>Designer Ruth Carter — whose previous films include \u003cem>Selma\u003c/em>, \u003cem>Malcolm X\u003c/em> and \u003cem>Roots\u003c/em> — pulled colors, shapes, jewelry, and textures from tribes all over Africa. She says she wanted to tell a story “of brilliance, royalty, intrigue — you name it. I feel that you can tell a story through clothing.”\u003c/p>\n\u003cp>One detail Carter particularly likes is in the Black Panther suit worn by Chadwick Boseman, who plays T’Challa. The suit was created by Marvel character designer Ryan Meinerding, but the fabric has a triangular surface pattern that’s all Carter.\u003c/p>\n\u003cp>“That triangle is the sacred geometry of Africa,” Carter says. “I call that pattern the ‘Okavango’ pattern. I felt that it made his suit have this character that would, in the wide shots, make him this superhero but in the close-up, you see this beautiful pattern that is consistent with a lot of the art of Africa and would turn him into this African king.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Carter’s costumes needed to evoke an African country that had never been colonized, one that looked toward the future but was based on a real past. So she found inspiration from African art and craft, and indigenous tribal wear from all over the continent. Then she and her team worked to create group drawings of the various groups in Wakanda.\u003c/p>\n\u003cfigure id=\"attachment_13824873\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/ml_doramilaje_d2_afrancisco_091616_custom-aba06086cde7367d700541099ea8ad0aab41fb03-800x1006.jpg\" alt=\"The armor worn by the Dora Milaje -- Wakanda's elite female guard -- draws on traditions from Kenya, South Africa and Namibia.\" width=\"800\" height=\"1006\" class=\"size-medium wp-image-13824873\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ml_doramilaje_d2_afrancisco_091616_custom-aba06086cde7367d700541099ea8ad0aab41fb03-800x1006.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ml_doramilaje_d2_afrancisco_091616_custom-aba06086cde7367d700541099ea8ad0aab41fb03-160x201.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ml_doramilaje_d2_afrancisco_091616_custom-aba06086cde7367d700541099ea8ad0aab41fb03-768x965.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ml_doramilaje_d2_afrancisco_091616_custom-aba06086cde7367d700541099ea8ad0aab41fb03-1020x1282.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ml_doramilaje_d2_afrancisco_091616_custom-aba06086cde7367d700541099ea8ad0aab41fb03-1920x2413.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ml_doramilaje_d2_afrancisco_091616_custom-aba06086cde7367d700541099ea8ad0aab41fb03-1180x1483.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ml_doramilaje_d2_afrancisco_091616_custom-aba06086cde7367d700541099ea8ad0aab41fb03-960x1207.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ml_doramilaje_d2_afrancisco_091616_custom-aba06086cde7367d700541099ea8ad0aab41fb03-240x302.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ml_doramilaje_d2_afrancisco_091616_custom-aba06086cde7367d700541099ea8ad0aab41fb03-375x471.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ml_doramilaje_d2_afrancisco_091616_custom-aba06086cde7367d700541099ea8ad0aab41fb03-520x654.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ml_doramilaje_d2_afrancisco_091616_custom-aba06086cde7367d700541099ea8ad0aab41fb03.jpg 1629w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The armor worn by the Dora Milaje — Wakanda’s elite female guard — draws on traditions from Kenya, South Africa and Namibia. \u003ccite>(Ryan Meinderding, Anthony Francisco/Marvel Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“And we did them as they were centuries ago,” she says. “Then, it was a process of deciding how we go from there in the past, to where Wakanda would be in the future.” For Carter and her team, that meant using the same color palette, the same headdresses or beadwork but with more modern sillhouettes. The Dora Milaje, for example, are Wakanda’s elite team of female warriors, and they wear bright red military uniforms, a leather harness and beaded tabard, and metal neck rings and armor. It’s a striking look that Carter created “based on some of the beloved practices of many indiginous tribes” like the Maasai of Kenya, the Ndebele of South Africa, the Himba people of Namibia.\u003c/p>\n\u003cp>The bright red color comes from those tribes in Kenya. The Dora Milaje’s leather harnesses were crafted in the way of South African leathersmiths — woven together with a big heavy stitch. Their tabards feature intricate beading, a nod to the beadwork found throughout Africa. Even their tights are patterned with the same triangular pattern you can see on the Black Panther suit.\u003c/p>\n\u003cp>“I really wanted this to have a feeling that if you were an aspiring Dora Milaje and you were granted permission to be a member, you would be presented with this beautiful honor and this beautiful uniform that was exclusively yours and handsmade by craftsmen.”\u003c/p>\n\u003cp>But where Carter stayed closer to traditional tribal wear for the Dora Milaje, an institution in Wakanda, Carter looked further into the future with another character, Shuri. She’s T’Challa’s younger sister and the resident tech genius — her lab is a science fiction dream and she creates and builds all of Wakanda’s technology, including the Black Panther suit. For Shuri, Carter was guided by one scene in the film: Representatives from each tribe have gathered for the King’s Challenge — anyone wishing to take the throne must challenge T’Challa to a fight. Shuri wears a traditional costume, including a corset inspired by the Dinka people, and she shouts at one point, “Can we get a move on? This corset is uncomfortable.\u003c/p>\n\u003cp>“So she told us right away that that’s not where she comes from, that’s not where she wants to be mentally,” Carter says. From there on out, Shuri dresses in clothes with modern sillhouettes and fabrics — Carter chose youthful, vibrant colors overlaid with mesh fabrics or bold outlines. But Carter says the shape of her clothing still holds meaning.\u003c/p>\n\u003cfigure id=\"attachment_13824874\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/shuri_silver-dress_custom-91772dba2c35b9cc11f1ccb9bd29eb08ff61534a-800x1700.jpg\" alt=\"T'Challa's sister Shuri wears a more modern silhouette.\" width=\"800\" height=\"1700\" class=\"size-medium wp-image-13824874\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/shuri_silver-dress_custom-91772dba2c35b9cc11f1ccb9bd29eb08ff61534a-800x1700.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/shuri_silver-dress_custom-91772dba2c35b9cc11f1ccb9bd29eb08ff61534a-160x340.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/shuri_silver-dress_custom-91772dba2c35b9cc11f1ccb9bd29eb08ff61534a-768x1632.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/shuri_silver-dress_custom-91772dba2c35b9cc11f1ccb9bd29eb08ff61534a-1020x2167.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/shuri_silver-dress_custom-91772dba2c35b9cc11f1ccb9bd29eb08ff61534a-1920x4079.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/shuri_silver-dress_custom-91772dba2c35b9cc11f1ccb9bd29eb08ff61534a-1180x2507.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/shuri_silver-dress_custom-91772dba2c35b9cc11f1ccb9bd29eb08ff61534a-960x2040.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/shuri_silver-dress_custom-91772dba2c35b9cc11f1ccb9bd29eb08ff61534a-240x510.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/shuri_silver-dress_custom-91772dba2c35b9cc11f1ccb9bd29eb08ff61534a-375x797.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/shuri_silver-dress_custom-91772dba2c35b9cc11f1ccb9bd29eb08ff61534a-520x1105.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/shuri_silver-dress_custom-91772dba2c35b9cc11f1ccb9bd29eb08ff61534a.jpg 964w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">T’Challa’s sister Shuri wears a more modern silhouette. \u003ccite>(Ruth Carter/Marvel Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Her first dress is a white dress and we created the front of it to be this cylindrical round shape — and I was trying to connect shapes within Wakanda so you see them repeat. It’s the language of Wakanda.”\u003c/p>\n\u003cp>Carter knows a lot about the world of Wakanda now, but when she was first asked to interview for Black Panther, she thought it was a simple superhero film. “I knew about him as a superhero, but I didn’t know that he lived in a secret place called Wakanda — I knew he was from Africa, but I didn’t know that they weren’t colonized and they had all different types of tribes within their little hidden country.”\u003c/p>\n\u003cp>Carter says the more she understood about Black Panther and the people of Wakanda, she began to get scared. “This is [a character] that’s gone back fifty years and I’m going to be given the task to create this world on camera for the fans!”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But she got over her fear and set about creating a rich tapestry of color and texture. She says her experience on the film underscored how costume design is art. “I learned that I was an artist, that I could communicate and tell stories through this wonderful medium of adornment. The adornment of Africa has always been a part of their beauty from scarification to beadwork to woodwork, and I fell in love with it even more.” \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=%27Black+Panther%27+Costume+Designer+Draws+On+%27The+Sacred+Geometry+Of+Africa%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Young Oakland Superheroes Fight for Their Mural",
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"content": "\u003cp>When the third and fourth graders of Oakland’s Hoover Elementary School started creating superheroes to creatively address the problems in their community, they had no idea they would have to become their own heroes — and fight a battle against Caltrans.\u003c/p>\n\u003cp>\u003ca href=\"http://oaklandmuralproject.com/\" target=\"_blank\" rel=\"noopener\">The Oakland Super Heroes Project\u003c/a>, a classroom curriculum and mural series led by \u003ca href=\"http://www.ahc-oakland.org/\" target=\"_blank\" rel=\"noopener\">Attitudinal Healing Connection\u003c/a>, worked with Hoover students to invent themselves as superheroes. Fantastic Girl has water powers to stop floods and fires and to clean the community; Lava Girl and Lava Boy melt guns with their lava vision; Golden Boy has an electric force field to fight crime; and D-Bow Jalapeño uses magical cheese to transform the community.\u003c/p>\n\u003cp>Even though the Hoover students’ design would be the project’s fourth \u003ca href=\"https://ww2.kqed.org/arts/2016/06/08/spirit-of-fallen-artist-rises-in-oakland-super-heroes-mural-project/\" target=\"_blank\" rel=\"noopener\">superheroes mural on a wall under an Oakland freeway overpass\u003c/a>, Caltrans suddenly required the artists to sign over the copyright, halting progress on the mural.\u003c/p>\n\u003cp>Unwilling to back down, the project curriculum expanded to include poster-making, letter writing, and protest chants. What would normally take about a year — from concepts to designs to completion — became a two-and-a-half year crash course in taking on the California Department of Transportation.\u003c/p>\n\u003cp>“I learned I can do anything I put my mind to,” says student artist Daijon Kelly. “Nobody can stop me.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Watch the now fifth and sixth graders of Hoover Elementary over the course of their unexpected journey to bring art and beauty into their community. – \u003cem>Text by Sarah Hotchkiss\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When the third and fourth graders of Oakland’s Hoover Elementary School started creating superheroes to creatively address the problems in their community, they had no idea they would have to become their own heroes — and fight a battle against Caltrans.\u003c/p>\n\u003cp>\u003ca href=\"http://oaklandmuralproject.com/\" target=\"_blank\" rel=\"noopener\">The Oakland Super Heroes Project\u003c/a>, a classroom curriculum and mural series led by \u003ca href=\"http://www.ahc-oakland.org/\" target=\"_blank\" rel=\"noopener\">Attitudinal Healing Connection\u003c/a>, worked with Hoover students to invent themselves as superheroes. Fantastic Girl has water powers to stop floods and fires and to clean the community; Lava Girl and Lava Boy melt guns with their lava vision; Golden Boy has an electric force field to fight crime; and D-Bow Jalapeño uses magical cheese to transform the community.\u003c/p>\n\u003cp>Even though the Hoover students’ design would be the project’s fourth \u003ca href=\"https://ww2.kqed.org/arts/2016/06/08/spirit-of-fallen-artist-rises-in-oakland-super-heroes-mural-project/\" target=\"_blank\" rel=\"noopener\">superheroes mural on a wall under an Oakland freeway overpass\u003c/a>, Caltrans suddenly required the artists to sign over the copyright, halting progress on the mural.\u003c/p>\n\u003cp>Unwilling to back down, the project curriculum expanded to include poster-making, letter writing, and protest chants. What would normally take about a year — from concepts to designs to completion — became a two-and-a-half year crash course in taking on the California Department of Transportation.\u003c/p>\n\u003cp>“I learned I can do anything I put my mind to,” says student artist Daijon Kelly. “Nobody can stop me.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Watch the now fifth and sixth graders of Hoover Elementary over the course of their unexpected journey to bring art and beauty into their community. – \u003cem>Text by Sarah Hotchkiss\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Flipping the Narrative of the Undocumented from Pain to Joy",
