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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the garage and side yard of his small Santa Clara home, artist Takeshi Moro runs \u003ca href=\"http://www.tmoroprojects.org/\" rel=\"noopener\" target=\"_blank\">tmoro projects\u003c/a>, a nonprofit gallery space boasting two to four shows a year. Because of its location, far from the busy streets of San Francisco, openings are the thing at tmoro — and if it’s the right season, Moro serves orange wedges from the tree in his front yard.\u003c/p>\n\u003cp>Opening March 10 is a two-person show by Bay Area artists \u003ca href=\"https://www.marcelapardo.com/\" rel=\"noopener\" target=\"_blank\">Marcela Pardo Ariza\u003c/a> and Conrad Guevara (one-third of \u003ca href=\"http://bonanzallc.co/\" rel=\"noopener\" target=\"_blank\">Bonanza\u003c/a>) inspired by the still lifes of Fernando Botero (the Colombian painter famous for his rotund figures). In \u003ca href=\"https://www.google.com/search?q=botero+still+life&source=lnms&tbm=isch&sa=X&ved=0ahUKEwixnKfJ5c7ZAhVV32MKHZhDAK0Q_AUICigB&biw=1920&bih=900\" rel=\"noopener\" target=\"_blank\">those paintings\u003c/a>, watermelons, oranges and baskets of bread sit innocuously, cartoonishly, on wooden tables. \u003c/p>\n\u003cp>In \u003ci>Burn Notice\u003c/i>, both artists set out to liberate the objects in Botero’s paintings from their traditional form and conservative interpretations. Pardo Ariza’s photographs replace Botero’s shapes with fiery collages, turning once tranquil scenes into violently blazing infernos. And Guevara’s graceful mobiles of everyday objects and painted surfaces are anything but still. \u003c/p>\n\u003cp>To find out if there’s a connection between the exhibition and espionage (the term “burn notice,” perhaps most recognizable as the title of the late-aughts USA Network show, refers to a note of dismissal by an intelligence agency), you’ll have to show up in Santa Clara. As it turns out, this is the end of an era for tmoro projects: \u003ci>Burn Notice\u003c/i> marks the last show before Moro moves his home and gallery to the Bayview neighborhood of San Francisco.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Surprises Even at the Bathroom Sink in 'Spirited Probabilities'",
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"content": "\u003cp>At \u003cem>Spirited Probabilities\u003c/em>, currently at Southern Exposure, curator Mik Gaspay has summoned a baker’s dozen of Bay Area artists for a group show in which careful consideration and “playful interventions” give way to chance encounters. Gaspay’s stated goal is to consider “the flexibility of institutional structures and their physical architectures”; the institutional structure with the starring role being Southern Exposure itself.\u003c/p>\n\u003cp>The artists use the space’s composition as a blueprint, but they don’t approach it as a limited, fixed premise. Instead, they employ all of its parts and leave no section of Southern Exposure’s available square footage undisturbed. Charlie Leese’s sculptural installation even extends into the restroom foyer in an investigation of “architectural hierarchies and overlapping physical and digital spaces.” Visitors can actually interact with Leese’s work while washing their hands at the bathroom sink.\u003c/p>\n\u003cfigure id=\"attachment_13825988\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13825988 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/CL_JR_0859-800x533.jpg\" alt=\"Installation view of Charlie Leese's 'Internal Structure' from 'Spirited Probabilities' at Southern Exposure in San Francisco.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/CL_JR_0859-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/CL_JR_0859-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/CL_JR_0859-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/CL_JR_0859-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/CL_JR_0859.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/CL_JR_0859-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/CL_JR_0859-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/CL_JR_0859-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/CL_JR_0859-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/CL_JR_0859-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of Charlie Leese’s ‘Internal Structure’ from ‘Spirited Probabilities’ at Southern Exposure in San Francisco. \u003ccite>(Photo: Mik Gaspay)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lisa Jonas Taylor’s piece \u003ci>Portal\u003c/i> confronts visitors as they enter the center of the exhibition. At once, folks are greeted by an obstacle course of shiny sculptures and an array of materials (Plexiglas, vinyl, gravel, confetti, plywood, and carpet) accumulated in judicious piles on the floor. Colored flood lights illuminate various parts of Taylor’s work.