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"content": "\u003cp>In the year since Donald Trump took over the White House, administrative arrests by ICE rose by 30 percent. The fear and uncertainty felt by the undocumented community are palpable across the United States, but one thing many seem to forget is that underneath these feelings, there are regular people going about their daily lives: parents who work hard to raise their families, students who stress over getting good grades in school, doctors saving lives and artists crafting their next projects.\u003c/p>\n\u003cp>The \u003cem>#UndocuJoy\u003c/em> exhibit currently on display at San Francisco’s \u003ca href=\"http://www.galeriadelaraza.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Galería de la Raza\u003c/a> reminds viewers of exactly that, showcasing the undocumented community as more than just activists or people living in fear — the only narratives most mainstream media tends to portray.\u003c/p>\n\u003cfigure id=\"attachment_13824691\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13824691\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/NicolasGonzalez_640.jpg\" alt=\"Work by Nicolas Gonzalez at the opening of '#UndocuJoy.'\" width=\"640\" height=\"853\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/NicolasGonzalez_640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/NicolasGonzalez_640-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/NicolasGonzalez_640-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/NicolasGonzalez_640-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/NicolasGonzalez_640-520x693.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Work by Nicolas Gonzalez at the opening of ‘#UndocuJoy.’ \u003ccite>(Courtesy of Define American)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>#UndocuJoy\u003c/em> includes the work of 14 talented artists, undocumented and formerly undocumented. As visitors walk through the gallery, the art ranges from textiles, sculptures, photography, painting, and video.\u003c/p>\n\u003cp>The show was curated by Yosimar Reyes, a poet and artist-in-residence at \u003ca href=\"https://defineamerican.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Define American\u003c/a>, a nonprofit media and culture organization dedicated to shifting the conversation around immigration and the ever-changing landscape of America.\u003c/p>\n\u003cp>“In the mainstream media, we are not viewed as strategists, as thinkers, as artists, we are only viewed as subjects,” Reyes says, “not necessarily as someone articulate enough to propose an analysis of what is happening.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The exhibit at Galería de la Raza is not the first effort for Reyes, who lives in Los Angeles — back home, he curated two other similar projects. The first one in Boyle Heights was called \u003cem>\u003ca href=\"http://www.latimes.com/local/california/la-me-ln-immigration-20170005-story.html\" target=\"_blank\" rel=\"noopener noreferrer\">We Never Needed Papers to Thrive\u003c/a>\u003c/em>, the second installment was \u003cem>No Ban, No Wall\u003c/em>, a joint effort with the Muslim community in Southern California. These exhibitions showcased the work solely of undocumented artists as a celebration of strength and resilience.\u003c/p>\n\u003cfigure id=\"attachment_13824690\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13824690\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/FeiHernandez_1200.jpg\" alt=\"Work by Féi Hernandez at the opening of '#UndocuJoy.'\" width=\"1200\" height=\"1092\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/FeiHernandez_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/FeiHernandez_1200-160x146.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/FeiHernandez_1200-800x728.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/FeiHernandez_1200-768x699.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/FeiHernandez_1200-1020x928.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/FeiHernandez_1200-1180x1074.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/FeiHernandez_1200-960x874.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/FeiHernandez_1200-240x218.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/FeiHernandez_1200-375x341.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/FeiHernandez_1200-520x473.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Work by Féi Hernandez at the opening of ‘#UndocuJoy.’ \u003ccite>(Courtesy of Define American)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“When people talk about the undocumented community, they talk about fear, and I didn’t want to do that with the exhibit,” Reyes says, “I wanted it to be about joy.”\u003c/p>\n\u003cp>Ani Rivera, executive director at Galería de la Raza, was one of Reyes’ most fervent supporters in the effort to bring this exhibit to San Francisco. “It’s a moment to celebrate and flip the narrative,” says Rivera. “The exhibition brings these folks together to a space that has been historically about organizing social justice, and [shows] how art can change and transform lives.”\u003c/p>\n\u003cfigure id=\"attachment_13824686\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13824686\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/AlexanderHernandez.jpg\" alt=\"Alexander Hernandez, 'Nopal,' 2017.\" width=\"640\" height=\"838\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AlexanderHernandez.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AlexanderHernandez-160x210.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AlexanderHernandez-240x314.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AlexanderHernandez-375x491.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AlexanderHernandez-520x681.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Alexander Hernandez, ‘Nopal,’ 2017. \u003ccite>(Courtesy of Define American)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Reyes emphasizes that \u003cem>#UndocuJoy\u003c/em> is not about educating the masses on the complexity of immigration, or the years of fighting to pass the DREAM Act. “We put the burden on undocumented people to constantly be educating, and constantly bare everything, to relive their trauma,” Reyes says. “The audience for this is actual undocumented people, but we are opening it to everyone — the theme of trying to thrive is universal.”\u003c/p>\n\u003cp>Some of the participants in the show might not necessarily self-identify as artists, but trusted Reyes’ vision enough to bring out their artwork. “Maybe 15 percent of them identify as artists,” says Rivera, “they are day-to-day people who are living and thriving as undocumented in a way that is humane.”\u003c/p>\n\u003cp>Reyes did a national call for submissions to select those who would ultimately be part of this exhibit. The response was overwhelming, and while he expected a significant portion of the work to be about the fight for the DREAM Act, most of the art he received honored parents and grandparents.\u003c/p>\n\u003cfigure id=\"attachment_13824687\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13824687\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/AliciaMartinez_1200.jpg\" alt=\"Alicia Martinez, 'Angelinos: Rosalina,' 2017.\" width=\"1200\" height=\"1038\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AliciaMartinez_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AliciaMartinez_1200-160x138.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AliciaMartinez_1200-800x692.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AliciaMartinez_1200-768x664.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AliciaMartinez_1200-1020x882.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AliciaMartinez_1200-1180x1021.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AliciaMartinez_1200-960x830.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AliciaMartinez_1200-240x208.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AliciaMartinez_1200-375x324.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AliciaMartinez_1200-520x450.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Alicia Martinez, ‘Angelinos: Rosalina,’ 2017. \u003ccite>(Courtesy of Define American)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Intersectionality is also a crucial part of the exhibit —being undocuqueer (openly undocumented and queer) is not often part of the conversation around immigration. The work of \u003ca href=\"https://www.feihernandez.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Féi Hernandez\u003c/a>, \u003ca href=\"http://juliosalgadoart.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Julio Salgado\u003c/a>, \u003ca href=\"https://www.instagram.com/chelinski.art/\" target=\"_blank\" rel=\"noopener noreferrer\">Chela Chelisnki\u003c/a>, and \u003ca href=\"https://www.hernalex.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Alexander Hernandez\u003c/a> reflect this duality.\u003c/p>\n\u003cp>The most striking piece in the show is a video by \u003ca href=\"https://www.keniaguillen.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Kenia Guillen\u003c/a>, who documented a trip back to El Salvador, combining old VHS tapes from her childhood with the new footage. Before the DACA program was rescinded, Dreamers were able to apply for a temporary permit to travel out of the country. (As of now, Dreamers are no longer able to apply for this permit.) The video is a powerful visual reminder of what is like for someone to return to the land where they were born years, sometimes decades, after leaving for the United States.\u003c/p>\n\u003cp>“This is such a global experience, loss, transition, migration,” Rivera says, “how do other people not see it?”\u003c/p>\n\u003cp>While Dreamers are as American as the rest of us, they cannot negate the pride and joy they feel for the country they once called home.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘#UndocuJoy: Unfathomable Strength’ is on view through May 12, 2018 at Galería de la Raza in San Francisco (2857 24th Street). For more information, \u003ca href=\"http://www.galeriadelaraza.org/eng/events/index.php?op=view&id=7191\" target=\"_blank\" rel=\"noopener noreferrer\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the year since Donald Trump took over the White House, administrative arrests by ICE rose by 30 percent. The fear and uncertainty felt by the undocumented community are palpable across the United States, but one thing many seem to forget is that underneath these feelings, there are regular people going about their daily lives: parents who work hard to raise their families, students who stress over getting good grades in school, doctors saving lives and artists crafting their next projects.\u003c/p>\n\u003cp>The \u003cem>#UndocuJoy\u003c/em> exhibit currently on display at San Francisco’s \u003ca href=\"http://www.galeriadelaraza.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Galería de la Raza\u003c/a> reminds viewers of exactly that, showcasing the undocumented community as more than just activists or people living in fear — the only narratives most mainstream media tends to portray.\u003c/p>\n\u003cfigure id=\"attachment_13824691\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13824691\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/NicolasGonzalez_640.jpg\" alt=\"Work by Nicolas Gonzalez at the opening of '#UndocuJoy.'\" width=\"640\" height=\"853\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/NicolasGonzalez_640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/NicolasGonzalez_640-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/NicolasGonzalez_640-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/NicolasGonzalez_640-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/NicolasGonzalez_640-520x693.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Work by Nicolas Gonzalez at the opening of ‘#UndocuJoy.’ \u003ccite>(Courtesy of Define American)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>#UndocuJoy\u003c/em> includes the work of 14 talented artists, undocumented and formerly undocumented. As visitors walk through the gallery, the art ranges from textiles, sculptures, photography, painting, and video.\u003c/p>\n\u003cp>The show was curated by Yosimar Reyes, a poet and artist-in-residence at \u003ca href=\"https://defineamerican.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Define American\u003c/a>, a nonprofit media and culture organization dedicated to shifting the conversation around immigration and the ever-changing landscape of America.\u003c/p>\n\u003cp>“In the mainstream media, we are not viewed as strategists, as thinkers, as artists, we are only viewed as subjects,” Reyes says, “not necessarily as someone articulate enough to propose an analysis of what is happening.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The exhibit at Galería de la Raza is not the first effort for Reyes, who lives in Los Angeles — back home, he curated two other similar projects. The first one in Boyle Heights was called \u003cem>\u003ca href=\"http://www.latimes.com/local/california/la-me-ln-immigration-20170005-story.html\" target=\"_blank\" rel=\"noopener noreferrer\">We Never Needed Papers to Thrive\u003c/a>\u003c/em>, the second installment was \u003cem>No Ban, No Wall\u003c/em>, a joint effort with the Muslim community in Southern California. These exhibitions showcased the work solely of undocumented artists as a celebration of strength and resilience.\u003c/p>\n\u003cfigure id=\"attachment_13824690\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13824690\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/FeiHernandez_1200.jpg\" alt=\"Work by Féi Hernandez at the opening of '#UndocuJoy.'\" width=\"1200\" height=\"1092\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/FeiHernandez_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/FeiHernandez_1200-160x146.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/FeiHernandez_1200-800x728.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/FeiHernandez_1200-768x699.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/FeiHernandez_1200-1020x928.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/FeiHernandez_1200-1180x1074.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/FeiHernandez_1200-960x874.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/FeiHernandez_1200-240x218.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/FeiHernandez_1200-375x341.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/FeiHernandez_1200-520x473.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Work by Féi Hernandez at the opening of ‘#UndocuJoy.’ \u003ccite>(Courtesy of Define American)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“When people talk about the undocumented community, they talk about fear, and I didn’t want to do that with the exhibit,” Reyes says, “I wanted it to be about joy.”\u003c/p>\n\u003cp>Ani Rivera, executive director at Galería de la Raza, was one of Reyes’ most fervent supporters in the effort to bring this exhibit to San Francisco. “It’s a moment to celebrate and flip the narrative,” says Rivera. “The exhibition brings these folks together to a space that has been historically about organizing social justice, and [shows] how art can change and transform lives.”\u003c/p>\n\u003cfigure id=\"attachment_13824686\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13824686\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/AlexanderHernandez.jpg\" alt=\"Alexander Hernandez, 'Nopal,' 2017.\" width=\"640\" height=\"838\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AlexanderHernandez.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AlexanderHernandez-160x210.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AlexanderHernandez-240x314.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AlexanderHernandez-375x491.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AlexanderHernandez-520x681.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Alexander Hernandez, ‘Nopal,’ 2017. \u003ccite>(Courtesy of Define American)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Reyes emphasizes that \u003cem>#UndocuJoy\u003c/em> is not about educating the masses on the complexity of immigration, or the years of fighting to pass the DREAM Act. “We put the burden on undocumented people to constantly be educating, and constantly bare everything, to relive their trauma,” Reyes says. “The audience for this is actual undocumented people, but we are opening it to everyone — the theme of trying to thrive is universal.”\u003c/p>\n\u003cp>Some of the participants in the show might not necessarily self-identify as artists, but trusted Reyes’ vision enough to bring out their artwork. “Maybe 15 percent of them identify as artists,” says Rivera, “they are day-to-day people who are living and thriving as undocumented in a way that is humane.”\u003c/p>\n\u003cp>Reyes did a national call for submissions to select those who would ultimately be part of this exhibit. The response was overwhelming, and while he expected a significant portion of the work to be about the fight for the DREAM Act, most of the art he received honored parents and grandparents.\u003c/p>\n\u003cfigure id=\"attachment_13824687\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13824687\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/AliciaMartinez_1200.jpg\" alt=\"Alicia Martinez, 'Angelinos: Rosalina,' 2017.\" width=\"1200\" height=\"1038\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AliciaMartinez_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AliciaMartinez_1200-160x138.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AliciaMartinez_1200-800x692.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AliciaMartinez_1200-768x664.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AliciaMartinez_1200-1020x882.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AliciaMartinez_1200-1180x1021.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AliciaMartinez_1200-960x830.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AliciaMartinez_1200-240x208.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AliciaMartinez_1200-375x324.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AliciaMartinez_1200-520x450.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Alicia Martinez, ‘Angelinos: Rosalina,’ 2017. \u003ccite>(Courtesy of Define American)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Intersectionality is also a crucial part of the exhibit —being undocuqueer (openly undocumented and queer) is not often part of the conversation around immigration. The work of \u003ca href=\"https://www.feihernandez.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Féi Hernandez\u003c/a>, \u003ca href=\"http://juliosalgadoart.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Julio Salgado\u003c/a>, \u003ca href=\"https://www.instagram.com/chelinski.art/\" target=\"_blank\" rel=\"noopener noreferrer\">Chela Chelisnki\u003c/a>, and \u003ca href=\"https://www.hernalex.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Alexander Hernandez\u003c/a> reflect this duality.\u003c/p>\n\u003cp>The most striking piece in the show is a video by \u003ca href=\"https://www.keniaguillen.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Kenia Guillen\u003c/a>, who documented a trip back to El Salvador, combining old VHS tapes from her childhood with the new footage. Before the DACA program was rescinded, Dreamers were able to apply for a temporary permit to travel out of the country. (As of now, Dreamers are no longer able to apply for this permit.) The video is a powerful visual reminder of what is like for someone to return to the land where they were born years, sometimes decades, after leaving for the United States.\u003c/p>\n\u003cp>“This is such a global experience, loss, transition, migration,” Rivera says, “how do other people not see it?”\u003c/p>\n\u003cp>While Dreamers are as American as the rest of us, they cannot negate the pride and joy they feel for the country they once called home.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘#UndocuJoy: Unfathomable Strength’ is on view through May 12, 2018 at Galería de la Raza in San Francisco (2857 24th Street). For more information, \u003ca href=\"http://www.galeriadelaraza.org/eng/events/index.php?op=view&id=7191\" target=\"_blank\" rel=\"noopener noreferrer\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Jamedra Brown Fleischman is back as co-host this week, with her twins adding to the fun, watching from the control room of the studio. The picks this week are a reminder that we’re deep into Black History Month, but every month should feature such deeply intriguing and emotionally satisfying music and theater. Take a listen.\u003c/p>\n\u003cp>\u003cstrong>Feb. 22-24: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/02/14/what-viewers-didnt-see-changed-everything/\" target=\"_blank\" rel=\"noopener\">A musical performance about the troubling history of blackface, Ben Vereen and the 1981 Reagan Inauguration\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 14-17:\u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/02/14/the-effortlessly-hip-comedy-of-zainab-johnson/\" target=\"_blank\" rel=\"noopener\"> The effortlessly funny hipness of Zainab Johnson\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 22-24:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/wp-admin/post.php?post=13824549&action=edit\" target=\"_blank\" rel=\"noopener\">The long pauses of funnyman Ron Funches\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 22 and 28\u003c/strong>:\u003ca href=\"https://ww2.kqed.org/arts/2018/02/14/rapper-caleborate-is-still-a-real-person-despite-his-success/\" target=\"_blank\" rel=\"noopener\"> Rapper Caleborate still a “real person,” despite success\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Feb. 25: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/02/14/all-welcome-at-a-parade-of-black-joy-in-oakland/\" target=\"_blank\" rel=\"noopener\">A parade and street fair promise an afternoon of black joy\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Oct. 17-March 11: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/02/14/tales-of-seeking-sanctuary-woven-into-36-rugs-at-fort-mason/\" target=\"_blank\" rel=\"noopener\">For-Site gathers an exhibition of beautiful rugs on the theme of sanctuary for refugees\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 19 and 26: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/02/14/garage-rock-band-the-coathangers-have-plenty-to-be-pissed-off-about/\" target=\"_blank\" rel=\"noopener\">The Coathangers rock out with songs about men and other irritants\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb 19, 22, and 23: \u003c/strong>\u003ca href=\"http://www.leeannwomack.com/p/tour-dates\" target=\"_blank\" rel=\"noopener\">Lee Ann Womack brings her earthy Texas country rock to the Bay Area\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Feb. 18:\u003c/strong> \u003ca href=\"https://www.belovedoakland.org/\" target=\"_blank\" rel=\"noopener\">Beloved Oakland is a chance to celebrate The Town and some of its civic and artistic leaders at the Paramount\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13824627\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13824627\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-800x601.jpg\" alt=\"\" width=\"800\" height=\"601\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-800x601.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-768x577.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-1020x766.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-1920x1442.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-1180x886.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-960x721.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-375x282.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-520x391.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1.jpg 2048w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A rug designed by Ammar al-Beik in For-Site’s show ‘Sanctuary’ at the Fort Mason Chapel \u003ccite>(Photo: Robert Divers Herrick/For-Site Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Jamedra Brown Fleischman is back as co-host this week, with her twins adding to the fun, watching from the control room of the studio. The picks this week are a reminder that we’re deep into Black History Month, but every month should feature such deeply intriguing and emotionally satisfying music and theater. Take a listen.\u003c/p>\n\u003cp>\u003cstrong>Feb. 22-24: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/02/14/what-viewers-didnt-see-changed-everything/\" target=\"_blank\" rel=\"noopener\">A musical performance about the troubling history of blackface, Ben Vereen and the 1981 Reagan Inauguration\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 14-17:\u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/02/14/the-effortlessly-hip-comedy-of-zainab-johnson/\" target=\"_blank\" rel=\"noopener\"> The effortlessly funny hipness of Zainab Johnson\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 22-24:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/wp-admin/post.php?post=13824549&action=edit\" target=\"_blank\" rel=\"noopener\">The long pauses of funnyman Ron Funches\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 22 and 28\u003c/strong>:\u003ca href=\"https://ww2.kqed.org/arts/2018/02/14/rapper-caleborate-is-still-a-real-person-despite-his-success/\" target=\"_blank\" rel=\"noopener\"> Rapper Caleborate still a “real person,” despite success\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Feb. 25: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/02/14/all-welcome-at-a-parade-of-black-joy-in-oakland/\" target=\"_blank\" rel=\"noopener\">A parade and street fair promise an afternoon of black joy\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Oct. 17-March 11: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/02/14/tales-of-seeking-sanctuary-woven-into-36-rugs-at-fort-mason/\" target=\"_blank\" rel=\"noopener\">For-Site gathers an exhibition of beautiful rugs on the theme of sanctuary for refugees\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 19 and 26: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/02/14/garage-rock-band-the-coathangers-have-plenty-to-be-pissed-off-about/\" target=\"_blank\" rel=\"noopener\">The Coathangers rock out with songs about men and other irritants\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb 19, 22, and 23: \u003c/strong>\u003ca href=\"http://www.leeannwomack.com/p/tour-dates\" target=\"_blank\" rel=\"noopener\">Lee Ann Womack brings her earthy Texas country rock to the Bay Area\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Feb. 18:\u003c/strong> \u003ca href=\"https://www.belovedoakland.org/\" target=\"_blank\" rel=\"noopener\">Beloved Oakland is a chance to celebrate The Town and some of its civic and artistic leaders at the Paramount\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13824627\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13824627\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-800x601.jpg\" alt=\"\" width=\"800\" height=\"601\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-800x601.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-768x577.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-1020x766.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-1920x1442.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-1180x886.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-960x721.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-375x282.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-520x391.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1.jpg 2048w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A rug designed by Ammar al-Beik in For-Site’s show ‘Sanctuary’ at the Fort Mason Chapel \u003ccite>(Photo: Robert Divers Herrick/For-Site Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"title": "Tales of Seeking Sanctuary Woven into 36 Rugs at Fort Mason",