\u003c/p>\n\u003cp>Following the idea of a boundary-less institution, Simone Bailey stakes claim over the grand picture window facing Alabama Street. The untitled stained glass work is composed of a mixture that includes a raw form of lanolin, paprika, and activated charcoal. This piece is best witnessed in the afternoon as it manipulates the natural light that enters the space during the day. Nature’s elements, too, lend a hand in the planned happenstance of \u003cem>Spirited Probabilities\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13825990\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13825990\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/LA_0794-800x533.jpg\" alt=\"Luca Antonucci, Contraction and release, 2018, video loop on CRT monitor. Installation view from 'Spirited Probabilities' at Southern Exposure in San Francisco.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/LA_0794-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/LA_0794-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/LA_0794-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/LA_0794-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/LA_0794.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/LA_0794-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/LA_0794-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/LA_0794-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/LA_0794-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/LA_0794-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Luca Antonucci, ‘Contraction and release,’ 2018, video loop on CRT monitor. Installation view from ‘Spirited Probabilities’ at Southern Exposure in San Francisco. \u003ccite>(Photo: Mik Gaspay)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Luca Antonucci offers up four of his works for the show, but \u003cem>Here we are again, running out of time\u003c/em> is especially memorable for its meta quality — it is a meditation on spaces within an exhibition that meditates space. Copies of the 112-page softcover book rest within and on top of a bookshelf made of wood and neon Plexiglas. The makeshift library creates the sensibility of a hideaway nook, inviting visitors to indulge in a bit of respite and flip through a book of images procured from San Francisco-based narrative films (as well as locations scouted for their ability to serve as stand-ins for San Francisco).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>George Pfau also caters to nook-loving, alcove-seeking individuals. Resting unassumingly in a darkened corner — save for a reading light — of Southern Exposure’s front entrance, a small rectangular white table and stool invite intimate parties to sit and flip through a hefty book of black-and-white drawings of dreamscapes and imaginary settings. Each page explores how “black lines can be used to circumscribe boundaries between things; in particular, the porousness between bodies and their environment.” Viewers can see meticulous illustrations of people physically melting in the workplace or against anonymous palatial backdrops. In other drawings, Dalmatians frolic alongside whales and bears. Pfau presents a potpourri of curious, clashing surroundings that interrupt understood notions of environmental borderlines.\u003c/p>\n\u003cfigure id=\"attachment_13825991\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13825991 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Main_Gallery_B_0808-800x450.jpg\" alt=\"Installation view from Maria Guzmán Capron’s 'Amadora' in 'Spirited Probabilities' at Southern Exposure in San Francisco.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Main_Gallery_B_0808-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Main_Gallery_B_0808-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Main_Gallery_B_0808-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Main_Gallery_B_0808-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Main_Gallery_B_0808.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Main_Gallery_B_0808-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Main_Gallery_B_0808-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Main_Gallery_B_0808-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Main_Gallery_B_0808-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Main_Gallery_B_0808-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Installation view from Maria Guzmán Capron’s ‘Amadora’ in ‘Spirited Probabilities’ at Southern Exposure in San Francisco. \u003ccite>(Photo: Mik Gaspay)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Maria Guzmán Capron’s \u003ci>Amadora\u003c/i>, scales the length of a large column at the center of the space. And in terms of vantage points, the playfully imposing textile sculpture wins in that it can be seen from just about every corner of the room. The figure, made of a colorful patchwork of fabric, batting, stuffing, and wire appears to be upside down, but grips the column in a comfortable manner that suggests it is an agile creature. A sort of elephant in the room, this work joins in on the enthusiastic pursuit of testing out unexpected locations in a larger-than-life way. What was once a nondescript structural fixture, a column, is transformed into one of the main focal points of the building’s interior.\u003c/p>\n\u003cp>\u003cem>Spirited Probabilities\u003c/em>’ exuberant probing at the possibilities of space is contagious. Once they get the hang of it, visitors become super sleuths, determined to detect even the most inconspicuous works in the show.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Spirited Probabilities’ is on view through March 31 at Southern Exposure in San Francisco. \u003ca href=\"https://www.soex.org/projects-exhibitions/spirited-probabilities\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Mik Gaspay asks Bay Area artists — and Southern Exposure visitors — to entertain the possibilities of space.",
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"title": "Surprises Even at the Bathroom Sink in 'Spirited Probabilities' | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>At \u003cem>Spirited Probabilities\u003c/em>, currently at Southern Exposure, curator Mik Gaspay has summoned a baker’s dozen of Bay Area artists for a group show in which careful consideration and “playful interventions” give way to chance encounters. Gaspay’s stated goal is to consider “the flexibility of institutional structures and their physical architectures”; the institutional structure with the starring role being Southern Exposure itself.\u003c/p>\n\u003cp>The artists use the space’s composition as a blueprint, but they don’t approach it as a limited, fixed premise. Instead, they employ all of its parts and leave no section of Southern Exposure’s available square footage undisturbed. Charlie Leese’s sculptural installation even extends into the restroom foyer in an investigation of “architectural hierarchies and overlapping physical and digital spaces.” Visitors can actually interact with Leese’s work while washing their hands at the bathroom sink.\u003c/p>\n\u003cfigure id=\"attachment_13825988\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13825988 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/CL_JR_0859-800x533.jpg\" alt=\"Installation view of Charlie Leese's 'Internal Structure' from 'Spirited Probabilities' at Southern Exposure in San Francisco.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/CL_JR_0859-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/CL_JR_0859-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/CL_JR_0859-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/CL_JR_0859-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/CL_JR_0859.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/CL_JR_0859-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/CL_JR_0859-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/CL_JR_0859-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/CL_JR_0859-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/CL_JR_0859-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of Charlie Leese’s ‘Internal Structure’ from ‘Spirited Probabilities’ at Southern Exposure in San Francisco. \u003ccite>(Photo: Mik Gaspay)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lisa Jonas Taylor’s piece \u003ci>Portal\u003c/i> confronts visitors as they enter the center of the exhibition. At once, folks are greeted by an obstacle course of shiny sculptures and an array of materials (Plexiglas, vinyl, gravel, confetti, plywood, and carpet) accumulated in judicious piles on the floor. Colored flood lights illuminate various parts of Taylor’s work.\u003c/p>\n\u003cp>Following the idea of a boundary-less institution, Simone Bailey stakes claim over the grand picture window facing Alabama Street. The untitled stained glass work is composed of a mixture that includes a raw form of lanolin, paprika, and activated charcoal. This piece is best witnessed in the afternoon as it manipulates the natural light that enters the space during the day. Nature’s elements, too, lend a hand in the planned happenstance of \u003cem>Spirited Probabilities\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13825990\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13825990\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/LA_0794-800x533.jpg\" alt=\"Luca Antonucci, Contraction and release, 2018, video loop on CRT monitor. Installation view from 'Spirited Probabilities' at Southern Exposure in San Francisco.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/LA_0794-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/LA_0794-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/LA_0794-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/LA_0794-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/LA_0794.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/LA_0794-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/LA_0794-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/LA_0794-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/LA_0794-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/LA_0794-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Luca Antonucci, ‘Contraction and release,’ 2018, video loop on CRT monitor. Installation view from ‘Spirited Probabilities’ at Southern Exposure in San Francisco. \u003ccite>(Photo: Mik Gaspay)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Luca Antonucci offers up four of his works for the show, but \u003cem>Here we are again, running out of time\u003c/em> is especially memorable for its meta quality — it is a meditation on spaces within an exhibition that meditates space. Copies of the 112-page softcover book rest within and on top of a bookshelf made of wood and neon Plexiglas. The makeshift library creates the sensibility of a hideaway nook, inviting visitors to indulge in a bit of respite and flip through a book of images procured from San Francisco-based narrative films (as well as locations scouted for their ability to serve as stand-ins for San Francisco).