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"content": "\u003cp>The For-Site Foundation, which oversaw the provocative @\u003cem>Large: Ai Weiwei on Alcatraz\u003c/em> exhibition in 2014, is back with an equally thoughtful and troubling show about the idea of sanctuary as a basic human right. The concept dates back to biblical times, but the topic is certainly timely. Tens of millions of refugees currently struggle to find a temporary safe haven while countries (like the US) that once welcomed them now try to keep them out. \u003c/p>\n\u003cp>The exhibition is called \u003cem>Sanctuary\u003c/em>, and it’s a collection of 36 colorful rugs, hand made in Pakistan, and designed by artists from around the world. Many of the artists are from Arab countries listed in President Trump’s travel ban. \u003c/p>\n\u003cfigure id=\"attachment_13824627\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13824627\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-800x601.jpg\" alt=\"The rug designed by Ammar al-Beik in For-Sites show 'Sanctuary' at the Fort Mason Chapel\" width=\"800\" height=\"601\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-800x601.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-768x577.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-1020x766.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-1920x1442.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-1180x886.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-960x721.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-375x282.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-520x391.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The rug designed by Ammar al-Beik in For-Sites show ‘Sanctuary’ at the Fort Mason Chapel \u003ccite>(Photo: Robert Divers Herrick/For-Site Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>You can walk on the rugs with your shoes off, even though they’re valuable works of art. I did so with curator and For-Site Founding Director Cheryl Haines. She pointed out one rug by Ammar al-Beik featuring chilling portraits of Donald Trump and Bashar Al Assad, facing each other under a chemical bomb, set like a frond of mistletoe between them.\u003c/p>\n\u003cfigure id=\"attachment_13824641\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13824641\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Mazinani-1-800x601.jpg\" alt=\"The rug designed by Sanaz Mazinani in For-Site's show 'Sanctuary' at the Fort Mason Chapel\" width=\"800\" height=\"601\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Mazinani-1-800x601.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Mazinani-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Mazinani-1-768x577.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Mazinani-1-1020x766.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Mazinani-1-1920x1442.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Mazinani-1-1180x886.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Mazinani-1-960x721.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Mazinani-1-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Mazinani-1-375x282.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Mazinani-1-520x391.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Mazinani-1.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The rug designed by Sanaz Mazinani in For-Site’s show ‘Sanctuary’ at the Fort Mason Chapel \u003ccite>(Photo: Robert Divers Herrick/For-Site Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Many of the rugs are lovely to look at but reveal a troubled narrative of war and displacement. Haines pointed to one by Sanaz Mazinani, an Iranian-born artist now living in the Bay Area. “If you look across the field of these rugs, at first many appear to be abstraction only, but as you take a closer look, [at this one by] Sanaz Mazinani, [it features] beautiful kaleidoscopic imagery, but what it really is exploding bombs.”\u003c/p>\n\u003cp>Details for the exhibition \u003cem>Sanctuary \u003c/em>through March 11 at the Fort Mason Chapel, including upcoming lectures and concerts, \u003ca href=\"https://www.for-site.org/project/sanctuary/\" target=\"_blank\" rel=\"noopener\">are 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>The For-Site Foundation, which oversaw the provocative @\u003cem>Large: Ai Weiwei on Alcatraz\u003c/em> exhibition in 2014, is back with an equally thoughtful and troubling show about the idea of sanctuary as a basic human right. The concept dates back to biblical times, but the topic is certainly timely. Tens of millions of refugees currently struggle to find a temporary safe haven while countries (like the US) that once welcomed them now try to keep them out. \u003c/p>\n\u003cp>The exhibition is called \u003cem>Sanctuary\u003c/em>, and it’s a collection of 36 colorful rugs, hand made in Pakistan, and designed by artists from around the world. Many of the artists are from Arab countries listed in President Trump’s travel ban. \u003c/p>\n\u003cfigure id=\"attachment_13824627\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13824627\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-800x601.jpg\" alt=\"The rug designed by Ammar al-Beik in For-Sites show 'Sanctuary' at the Fort Mason Chapel\" width=\"800\" height=\"601\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-800x601.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-768x577.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-1020x766.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-1920x1442.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-1180x886.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-960x721.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-375x282.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-520x391.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The rug designed by Ammar al-Beik in For-Sites show ‘Sanctuary’ at the Fort Mason Chapel \u003ccite>(Photo: Robert Divers Herrick/For-Site Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>You can walk on the rugs with your shoes off, even though they’re valuable works of art. I did so with curator and For-Site Founding Director Cheryl Haines. She pointed out one rug by Ammar al-Beik featuring chilling portraits of Donald Trump and Bashar Al Assad, facing each other under a chemical bomb, set like a frond of mistletoe between them.\u003c/p>\n\u003cfigure id=\"attachment_13824641\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13824641\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Mazinani-1-800x601.jpg\" alt=\"The rug designed by Sanaz Mazinani in For-Site's show 'Sanctuary' at the Fort Mason Chapel\" width=\"800\" height=\"601\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Mazinani-1-800x601.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Mazinani-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Mazinani-1-768x577.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Mazinani-1-1020x766.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Mazinani-1-1920x1442.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Mazinani-1-1180x886.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Mazinani-1-960x721.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Mazinani-1-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Mazinani-1-375x282.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Mazinani-1-520x391.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Mazinani-1.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The rug designed by Sanaz Mazinani in For-Site’s show ‘Sanctuary’ at the Fort Mason Chapel \u003ccite>(Photo: Robert Divers Herrick/For-Site Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Many of the rugs are lovely to look at but reveal a troubled narrative of war and displacement. Haines pointed to one by Sanaz Mazinani, an Iranian-born artist now living in the Bay Area. “If you look across the field of these rugs, at first many appear to be abstraction only, but as you take a closer look, [at this one by] Sanaz Mazinani, [it features] beautiful kaleidoscopic imagery, but what it really is exploding bombs.”\u003c/p>\n\u003cp>Details for the exhibition \u003cem>Sanctuary \u003c/em>through March 11 at the Fort Mason Chapel, including upcoming lectures and concerts, \u003ca href=\"https://www.for-site.org/project/sanctuary/\" target=\"_blank\" rel=\"noopener\">are here.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "What Viewers Didn't See Changed Everything for Ben Vereen",
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"content": "\u003cp>Bert Williams was one of the great black vaudevillians, but like most black performers of the era, he had to perform in blackface before white audiences. Thirty seven years ago the Broadway star Ben Vereen (\u003cem>Pippin\u003c/em>) did a tribute to Williams at the inauguration gala for President Ronald Reagan, a performance that was broadcast live on television. Viewers saw the first half with Vereen in black face, strutting and singing the Williams hit “Waiting for the Robert E. Lee.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=MvDpz1EJb_M\u003c/p>\n\u003cp>For black audiences watching the inaugural, it seemed as though Vereen, who a few years earlier had been celebrated for his role as “Chicken George” in the landmark miniseries \u003cem>Roots, \u003c/em> had shamed himself and the black community before a crowd of white conservatives.\u003c/p>\n\u003cp>Now there’s a musical play and art exhibition, \u003cem>Until, Until, Until…\u003c/em> by video artist Edgar Arceaux about that performance, its impact on Vereen’s career, and America’s racist heritage. \u003c/p>\n\u003cp>“When history presents itself so forcefully,” Arceneaux says, “you ask what does it mean.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>What TV viewers didn’t see, Arceneaux explains, was the second part of the performance, in which Vereen mimicked being refused service because of his color while trying to buy the Republican elite a congratulatory drink. \u003c/p>\n\u003cp>“So he’s essentially talking to the audience, “Arceneaux says, “who stands in as the bartender who denies him a drink, after practically giving him a standing ovation.”\u003c/p>\n\u003cp>So Vereen’s performance was meant as a critique of Republican civil rights policies. But the TV audience didn’t see that.\u003c/p>\n\u003cp>“You can imagine how hurtful it would be to do this performance in front of Republicans putting your career at risk for your community,” Arceneaux explained in a phone conversation last week. “Then they’re the ones who turn against him the most. He got death threats. People spit in his face.”\u003c/p>\n\u003cp>Details about Edgar Arceneaux’s ongoing art exhibition about Vereen, blackface, and the Reagan inaugural (through March 24), are \u003ca href=\"https://www.ybca.org/whats-on/edgar-arceneaux-until-until-until\" rel=\"noopener\" target=\"_blank\">here\u003c/a>. And details for the Feb. 22-24 musical performance \u003cem>Until, Until, Until…\u003c/em> \u003ca href=\"https://www.ybca.org/whats-on/edgar-arceneaux-until-until-until\" target=\"_blank\" rel=\"noopener\">are here. \u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=v2_Z3496jj8\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Bert Williams was one of the great black vaudevillians, but like most black performers of the era, he had to perform in blackface before white audiences. Thirty seven years ago the Broadway star Ben Vereen (\u003cem>Pippin\u003c/em>) did a tribute to Williams at the inauguration gala for President Ronald Reagan, a performance that was broadcast live on television. Viewers saw the first half with Vereen in black face, strutting and singing the Williams hit “Waiting for the Robert E. Lee.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/MvDpz1EJb_M'\n title='//www.youtube.com/embed/MvDpz1EJb_M'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>For black audiences watching the inaugural, it seemed as though Vereen, who a few years earlier had been celebrated for his role as “Chicken George” in the landmark miniseries \u003cem>Roots, \u003c/em> had shamed himself and the black community before a crowd of white conservatives.\u003c/p>\n\u003cp>Now there’s a musical play and art exhibition, \u003cem>Until, Until, Until…\u003c/em> by video artist Edgar Arceaux about that performance, its impact on Vereen’s career, and America’s racist heritage. \u003c/p>\n\u003cp>“When history presents itself so forcefully,” Arceneaux says, “you ask what does it mean.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>What TV viewers didn’t see, Arceneaux explains, was the second part of the performance, in which Vereen mimicked being refused service because of his color while trying to buy the Republican elite a congratulatory drink. \u003c/p>\n\u003cp>“So he’s essentially talking to the audience, “Arceneaux says, “who stands in as the bartender who denies him a drink, after practically giving him a standing ovation.”\u003c/p>\n\u003cp>So Vereen’s performance was meant as a critique of Republican civil rights policies. But the TV audience didn’t see that.\u003c/p>\n\u003cp>“You can imagine how hurtful it would be to do this performance in front of Republicans putting your career at risk for your community,” Arceneaux explained in a phone conversation last week. “Then they’re the ones who turn against him the most. He got death threats. People spit in his face.”\u003c/p>\n\u003cp>Details about Edgar Arceneaux’s ongoing art exhibition about Vereen, blackface, and the Reagan inaugural (through March 24), are \u003ca href=\"https://www.ybca.org/whats-on/edgar-arceneaux-until-until-until\" rel=\"noopener\" target=\"_blank\">here\u003c/a>. And details for the Feb. 22-24 musical performance \u003cem>Until, Until, Until…\u003c/em> \u003ca href=\"https://www.ybca.org/whats-on/edgar-arceneaux-until-until-until\" target=\"_blank\" rel=\"noopener\">are here. \u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/v2_Z3496jj8'\n title='//www.youtube.com/embed/v2_Z3496jj8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\n\u003c/div>\u003c/p>",