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>George Pfau also caters to nook-loving, alcove-seeking individuals. Resting unassumingly in a darkened corner — save for a reading light — of Southern Exposure’s front entrance, a small rectangular white table and stool invite intimate parties to sit and flip through a hefty book of black-and-white drawings of dreamscapes and imaginary settings. Each page explores how “black lines can be used to circumscribe boundaries between things; in particular, the porousness between bodies and their environment.” Viewers can see meticulous illustrations of people physically melting in the workplace or against anonymous palatial backdrops. In other drawings, Dalmatians frolic alongside whales and bears. Pfau presents a potpourri of curious, clashing surroundings that interrupt understood notions of environmental borderlines.\u003c/p>\n\u003cfigure id=\"attachment_13825991\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13825991 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Main_Gallery_B_0808-800x450.jpg\" alt=\"Installation view from Maria Guzmán Capron’s 'Amadora' in 'Spirited Probabilities' at Southern Exposure in San Francisco.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Main_Gallery_B_0808-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Main_Gallery_B_0808-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Main_Gallery_B_0808-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Main_Gallery_B_0808-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Main_Gallery_B_0808.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Main_Gallery_B_0808-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Main_Gallery_B_0808-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Main_Gallery_B_0808-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Main_Gallery_B_0808-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Main_Gallery_B_0808-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Installation view from Maria Guzmán Capron’s ‘Amadora’ in ‘Spirited Probabilities’ at Southern Exposure in San Francisco. \u003ccite>(Photo: Mik Gaspay)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Maria Guzmán Capron’s \u003ci>Amadora\u003c/i>, scales the length of a large column at the center of the space. And in terms of vantage points, the playfully imposing textile sculpture wins in that it can be seen from just about every corner of the room. The figure, made of a colorful patchwork of fabric, batting, stuffing, and wire appears to be upside down, but grips the column in a comfortable manner that suggests it is an agile creature. A sort of elephant in the room, this work joins in on the enthusiastic pursuit of testing out unexpected locations in a larger-than-life way. What was once a nondescript structural fixture, a column, is transformed into one of the main focal points of the building’s interior.\u003c/p>\n\u003cp>\u003cem>Spirited Probabilities\u003c/em>’ exuberant probing at the possibilities of space is contagious. Once they get the hang of it, visitors become super sleuths, determined to detect even the most inconspicuous works in the show.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Spirited Probabilities’ is on view through March 31 at Southern Exposure in San Francisco. \u003ca href=\"https://www.soex.org/projects-exhibitions/spirited-probabilities\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "san-francisco-street-could-be-renamed-frida-kahlo-way",
"title": "SF Street With Racist Connotations to be Renamed Frida Kahlo Way [UPDATE]",
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"headTitle": "SF Street With Racist Connotations to be Renamed Frida Kahlo Way [UPDATE] | KQED",
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"content": "\u003cp>\u003cb>UPDATE June 20, 2018:\u003c/b> At the San Francisco Board of Supervisors meeting Tuesday, the board unanimously approved legislation changing the name of Phelan Way to Frida Kahlo Way. On Wednesday, San Francisco Mayor Mark Farrell told KQED he planned to sign the bill soon. \u003c/p>\n\u003cp>“San Francisco needs to be a place and has to be a place where everyone feels welcome and included,” Farell said. \u003c/p>\n\u003cp>\u003cb>UPDATE April 5, 2018:\u003c/b> On Tuesday, Supervisor Norman Yee announced that residents who live near City College of San Francisco voted to change the name from Phelan Avenue to Frida Kahlo Way. \u003c/p>\n\u003cp>“I think its important for city leadership to promote whats reflective of our culture today, and not allow for what happened in the past to dictate the future for us,” Yee said when announcing the results.\u003c/p>\n\u003cp>The name change is expected to go before the full San Francisco Board of Supervisors by the end of the year. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>Original Post:\u003c/b> \u003c/p>\n\u003cp>A street in San Francisco named after a controversial figure could become Frida Kahlo Way by next year.