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"title": "Mission District Photographer's Final Show Becomes a Memorial",
"headTitle": "Mission District Photographer’s Final Show Becomes a Memorial | KQED",
"content": "\u003cp>In a fitting tribute to recently-passed photographer Ted Pushinsky, his memorial will be held the night his final exhibit closes.\u003c/p>\n\u003cp>\u003ci>Local Stories: Photos of San Francisco\u003c/i> ends its run at Acción Latina’s Juan R. Fuentes Gallery on Feb. 24. That night, the gallery \u003ca href=\"http://accionlatina.org/en/ted-pushinsky-community-memorial/\" rel=\"noopener\" target=\"_blank\">hosts a public memorial\u003c/a> for the 71-year-old photographer who died last month of prostate cancer.\u003c/p>\n\u003cp>Pushinsky, who documented life in San Francisco’s Mission District for decades, died on Jan. 23 — nine days after \u003ci>Local Stories\u003c/i> opened. The opening of the exhibit, which features photos from his 30 years in the neighborhood, had been the “most well attended exhibition opening ever” at the gallery, according to \u003ca href=\"https://www.instagram.com/p/Bd8A4fojbe7\" rel=\"noopener\" target=\"_blank\">Acción Latina\u003c/a>.\u003c/p>\n\u003cp>“We broke every attendance record we’ve had. Ever,” Acción Latina co-curator Josue Rojas said. “People have made pilgrimages from far and wide to come see his work.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/56popo1ak1-800x571.jpg\" alt=\"\" width=\"800\" height=\"571\" class=\"aligncenter size-medium wp-image-13824116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/56popo1ak1-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/56popo1ak1-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/56popo1ak1-768x548.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/56popo1ak1-1020x728.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/56popo1ak1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/56popo1ak1-1180x843.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/56popo1ak1-960x686.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/56popo1ak1-240x171.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/56popo1ak1-375x268.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/56popo1ak1-520x371.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Born in Queens, New York, in 1946, Pushinsky moved to San Francisco in 1969. There, he hustled photography work, landing gigs with the San Francisco Ballet, the boxing magazine \u003ci>Ring\u003c/i> and whatever else came his way. \u003c/p>\n\u003cp>But his love was street photography. His wife and son say Pushinsky always had a camera on him and that he frequented the streets of the Mission District, which was nearby his house on Potrero Hill. He could be seen often cruising up and down 24th Street, talking with people and taking their photos. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/P1050403-copy-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"aligncenter size-medium wp-image-13824112\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/P1050403-copy-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/P1050403-copy-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/P1050403-copy-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/P1050403-copy-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/P1050403-copy.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/P1050403-copy-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/P1050403-copy-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/P1050403-copy-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/P1050403-copy-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/P1050403-copy-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>“He created a unique community by walking the streets of SF and meeting and talking with people on the way,” Pushinsky’s wife Kathy Katz said.\u003c/p>\n\u003cp>Pushinsky said that he spent so much time in the Mission because it felt like being in another country. \u003c/p>\n\u003cp>“When I was still a teenager, I lived in Mexico City and it was a real revelation for me, I was mad for it. I never wanted to close my eyes. Not too long after that, I moved to San Francisco and I moved into the neighborhood and, oh my God, I was back in Mexico,” Pushinsky told \u003ca href=\"http://eltecolote.org/content/en/arts_culture/mad-for-the-mission-ted-pushinsky-talks-documenting-the-mission-over-30-years/\" rel=\"noopener\" target=\"_blank\">El Tecolote last month\u003c/a>. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/49-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"aligncenter size-medium wp-image-13824115\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/49-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/49-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/49-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/49-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/49.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/49-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/49-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/49-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/49-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/49-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>In later years, Pushinsky became a mentor of sorts. He began contributing to Ray Potes’s \u003ci>Hamburger Eyes\u003c/i> photography zine in the early 2000s, and when Potes opened the Photo Epicenter gallery on 24th Street, Pushinsky spent hours there, hanging out and giving advice to the young photogs that began congregating there. \u003c/p>\n\u003cp>“It was huge because were were young and didn’t know what we were doing, so to have him want to hang out with us meant a lot,” Potes says.\u003c/p>\n\u003cp>\u003ca href=\"https://www.motherjones.com/author/mark-murrmann/\" rel=\"noopener\" target=\"_blank\">Mark Murrmann\u003c/a>, photo editor at \u003cem>Mother Jones\u003c/em> magazine, says that \u003ci>Hamburger Eyes\u003c/i> and its gallery helped ignite a new generation of street photographers, and that Pushinsky’s influence on that scene “can’t be overstated.”\u003c/p>\n\u003cp>“He was always so enthusiastic and supportive of other people’s work. And even though he’d been shooting for years before most of the younger people were even born, he was so humble and helpful,” Murrmann said.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/boysgirlsa.jpg--800x570.jpg\" alt=\"\" width=\"800\" height=\"570\" class=\"aligncenter size-medium wp-image-13824114\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/boysgirlsa.jpg--800x570.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/boysgirlsa.jpg--160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/boysgirlsa.jpg--768x547.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/boysgirlsa.jpg--1020x726.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/boysgirlsa.jpg-.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/boysgirlsa.jpg--1180x840.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/boysgirlsa.jpg--960x684.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/boysgirlsa.jpg--240x171.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/boysgirlsa.jpg--375x267.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/boysgirlsa.jpg--520x370.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Pushinsky’s son Jake says he doesn’t think his father saw himself as a mentor because “he was always young at heart.”\u003c/p>\n\u003cp>“When he talked about younger photographers, he called them his peers,” Jake Pushinsky said.\u003c/p>\n\u003cp>Rojas says Pushinsky will continue to inspire other photogs with the large body of work he left behind.\u003c/p>\n\u003cp>“It makes you want to carry a camera around your neck and go out and experience something,” Rojas said. \u003c/p>\n\u003cfigure id=\"attachment_13824302\" class=\"wp-caption aligncenter\" style=\"max-width: 612px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/TEd-Pushinsky-in-NY.jpg\" alt=\"Ted Pushinsky in 2014, in front of his childhood apartment building in Woodside, Queens, NY where he lived until he was about 9 or 10 years old. \" width=\"612\" height=\"612\" class=\"size-full wp-image-13824302\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/TEd-Pushinsky-in-NY.jpg 612w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/TEd-Pushinsky-in-NY-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/TEd-Pushinsky-in-NY-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/TEd-Pushinsky-in-NY-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/TEd-Pushinsky-in-NY-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/TEd-Pushinsky-in-NY-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/TEd-Pushinsky-in-NY-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/TEd-Pushinsky-in-NY-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/TEd-Pushinsky-in-NY-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/TEd-Pushinsky-in-NY-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/TEd-Pushinsky-in-NY-150x150.jpg 150w\" sizes=\"(max-width: 612px) 100vw, 612px\">\u003cfigcaption class=\"wp-caption-text\">Ted Pushinsky in 2014, in front of his childhood apartment building in Woodside, Queens, NY where he lived until he was about 9 or 10 years old. \u003ccite>(Courtesy of Jake Pushinsky)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Pushinsky was diagnosed with prostate cancer in 2009. His family said he had been unwell and “had used up all of his treatment options.” He leaves behind his wife of 45 years, a son, a daughter and two grandsons.\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>‘Local Stories: Photos of San Francisco’ runs through Feb. 24 at Acción Latina’s Juan R. Fuentes Gallery (2958 24th Street). A memorial for Ted Pushinsky will be held closing night, Feb. 24, from 3–6pm.\u003c/i>\u003c/p>\n\n",
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"excerpt": "Ted Pushinsky, who mentored a generation and documented the Mission District for 30 years before his death Jan. 23, will be remembered at his final exhibit.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In a fitting tribute to recently-passed photographer Ted Pushinsky, his memorial will be held the night his final exhibit closes.\u003c/p>\n\u003cp>\u003ci>Local Stories: Photos of San Francisco\u003c/i> ends its run at Acción Latina’s Juan R. Fuentes Gallery on Feb. 24. That night, the gallery \u003ca href=\"http://accionlatina.org/en/ted-pushinsky-community-memorial/\" rel=\"noopener\" target=\"_blank\">hosts a public memorial\u003c/a> for the 71-year-old photographer who died last month of prostate cancer.\u003c/p>\n\u003cp>Pushinsky, who documented life in San Francisco’s Mission District for decades, died on Jan. 23 — nine days after \u003ci>Local Stories\u003c/i> opened. The opening of the exhibit, which features photos from his 30 years in the neighborhood, had been the “most well attended exhibition opening ever” at the gallery, according to \u003ca href=\"https://www.instagram.com/p/Bd8A4fojbe7\" rel=\"noopener\" target=\"_blank\">Acción Latina\u003c/a>.\u003c/p>\n\u003cp>“We broke every attendance record we’ve had. Ever,” Acción Latina co-curator Josue Rojas said. “People have made pilgrimages from far and wide to come see his work.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/56popo1ak1-800x571.jpg\" alt=\"\" width=\"800\" height=\"571\" class=\"aligncenter size-medium wp-image-13824116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/56popo1ak1-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/56popo1ak1-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/56popo1ak1-768x548.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/56popo1ak1-1020x728.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/56popo1ak1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/56popo1ak1-1180x843.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/56popo1ak1-960x686.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/56popo1ak1-240x171.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/56popo1ak1-375x268.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/56popo1ak1-520x371.jpg 520w\" 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>Born in Queens, New York, in 1946, Pushinsky moved to San Francisco in 1969. There, he hustled photography work, landing gigs with the San Francisco Ballet, the boxing magazine \u003ci>Ring\u003c/i> and whatever else came his way. \u003c/p>\n\u003cp>But his love was street photography. His wife and son say Pushinsky always had a camera on him and that he frequented the streets of the Mission District, which was nearby his house on Potrero Hill. He could be seen often cruising up and down 24th Street, talking with people and taking their photos. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/P1050403-copy-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"aligncenter size-medium wp-image-13824112\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/P1050403-copy-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/P1050403-copy-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/P1050403-copy-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/P1050403-copy-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/P1050403-copy.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/P1050403-copy-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/P1050403-copy-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/P1050403-copy-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/P1050403-copy-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/P1050403-copy-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>“He created a unique community by walking the streets of SF and meeting and talking with people on the way,” Pushinsky’s wife Kathy Katz said.\u003c/p>\n\u003cp>Pushinsky said that he spent so much time in the Mission because it felt like being in another country. \u003c/p>\n\u003cp>“When I was still a teenager, I lived in Mexico City and it was a real revelation for me, I was mad for it. I never wanted to close my eyes. Not too long after that, I moved to San Francisco and I moved into the neighborhood and, oh my God, I was back in Mexico,” Pushinsky told \u003ca href=\"http://eltecolote.org/content/en/arts_culture/mad-for-the-mission-ted-pushinsky-talks-documenting-the-mission-over-30-years/\" rel=\"noopener\" target=\"_blank\">El Tecolote last month\u003c/a>. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/49-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"aligncenter size-medium wp-image-13824115\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/49-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/49-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/49-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/49-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/49.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/49-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/49-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/49-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/49-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/49-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>In later years, Pushinsky became a mentor of sorts. He began contributing to Ray Potes’s \u003ci>Hamburger Eyes\u003c/i> photography zine in the early 2000s, and when Potes opened the Photo Epicenter gallery on 24th Street, Pushinsky spent hours there, hanging out and giving advice to the young photogs that began congregating there. \u003c/p>\n\u003cp>“It was huge because were were young and didn’t know what we were doing, so to have him want to hang out with us meant a lot,” Potes says.\u003c/p>\n\u003cp>\u003ca href=\"https://www.motherjones.com/author/mark-murrmann/\" rel=\"noopener\" target=\"_blank\">Mark Murrmann\u003c/a>, photo editor at \u003cem>Mother Jones\u003c/em> magazine, says that \u003ci>Hamburger Eyes\u003c/i> and its gallery helped ignite a new generation of street photographers, and that Pushinsky’s influence on that scene “can’t be overstated.”\u003c/p>\n\u003cp>“He was always so enthusiastic and supportive of other people’s work. And even though he’d been shooting for years before most of the younger people were even born, he was so humble and helpful,” Murrmann said.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/boysgirlsa.jpg--800x570.jpg\" alt=\"\" width=\"800\" height=\"570\" class=\"aligncenter size-medium wp-image-13824114\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/boysgirlsa.jpg--800x570.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/boysgirlsa.jpg--160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/boysgirlsa.jpg--768x547.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/boysgirlsa.jpg--1020x726.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/boysgirlsa.jpg-.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/boysgirlsa.jpg--1180x840.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/boysgirlsa.jpg--960x684.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/boysgirlsa.jpg--240x171.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/boysgirlsa.jpg--375x267.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/boysgirlsa.jpg--520x370.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Pushinsky’s son Jake says he doesn’t think his father saw himself as a mentor because “he was always young at heart.”\u003c/p>\n\u003cp>“When he talked about younger photographers, he called them his peers,” Jake Pushinsky said.\u003c/p>\n\u003cp>Rojas says Pushinsky will continue to inspire other photogs with the large body of work he left behind.\u003c/p>\n\u003cp>“It makes you want to carry a camera around your neck and go out and experience something,” Rojas said. \u003c/p>\n\u003cfigure id=\"attachment_13824302\" class=\"wp-caption aligncenter\" style=\"max-width: 612px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/TEd-Pushinsky-in-NY.jpg\" alt=\"Ted Pushinsky in 2014, in front of his childhood apartment building in Woodside, Queens, NY where he lived until he was about 9 or 10 years old. \" width=\"612\" height=\"612\" class=\"size-full wp-image-13824302\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/TEd-Pushinsky-in-NY.jpg 612w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/TEd-Pushinsky-in-NY-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/TEd-Pushinsky-in-NY-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/TEd-Pushinsky-in-NY-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/TEd-Pushinsky-in-NY-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/TEd-Pushinsky-in-NY-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/TEd-Pushinsky-in-NY-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/TEd-Pushinsky-in-NY-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/TEd-Pushinsky-in-NY-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/TEd-Pushinsky-in-NY-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/TEd-Pushinsky-in-NY-150x150.jpg 150w\" sizes=\"(max-width: 612px) 100vw, 612px\">\u003cfigcaption class=\"wp-caption-text\">Ted Pushinsky in 2014, in front of his childhood apartment building in Woodside, Queens, NY where he lived until he was about 9 or 10 years old. \u003ccite>(Courtesy of Jake Pushinsky)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Pushinsky was diagnosed with prostate cancer in 2009. His family said he had been unwell and “had used up all of his treatment options.” He leaves behind his wife of 45 years, a son, a daughter and two grandsons.\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>‘Local Stories: Photos of San Francisco’ runs through Feb. 24 at Acción Latina’s Juan R. Fuentes Gallery (2958 24th Street). A memorial for Ted Pushinsky will be held closing night, Feb. 24, from 3–6pm.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'Photography in the Americas' Yields Much More Than Documentary",
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"content": "\u003cp>Did you feel left out while \u003ci>\u003ca href=\"http://www.pacificstandardtime.org/\" target=\"_blank\" rel=\"noopener\">Pacific Standard Time: LA/LA\u003c/a>\u003c/i> took over nearly every Southern California arts institution last year? Led by the Getty, \u003ci>LA/LA\u003c/i> brought Latin American and Latino art into dialogue with the city of Los Angeles and its artists. Our southern neighbors got so many amazing exhibitions — among them, shows of radical women, photographs from the archives of \u003ci>La Raza\u003c/i> and works from the queer scene of 1960s-90s LA.\u003c/p>\n\u003cp>But wait! Before you drown yourself in the tears of missed road trip opportunities and Latin American art not seen, the Cantor Arts Center is here for you.\u003c/p>\n\u003cp>The rather academically titled \u003ci>The Matter of Photography in the Americas\u003c/i> features artists from Latin America, the Caribbean and Latino communities in the United States — all using photography not just for documentary purposes, but to question the very nature of image-making as a truthful medium.\u003c/p>\n\u003cfigure id=\"attachment_13824317\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13824317\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/L.50.1.2017_Joskowicz_ladder_1200.jpg\" alt=\"Claudia Joskowicz, Still from 'Every Building on Avenida Alfonso Ugarte—After Ruscha,' 2011. \" width=\"1200\" height=\"803\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/L.50.1.2017_Joskowicz_ladder_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/L.50.1.2017_Joskowicz_ladder_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/L.50.1.2017_Joskowicz_ladder_1200-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/L.50.1.2017_Joskowicz_ladder_1200-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/L.50.1.2017_Joskowicz_ladder_1200-1020x683.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/L.50.1.2017_Joskowicz_ladder_1200-1180x790.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/L.50.1.2017_Joskowicz_ladder_1200-960x642.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/L.50.1.2017_Joskowicz_ladder_1200-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/L.50.1.2017_Joskowicz_ladder_1200-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/L.50.1.2017_Joskowicz_ladder_1200-520x348.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Claudia Joskowicz, Still from ‘Every Building on Avenida Alfonso Ugarte—After Ruscha,’ 2011. \u003ccite>(Courtesy of the artist and LMAK gallery, NY)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Works in the show include installations (Dominican artist Joiri Minaya’s fragmented and expansive \u003ci>#dominicanwomengoogleresearch\u003c/i>), a conceptual project borrowed from Ed Ruscha (Bolivian artist Claudia Joskowicz’s video \u003ci>Every Building on Avenida Alfonso Ugarte—After Ruscha\u003c/i>) and vibrant combinations of materials (Mexican artist José León Merrillo’s \u003ci>Untitled\u003c/i> cyanotype).\u003c/p>\n\u003cp>The artists in \u003ci>The Matter of Photography\u003c/i> question how photography has distorted and perpetuated conceptions of Latin America, ponder whether the many images in our lives help or hinder our ability to empathize, and demonstrate what photographic practices that are neither documentary nor ethnographic can look like. And on top of all of that, the work looks stunning.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘The Matter of Photography in the Americas’ is on view at the Cantor Arts Center at Stanford University through April 30, 2018. For more information, \u003ca href=\"https://museum.stanford.edu/exhibitions/matter-photography-americas\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Did you feel left out while \u003ci>\u003ca href=\"http://www.pacificstandardtime.org/\" target=\"_blank\" rel=\"noopener\">Pacific Standard Time: LA/LA\u003c/a>\u003c/i> took over nearly every Southern California arts institution last year? Led by the Getty, \u003ci>LA/LA\u003c/i> brought Latin American and Latino art into dialogue with the city of Los Angeles and its artists. Our southern neighbors got so many amazing exhibitions — among them, shows of radical women, photographs from the archives of \u003ci>La Raza\u003c/i> and works from the queer scene of 1960s-90s LA.\u003c/p>\n\u003cp>But wait! Before you drown yourself in the tears of missed road trip opportunities and Latin American art not seen, the Cantor Arts Center is here for you.\u003c/p>\n\u003cp>The rather academically titled \u003ci>The Matter of Photography in the Americas\u003c/i> features artists from Latin America, the Caribbean and Latino communities in the United States — all using photography not just for documentary purposes, but to question the very nature of image-making as a truthful medium.\u003c/p>\n\u003cfigure id=\"attachment_13824317\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13824317\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/L.50.1.2017_Joskowicz_ladder_1200.jpg\" alt=\"Claudia Joskowicz, Still from 'Every Building on Avenida Alfonso Ugarte—After Ruscha,' 2011. \" width=\"1200\" height=\"803\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/L.50.1.2017_Joskowicz_ladder_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/L.50.1.2017_Joskowicz_ladder_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/L.50.1.2017_Joskowicz_ladder_1200-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/L.50.1.2017_Joskowicz_ladder_1200-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/L.50.1.2017_Joskowicz_ladder_1200-1020x683.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/L.50.1.2017_Joskowicz_ladder_1200-1180x790.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/L.50.1.2017_Joskowicz_ladder_1200-960x642.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/L.50.1.2017_Joskowicz_ladder_1200-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/L.50.1.2017_Joskowicz_ladder_1200-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/L.50.1.2017_Joskowicz_ladder_1200-520x348.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Claudia Joskowicz, Still from ‘Every Building on Avenida Alfonso Ugarte—After Ruscha,’ 2011. \u003ccite>(Courtesy of the artist and LMAK gallery, NY)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Works in the show include installations (Dominican artist Joiri Minaya’s fragmented and expansive \u003ci>#dominicanwomengoogleresearch\u003c/i>), a conceptual project borrowed from Ed Ruscha (Bolivian artist Claudia Joskowicz’s video \u003ci>Every Building on Avenida Alfonso Ugarte—After Ruscha\u003c/i>) and vibrant combinations of materials (Mexican artist José León Merrillo’s \u003ci>Untitled\u003c/i> cyanotype).\u003c/p>\n\u003cp>The artists in \u003ci>The Matter of Photography\u003c/i> question how photography has distorted and perpetuated conceptions of Latin America, ponder whether the many images in our lives help or hinder our ability to empathize, and demonstrate what photographic practices that are neither documentary nor ethnographic can look like. And on top of all of that, the work looks stunning.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘The Matter of Photography in the Americas’ is on view at the Cantor Arts Center at Stanford University through April 30, 2018. For more information, \u003ca href=\"https://museum.stanford.edu/exhibitions/matter-photography-americas\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Reproductions of Famous Paintings Cover Former Green Day High School",