\u003c/p>\n\u003cp>Phelan Avenue, which shares its namesake with former San Francisco Mayor James D. Phelan, will be renamed in the next two weeks due to the efforts of Supervisor Norman Yee, the City College of San Francisco and local residents. Last Thursday, City College’s board of trustees voted to support renaming the road Frida Kahlo Way, after the influential Mexican artist. \u003c/p>\n\u003cp>“At a time when the country is rethinking who deserves to have statues and parks named after them, [having] a street that an institution like City College is on named after someone whose family left a legacy of racism, doesn’t reflect [our] values,” City College English professor Alisa Messer told the \u003ca href=\"http://www.sfexaminer.com/phelan-avenue-poised-lose-name-racist-legacy/\" rel=\"noopener\" target=\"_blank\">\u003cem>San Francisco Examiner\u003c/em> last week\u003c/a>. \u003c/p>\n\u003cp>Phelan, a former U.S. senator who lived from 1861 to 1931, has been described as a multimillionaire philanthropist revered by San Franciscans for his \u003ca href=\"https://www.mercurynews.com/2017/06/14/matters-historical-philanthropist-james-phelan-had-a-deep-streak-of-racism/\" rel=\"noopener\" target=\"_blank\">support of the arts.\u003c/a> His will included a provision that after his death, his 175-acre estate in Saratoga called Villa Montalvo was to be used as a space to foster writers and artists. It continues to provide a popular artist-in-residency program.\u003c/p>\n\u003cp>But Phelan also had a serious racist streak. When he campaigned to be re-elected to the senate, his slogan was “Keep California White.” He was also a staunch opponent of Asians immigrating into California. He detailed his beliefs in a 1901 essay titled “\u003ca href=\"http://www.americanyawp.com/reader/19-american-empire/james-d-phelan-why-the-chinese-should-be-excluded-1901/\" rel=\"noopener\" target=\"_blank\">Why the Chinese Should Be Excluded\u003c/a>.” From the essay:\u003c/p>\n\u003cblockquote>\u003cp> If the Chinese are admitted, whence are the ranks of the free population to be recruited? Who shall preserve our civilization and who shall fight our battles? The Chinese may be good laborers, but they are not good citizens. They may in small numbers benefit individual employers, but they breed the germs of a national disease, which spreads as they spread, and grows as they grow.\u003c/p>\u003c/blockquote>\n\u003cp>The movement to strip Phelan’s name from the street began as early as 2000, when local activists tried to rename it \u003ca href=\"https://www.sfgate.com/politics/article/Long-Ago-Mayor-Branded-a-Racist-Move-in-S-F-to-3238405.php\" rel=\"noopener\" target=\"_blank\">after local Filipino activist Violeta “Bullet” Marasigan\u003c/a>. Those efforts failed, but the campaign started up again last year when University of San Francisco students protested to remove \u003ca href=\"http://www.sfexaminer.com/usf-drops-former-sf-mayors-name-dorms-racist-views/\" rel=\"noopener\" target=\"_blank\">Phelan’s name from a dormitory and succeeded\u003c/a>. \u003c/p>\n\u003cfigure id=\"attachment_13825831\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/PanamericanUnity-800x239.jpg\" alt=\"Pan American Unity mural by Diego Rivera\" width=\"800\" height=\"239\" class=\"size-medium wp-image-13825831\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/PanamericanUnity-800x239.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/PanamericanUnity-160x48.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/PanamericanUnity-768x229.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/PanamericanUnity-1020x304.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/PanamericanUnity-1920x573.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/PanamericanUnity-1180x352.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/PanamericanUnity-960x286.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/PanamericanUnity-240x72.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/PanamericanUnity-375x112.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/PanamericanUnity-520x155.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/PanamericanUnity.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Pan American Unity’ by Diego Rivera. \u003ccite>(Courtesy of City College of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Supervisor Yee told the \u003cem>Examiner\u003c/em> that he was recently contemplating the name change after learning about Phelan’s past. Though the roadway is reportedly named after Phelan’s father, banker James Phelan, supporters of the name change say the family tie is reason enough to make the switch.\u003c/p>\n\u003cp>When Yee heard that City College of San Francisco was also working on renaming the street, Yee worked to open up the process to the public. A Phelan Renaming Committee, made up of college representatives and neighborhood residents, is considering several options. Other suggestions include writer Thelma Johnson Streat and Chinese American historian Him Mark Lai.\u003c/p>\n\u003cp>A public vote on the new name is expected in two weeks. Yee will then take the winning suggestion to the San Francisco Board of Supervisors for approval. A spokesperson for Yee said the new name will become official in about a year.\u003c/p>\n\u003cp>Last Thursday, City College’s trustees voted in support of the name Frida Kahlo Way because her image is included in Diego Rivera’s \u003cem>Pan American Unity\u003c/em> mural on the \u003ca href=\"http://www.ccsf.edu/Info/Map/theatre.shtml#5\" rel=\"noopener\" target=\"_blank\">campus theater\u003c/a>. Trustee Tom Temprano said that the board saw the street’s renaming as a perfect opportunity to honor an artist who, in recent years, finally received the recognition that Diego, her husband, enjoyed for decades.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“[The renaming] certainly won’t be an insignificant cost to the college. It will take time to change our website and all of our documents,” Temprano said. “But it’s about sending a strong message to our community, our staff and our faculty about what our values are.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cb>UPDATE June 20, 2018:\u003c/b> At the San Francisco Board of Supervisors meeting Tuesday, the board unanimously approved legislation changing the name of Phelan Way to Frida Kahlo Way. On Wednesday, San Francisco Mayor Mark Farrell told KQED he planned to sign the bill soon. \u003c/p>\n\u003cp>“San Francisco needs to be a place and has to be a place where everyone feels welcome and included,” Farell said. \u003c/p>\n\u003cp>\u003cb>UPDATE April 5, 2018:\u003c/b> On Tuesday, Supervisor Norman Yee announced that residents who live near City College of San Francisco voted to change the name from Phelan Avenue to Frida Kahlo Way. \u003c/p>\n\u003cp>“I think its important for city leadership to promote whats reflective of our culture today, and not allow for what happened in the past to dictate the future for us,” Yee said when announcing the results.\u003c/p>\n\u003cp>The name change is expected to go before the full San Francisco Board of Supervisors by the end of the year. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>Original Post:\u003c/b> \u003c/p>\n\u003cp>A street in San Francisco named after a controversial figure could become Frida Kahlo Way by next year.\u003c/p>\n\u003cp>Phelan Avenue, which shares its namesake with former San Francisco Mayor James D. Phelan, will be renamed in the next two weeks due to the efforts of Supervisor Norman Yee, the City College of San Francisco and local residents. Last Thursday, City College’s board of trustees voted to support renaming the road Frida Kahlo Way, after the influential Mexican artist. \u003c/p>\n\u003cp>“At a time when the country is rethinking who deserves to have statues and parks named after them, [having] a street that an institution like City College is on named after someone whose family left a legacy of racism, doesn’t reflect [our] values,” City College English professor Alisa Messer told the \u003ca href=\"http://www.sfexaminer.com/phelan-avenue-poised-lose-name-racist-legacy/\" rel=\"noopener\" target=\"_blank\">\u003cem>San Francisco Examiner\u003c/em> last week\u003c/a>. \u003c/p>\n\u003cp>Phelan, a former U.S. senator who lived from 1861 to 1931, has been described as a multimillionaire philanthropist revered by San Franciscans for his \u003ca href=\"https://www.mercurynews.com/2017/06/14/matters-historical-philanthropist-james-phelan-had-a-deep-streak-of-racism/\" rel=\"noopener\" target=\"_blank\">support of the arts.\u003c/a> His will included a provision that after his death, his 175-acre estate in Saratoga called Villa Montalvo was to be used as a space to foster writers and artists. It continues to provide a popular artist-in-residency program.\u003c/p>\n\u003cp>But Phelan also had a serious racist streak. When he campaigned to be re-elected to the senate, his slogan was “Keep California White.” He was also a staunch opponent of Asians immigrating into California. He detailed his beliefs in a 1901 essay titled “\u003ca href=\"http://www.americanyawp.com/reader/19-american-empire/james-d-phelan-why-the-chinese-should-be-excluded-1901/\" rel=\"noopener\" target=\"_blank\">Why the Chinese Should Be Excluded\u003c/a>.” From the essay:\u003c/p>\n\u003cblockquote>\u003cp> If the Chinese are admitted, whence are the ranks of the free population to be recruited? Who shall preserve our civilization and who shall fight our battles? The Chinese may be good laborers, but they are not good citizens. They may in small numbers benefit individual employers, but they breed the germs of a national disease, which spreads as they spread, and grows as they grow.\u003c/p>\u003c/blockquote>\n\u003cp>The movement to strip Phelan’s name from the street began as early as 2000, when local activists tried to rename it \u003ca href=\"https://www.sfgate.com/politics/article/Long-Ago-Mayor-Branded-a-Racist-Move-in-S-F-to-3238405.php\" rel=\"noopener\" target=\"_blank\">after local Filipino activist Violeta “Bullet” Marasigan\u003c/a>. Those efforts failed, but the campaign started up again last year when University of San Francisco students protested to remove \u003ca href=\"http://www.sfexaminer.com/usf-drops-former-sf-mayors-name-dorms-racist-views/\" rel=\"noopener\" target=\"_blank\">Phelan’s name from a dormitory and succeeded\u003c/a>. \u003c/p>\n\u003cfigure id=\"attachment_13825831\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/PanamericanUnity-800x239.jpg\" alt=\"Pan American Unity mural by Diego Rivera\" width=\"800\" height=\"239\" class=\"size-medium wp-image-13825831\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/PanamericanUnity-800x239.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/PanamericanUnity-160x48.