"headTitle": "Reproductions of Famous Paintings Cover Former Green Day High School | KQED",
"content": "\u003cp>\u003ca href=\"https://www.wccusd.net/pinolevalley\" target=\"_blank\" rel=\"noopener\">Pinole Valley High School\u003c/a> in the East Bay already has one big claim to fame: t\u003cspan style=\"font-weight: 400\">wo members of the rock band \u003ca href=\"http://www.greenday.com/\" target=\"_blank\" rel=\"noopener\">Green Day\u003c/a> were students there before they made it big. Now the school is earning a reputation for a different type of art, as its fast-growing collection of outdoor murals is transforming the campus — and the lives of its students.\u003c/span>\u003c/p>\n\u003cp>But to newcomers, Pinole Valley High doesn’t look much like a hotbed of artistic creativity. \u003cspan style=\"font-weight: 400\">Half the campus is a building site. The other half is a sprawl of squat mobile buildings. Principal Kibby Kleiman says his students and staff are stuck in the temporary structures for at least five years while the school undergoes renovations.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13820103\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13820103\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/campus-800x600.jpg\" alt=\"A part of the Pinole Valley High School campus that isn’t yet adorned with art.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/campus-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/campus-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/campus-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/campus-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/campus-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/campus-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/campus-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/campus-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/campus-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/campus-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/campus.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A part of the Pinole Valley High School campus that isn’t yet completely adorned with art. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Everything is in a portable,” Kleiman says. “My office is a portable. The bathrooms are portables. This book room, that library, are portable. There’s a multipurpose room that’s just kind of a bigger portable.”\u003c/p>\n\u003cp>When the school moved into the mobiles in 2014, Kleiman feared the uninspiring environment would lower morale, and even cause dropouts. Then art teacher Jan Barzottini came along, with bright ideas and a great sense of humor.\u003c/p>\n\u003cfigure id=\"attachment_13820102\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13820102\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/jan-and-shaye-800x600.jpg\" alt=\"Art teacher Jan Barzottini right) poses with recent grad Shaye Maxey. Maxey won a full ride scholarship to the Academy of Art University, partly for her work on the mural project.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/jan-and-shaye-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/jan-and-shaye-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/jan-and-shaye-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/jan-and-shaye-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/jan-and-shaye-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/jan-and-shaye-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/jan-and-shaye-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/jan-and-shaye-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/jan-and-shaye-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/jan-and-shaye-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/jan-and-shaye.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Art teacher Jan Barzottini (right) poses with recent grad Shaye Maxey. Maxey won a full ride scholarship to the Academy of Art University, partly for her work on the mural project. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There’s one kid this year who calls me Miss Fettuccini,” Barzottini jokes. “He has a whole realm of Italian foods that he calls me.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Where most of her colleagues and students saw nothing but cheaply-constructed, cookie-cutter portables with walls the color of sludge, Barzottini saw a big, open canvas. She recruited students to cover the brown facades with reproductions of famous works of art.\u003c/p>\n\u003cp>“You see Roy De Forest on the right, you see a glimpse of Jasper Johns on the left, and you’ve got Diego Rivera right next to you,” Barzottini says as we tour the campus, checking out the many student murals that adorn the mobile walls. “So every time you turn a corner, there should be something that catches your eye and either identifies where you are or adds a little bit of color to your day.”\u003c/p>\n\u003cfigure id=\"attachment_13820101\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13820101\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/students-and-mural-2-800x600.jpg\" alt=\"Pinole Valley High students pose in front of their work.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/students-and-mural-2-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/students-and-mural-2-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/students-and-mural-2-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/students-and-mural-2-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/students-and-mural-2-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/students-and-mural-2-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/students-and-mural-2-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/students-and-mural-2-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/students-and-mural-2-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/students-and-mural-2-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/students-and-mural-2.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pinole Valley High students pose in front of their work. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even though the students are working with fairly rudimentary tools — house paint, brushes and canvases made out of wooden boards — Barzottini is proud of the care they have taken to recreate the masterworks.\u003c/p>\n\u003cp>“This is Diego Rivera,” Barzottini says as we pause in front of a student reproduction of the artist’s painting depicting two girls washing their hair outdoors in front of a field of sunflowers. “A lot of different blending techniques to get all the ripples in their skirts.”\u003c/p>\n\u003cp>At first, Barzottini focused on 20th century masterworks because they’re bold, colorful and relatively easy to paint. “And that gave the kids confidence,” she says.\u003c/p>\n\u003cfigure id=\"attachment_13820100\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13820100\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Jason-Capuyan-800x600.jpg\" alt=\"Student Jason Capuyan works on his mural -- the cover art for Green Days 1994 album ‘Dookie’.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Jason-Capuyan-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Jason-Capuyan-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Jason-Capuyan-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Jason-Capuyan-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Jason-Capuyan-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Jason-Capuyan-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Jason-Capuyan-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Jason-Capuyan-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Jason-Capuyan-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Jason-Capuyan-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Jason-Capuyan.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Student Jason Capuyan works on his mural — the cover art for Green Days 1994 album ‘Dookie’. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Soon the students started seeking inspiration outside the realm of traditional museum art.\u003c/p>\n\u003cp>When I visit Barzottini’s classroom, I chat with 18-year-old student Jason Capuyan as he painstakingly recreates the intricate cover art from Green Day’s 1994 album \u003cem>Dookie. \u003c/em>It’s a tribute to his musical heroes. “I listen to them a lot,” Capuyan says.\u003c/p>\n\u003cp>Capuyan spends his lunch breaks working on his mural and loves how art is transforming the campus. “The environment is a little more vivid now because we have more murals and bright colors popping up,” Capuyan says.\u003c/p>\n\u003cp>Principal Kleiman says around 150 students have participated in the project, including students who don’t even take art class.\u003c/p>\n\u003cfigure id=\"attachment_13820097\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13820097\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/shaye-maxey-800x600.jpg\" alt=\"Pinole Valley High School grad Shaye Maxey poses with her mural, a reproduction of Modigliani's 'Alice'.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/shaye-maxey-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/shaye-maxey-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/shaye-maxey-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/shaye-maxey-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/shaye-maxey-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/shaye-maxey-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/shaye-maxey-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/shaye-maxey-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/shaye-maxey-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/shaye-maxey-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/shaye-maxey.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pinole Valley High School grad Shaye Maxey poses with her mural, a reproduction of Modigliani’s ‘Alice’. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One recent grad, Shaye Maxey, won a full ride scholarship to San Francisco’s \u003ca href=\"https://www.academyart.edu/\" target=\"_blank\" rel=\"noopener\">Academy of Art University\u003c/a>, partly as a result of her take on “Alice,” a famous 1915 portrait of a young girl by the Italian artist Amedeo Modigliani.\u003c/p>\n\u003cp>“This mural made me feel like I could accomplish a lot more than I thought I could beforehand,” Maxey says.\u003c/p>\n\u003cp>And in the ultimate sign of teen approval, students are snapping selfies in front of the murals and sharing them on \u003ca href=\"https://www.instagram.com/pvhsamazingart/?hl=en\" target=\"_blank\" rel=\"noopener\">Instagram\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/BcLcq0jhx2W/?hl=en&taken-by=pvhsamazingart\">https://www.instagram.com/p/BcLcq0jhx2W/?hl=en&taken-by=pvhsamazingart\u003c/a>\u003c/p>\n\u003cp>Barzottini says there are around 40 works of art up right now and many more to come.\u003c/p>\n\u003cp>I ask the art teacher when she plans to finish the project.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“When there’s not another speck to fill when you turn a corner,” she responds. “I still see a million corners as we’re walking around. I think it’s going to be a while.”\u003c/p>\n\u003cfigure id=\"attachment_13820105\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13820105\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/gumball-mural-thiebaud-800x600.jpg\" alt=\"A student reproduction of Wayne Thiebaud’s ‘Three Machines’. The original hangs in the de Young Museum in San Francisco.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/gumball-mural-thiebaud-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/gumball-mural-thiebaud-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/gumball-mural-thiebaud-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/gumball-mural-thiebaud-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/gumball-mural-thiebaud-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/gumball-mural-thiebaud-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/gumball-mural-thiebaud-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/gumball-mural-thiebaud-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/gumball-mural-thiebaud-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/gumball-mural-thiebaud-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/gumball-mural-thiebaud.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A student reproduction of Wayne Thiebaud’s ‘Three Machines’. The original hangs in the de Young Museum in San Francisco. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"excerpt": "Pinole Valley High School already has a musical claim to fame. Now the East Bay school is earning a reputation for a different type of art. ",
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"title": "Reproductions of Famous Paintings Cover Former Green Day High School | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.wccusd.net/pinolevalley\" target=\"_blank\" rel=\"noopener\">Pinole Valley High School\u003c/a> in the East Bay already has one big claim to fame: t\u003cspan style=\"font-weight: 400\">wo members of the rock band \u003ca href=\"http://www.greenday.com/\" target=\"_blank\" rel=\"noopener\">Green Day\u003c/a> were students there before they made it big. Now the school is earning a reputation for a different type of art, as its fast-growing collection of outdoor murals is transforming the campus — and the lives of its students.\u003c/span>\u003c/p>\n\u003cp>But to newcomers, Pinole Valley High doesn’t look much like a hotbed of artistic creativity. \u003cspan style=\"font-weight: 400\">Half the campus is a building site. The other half is a sprawl of squat mobile buildings. Principal Kibby Kleiman says his students and staff are stuck in the temporary structures for at least five years while the school undergoes renovations.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13820103\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13820103\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/campus-800x600.jpg\" alt=\"A part of the Pinole Valley High School campus that isn’t yet adorned with art.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/campus-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/campus-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/campus-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/campus-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/campus-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/campus-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/campus-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/campus-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/campus-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/campus-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/campus.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A part of the Pinole Valley High School campus that isn’t yet completely adorned with art. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Everything is in a portable,” Kleiman says. “My office is a portable. The bathrooms are portables. This book room, that library, are portable. There’s a multipurpose room that’s just kind of a bigger portable.”\u003c/p>\n\u003cp>When the school moved into the mobiles in 2014, Kleiman feared the uninspiring environment would lower morale, and even cause dropouts. Then art teacher Jan Barzottini came along, with bright ideas and a great sense of humor.\u003c/p>\n\u003cfigure id=\"attachment_13820102\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13820102\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/jan-and-shaye-800x600.jpg\" alt=\"Art teacher Jan Barzottini right) poses with recent grad Shaye Maxey. Maxey won a full ride scholarship to the Academy of Art University, partly for her work on the mural project.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/jan-and-shaye-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/jan-and-shaye-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/jan-and-shaye-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/jan-and-shaye-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/jan-and-shaye-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/jan-and-shaye-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/jan-and-shaye-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/jan-and-shaye-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/jan-and-shaye-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/jan-and-shaye-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/jan-and-shaye.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Art teacher Jan Barzottini (right) poses with recent grad Shaye Maxey. Maxey won a full ride scholarship to the Academy of Art University, partly for her work on the mural project. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There’s one kid this year who calls me Miss Fettuccini,” Barzottini jokes. “He has a whole realm of Italian foods that he calls me.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Where most of her colleagues and students saw nothing but cheaply-constructed, cookie-cutter portables with walls the color of sludge, Barzottini saw a big, open canvas. She recruited students to cover the brown facades with reproductions of famous works of art.\u003c/p>\n\u003cp>“You see Roy De Forest on the right, you see a glimpse of Jasper Johns on the left, and you’ve got Diego Rivera right next to you,” Barzottini says as we tour the campus, checking out the many student murals that adorn the mobile walls. “So every time you turn a corner, there should be something that catches your eye and either identifies where you are or adds a little bit of color to your day.”\u003c/p>\n\u003cfigure id=\"attachment_13820101\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13820101\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/students-and-mural-2-800x600.jpg\" alt=\"Pinole Valley High students pose in front of their work.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/students-and-mural-2-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/students-and-mural-2-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/students-and-mural-2-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/students-and-mural-2-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/students-and-mural-2-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/students-and-mural-2-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/students-and-mural-2-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/students-and-mural-2-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/students-and-mural-2-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/students-and-mural-2-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/students-and-mural-2.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pinole Valley High students pose in front of their work. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even though the students are working with fairly rudimentary tools — house paint, brushes and canvases made out of wooden boards — Barzottini is proud of the care they have taken to recreate the masterworks.\u003c/p>\n\u003cp>“This is Diego Rivera,” Barzottini says as we pause in front of a student reproduction of the artist’s painting depicting two girls washing their hair outdoors in front of a field of sunflowers. “A lot of different blending techniques to get all the ripples in their skirts.”\u003c/p>\n\u003cp>At first, Barzottini focused on 20th century masterworks because they’re bold, colorful and relatively easy to paint. “And that gave the kids confidence,” she says.\u003c/p>\n\u003cfigure id=\"attachment_13820100\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13820100\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Jason-Capuyan-800x600.jpg\" alt=\"Student Jason Capuyan works on his mural -- the cover art for Green Days 1994 album ‘Dookie’.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Jason-Capuyan-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Jason-Capuyan-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Jason-Capuyan-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Jason-Capuyan-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Jason-Capuyan-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Jason-Capuyan-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Jason-Capuyan-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Jason-Capuyan-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Jason-Capuyan-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Jason-Capuyan-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Jason-Capuyan.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Student Jason Capuyan works on his mural — the cover art for Green Days 1994 album ‘Dookie’. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Soon the students started seeking inspiration outside the realm of traditional museum art.\u003c/p>\n\u003cp>When I visit Barzottini’s classroom, I chat with 18-year-old student Jason Capuyan as he painstakingly recreates the intricate cover art from Green Day’s 1994 album \u003cem>Dookie. \u003c/em>It’s a tribute to his musical heroes. “I listen to them a lot,” Capuyan says.\u003c/p>\n\u003cp>Capuyan spends his lunch breaks working on his mural and loves how art is transforming the campus. “The environment is a little more vivid now because we have more murals and bright colors popping up,” Capuyan says.\u003c/p>\n\u003cp>Principal Kleiman says around 150 students have participated in the project, including students who don’t even take art class.\u003c/p>\n\u003cfigure id=\"attachment_13820097\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13820097\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/shaye-maxey-800x600.jpg\" alt=\"Pinole Valley High School grad Shaye Maxey poses with her mural, a reproduction of Modigliani's 'Alice'.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/shaye-maxey-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/shaye-maxey-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/shaye-maxey-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/shaye-maxey-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/shaye-maxey-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/shaye-maxey-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/shaye-maxey-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/shaye-maxey-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/shaye-maxey-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/shaye-maxey-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/shaye-maxey.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pinole Valley High School grad Shaye Maxey poses with her mural, a reproduction of Modigliani’s ‘Alice’. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One recent grad, Shaye Maxey, won a full ride scholarship to San Francisco’s \u003ca href=\"https://www.academyart.edu/\" target=\"_blank\" rel=\"noopener\">Academy of Art University\u003c/a>, partly as a result of her take on “Alice,” a famous 1915 portrait of a young girl by the Italian artist Amedeo Modigliani.\u003c/p>\n\u003cp>“This mural made me feel like I could accomplish a lot more than I thought I could beforehand,” Maxey says.\u003c/p>\n\u003cp>And in the ultimate sign of teen approval, students are snapping selfies in front of the murals and sharing them on \u003ca href=\"https://www.instagram.com/pvhsamazingart/?hl=en\" target=\"_blank\" rel=\"noopener\">Instagram\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/BcLcq0jhx2W/?hl=en&taken-by=pvhsamazingart\">https://www.instagram.com/p/BcLcq0jhx2W/?hl=en&taken-by=pvhsamazingart\u003c/a>\u003c/p>\n\u003cp>Barzottini says there are around 40 works of art up right now and many more to come.\u003c/p>\n\u003cp>I ask the art teacher when she plans to finish the project.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“When there’s not another speck to fill when you turn a corner,” she responds. “I still see a million corners as we’re walking around. I think it’s going to be a while.”\u003c/p>\n\u003cfigure id=\"attachment_13820105\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13820105\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/gumball-mural-thiebaud-800x600.jpg\" alt=\"A student reproduction of Wayne Thiebaud’s ‘Three Machines’. The original hangs in the de Young Museum in San Francisco.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/gumball-mural-thiebaud-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/gumball-mural-thiebaud-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/gumball-mural-thiebaud-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/gumball-mural-thiebaud-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/gumball-mural-thiebaud-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/gumball-mural-thiebaud-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/gumball-mural-thiebaud-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/gumball-mural-thiebaud-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/gumball-mural-thiebaud-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/gumball-mural-thiebaud-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/gumball-mural-thiebaud.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A student reproduction of Wayne Thiebaud’s ‘Three Machines’. The original hangs in the de Young Museum in San Francisco. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"masters-of-scale": {
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},
"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"onourwatch": {
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"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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},
"pbs-newshour": {
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},
"perspectives": {
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"order": 14
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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"politicalbreakdown": {
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"order": 5
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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