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/PanamericanUnity-768x229.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/PanamericanUnity-1020x304.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/PanamericanUnity-1920x573.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/PanamericanUnity-1180x352.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/PanamericanUnity-960x286.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/PanamericanUnity-240x72.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/PanamericanUnity-375x112.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/PanamericanUnity-520x155.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/PanamericanUnity.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Pan American Unity’ by Diego Rivera. \u003ccite>(Courtesy of City College of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Supervisor Yee told the \u003cem>Examiner\u003c/em> that he was recently contemplating the name change after learning about Phelan’s past. Though the roadway is reportedly named after Phelan’s father, banker James Phelan, supporters of the name change say the family tie is reason enough to make the switch.\u003c/p>\n\u003cp>When Yee heard that City College of San Francisco was also working on renaming the street, Yee worked to open up the process to the public. A Phelan Renaming Committee, made up of college representatives and neighborhood residents, is considering several options. Other suggestions include writer Thelma Johnson Streat and Chinese American historian Him Mark Lai.\u003c/p>\n\u003cp>A public vote on the new name is expected in two weeks. Yee will then take the winning suggestion to the San Francisco Board of Supervisors for approval. A spokesperson for Yee said the new name will become official in about a year.\u003c/p>\n\u003cp>Last Thursday, City College’s trustees voted in support of the name Frida Kahlo Way because her image is included in Diego Rivera’s \u003cem>Pan American Unity\u003c/em> mural on the \u003ca href=\"http://www.ccsf.edu/Info/Map/theatre.shtml#5\" rel=\"noopener\" target=\"_blank\">campus theater\u003c/a>. Trustee Tom Temprano said that the board saw the street’s renaming as a perfect opportunity to honor an artist who, in recent years, finally received the recognition that Diego, her husband, enjoyed for decades.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“[The renaming] certainly won’t be an insignificant cost to the college. It will take time to change our website and all of our documents,” Temprano said. “But it’s about sending a strong message to our community, our staff and our faculty about what our values are.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The San Francisco Arts Commission (SFAC) has put out a call for artists for a series of public art projects planned in the Bayview neighborhood.\u003c/p>\n\u003cp>The \u003ca href=\"http://www.sfartscommission.org/find-opportunities/calls-for-artists/2018-bayview-artist-registry\" rel=\"noopener\" target=\"_blank\">2018 Bayview Artist Registry\u003c/a> will be used to commission artists for a three-year beautification project in the Bayview. Artists who register will be considered for a series of permanent public works with budgets up to $1 million. \u003c/p>\n\u003cp>Among the structures considered for artistic treatment are the Southeast Wastewater Treatment Plant’s smokestack, the Southeast Health Center and the community facility on Oakdale Avenue. \u003c/p>\n\u003cp>The SFAC encourages artists with “meaningful connections” to the Bayview, such as those living or who have lived in the area. \u003c/p>\n\u003cp>Though the commission requests that artists refrain from pitching specific concepts with their registration, there are deadlines to apply for the bigger projects. For the Southeast Health Center project, artists must register by April 4; for the Southeast Wastewater Treatment Plant and community facility, it’s May 9.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The Bayview-Hunters Point already hosts several notable murals, including the iconic painting on the \u003ca href=\"http://bayviewci.org/\" rel=\"noopener\" target=\"_blank\">Bayview Hunters Point Foundation\u003c/a> building, in place since the 1980s, and the more recent \u003ca href=\"https://blog.americansforthearts.org/by-program/networks-and-councils/public-art-network/public-art-year-in-review-database/bayview-rise\" rel=\"noopener\" target=\"_blank\">Bayview Rise\u003c/a> mural (2011) on a 187-foot grain elevator that lights up at night.\u003c/p>\n\u003cp>The SFAC is also currently surveying San Francisco artists for an artist census. Kate Patterson-Murphy, SFAC’s director of communications, says that the primary purpose of the census is to obtain “a better understanding of the demographics and household income of artists and cultural workers in San Francisco.” \u003c/p>\n\u003cp>“This survey is legally required to gather demographic data (household income, race, ethnicity, etc) of artists and culture workers so that we can move forward with an artist preference in inclusionary housing,” Patterson-Murphy said. “We need to show that our artists and cultural worker population mirrors other communities also seeking affordable housing. But we also just want to better understand the demographics of the cultural community as a whole so that we can ensure equitable distribution of resources. ”\u003c/p>\n\u003cp>The commission has conducted artist surveys before, which it used to determine housing issues for the city’s creative class. A survey of artists facing housing issues in 2015 found that of the 600 artists that responded, \u003ca href=\"https://ww2.kqed.org/arts/2015/09/16/survey-confirms-market-forces-pushing-artists-out-of-san-francisco/\" rel=\"noopener\" target=\"_blank\">70 percent had moved out of the city\u003c/a> or were being forced out due to market forces. \u003c/p>\n\u003cp>According to the U.S. census, \u003ca href=\"https://qz.com/1113019/the-us-cities-with-the-highest-concentrations-of-working-artists/\" rel=\"noopener\" target=\"_blank\">San Francisco is second in the nation\u003c/a> in its concentration of resident artists. (New York City is No. 1.)\u003c/p>\n\u003cp>If you are an artist who lived or used to live in San Francisco, the \u003ca href=\"https://www.surveymonkey.com/r/artsworkforcesurvey\" rel=\"noopener\" target=\"_blank\">survey is here\u003c/a>.\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_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium 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>\u003cb>CORRECTION:\u003c/b> \u003ci>This article previously described the SFAC census as being a continuation of its artist surveys, which was incorrect. The artist census is separate from other surveys the commission has conducted.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The San Francisco Arts Commission (SFAC) has put out a call for artists for a series of public art projects planned in the Bayview neighborhood.\u003c/p>\n\u003cp>The \u003ca href=\"http://www.sfartscommission.org/find-opportunities/calls-for-artists/2018-bayview-artist-registry\" rel=\"noopener\" target=\"_blank\">2018 Bayview Artist Registry\u003c/a> will be used to commission artists for a three-year beautification project in the Bayview. Artists who register will be considered for a series of permanent public works with budgets up to $1 million. \u003c/p>\n\u003cp>Among the structures considered for artistic treatment are the Southeast Wastewater Treatment Plant’s smokestack, the Southeast Health Center and the community facility on Oakdale Avenue. \u003c/p>\n\u003cp>The SFAC encourages artists with “meaningful connections” to the Bayview, such as those living or who have lived in the area. \u003c/p>\n\u003cp>Though the commission requests that artists refrain from pitching specific concepts with their registration, there are deadlines to apply for the bigger projects. For the Southeast Health Center project, artists must register by April 4; for the Southeast Wastewater Treatment Plant and community facility, it’s May 9.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The Bayview-Hunters Point already hosts several notable murals, including the iconic painting on the \u003ca href=\"http://bayviewci.org/\" rel=\"noopener\" target=\"_blank\">Bayview Hunters Point Foundation\u003c/a> building, in place since the 1980s, and the more recent \u003ca href=\"https://blog.americansforthearts.org/by-program/networks-and-councils/public-art-network/public-art-year-in-review-database/bayview-rise\" rel=\"noopener\" target=\"_blank\">Bayview Rise\u003c/a> mural (2011) on a 187-foot grain elevator that lights up at night.\u003c/p>\n\u003cp>The SFAC is also currently surveying San Francisco artists for an artist census. Kate Patterson-Murphy, SFAC’s director of communications, says that the primary purpose of the census is to obtain “a better understanding of the demographics and household income of artists and cultural workers in San Francisco.” \u003c/p>\n\u003cp>“This survey is legally required to gather demographic data (household income, race, ethnicity, etc) of artists and culture workers so that we can move forward with an artist preference in inclusionary housing,” Patterson-Murphy said. “We need to show that our artists and cultural worker population mirrors other communities also seeking affordable housing. But we also just want to better understand the demographics of the cultural community as a whole so that we can ensure equitable distribution of resources. ”\u003c/p>\n\u003cp>The commission has conducted artist surveys before, which it used to determine housing issues for the city’s creative class. A survey of artists facing housing issues in 2015 found that of the 600 artists that responded, \u003ca href=\"https://ww2.kqed.org/arts/2015/09/16/survey-confirms-market-forces-pushing-artists-out-of-san-francisco/\" rel=\"noopener\" target=\"_blank\">70 percent had moved out of the city\u003c/a> or were being forced out due to market forces. \u003c/p>\n\u003cp>According to the U.S. census, \u003ca href=\"https://qz.com/1113019/the-us-cities-with-the-highest-concentrations-of-working-artists/\" rel=\"noopener\" target=\"_blank\">San Francisco is second in the nation\u003c/a> in its concentration of resident artists. (New York City is No. 1.)\u003c/p>\n\u003cp>If you are an artist who lived or used to live in San Francisco, the \u003ca href=\"https://www.surveymonkey.com/r/artsworkforcesurvey\" rel=\"noopener\" target=\"_blank\">survey is here\u003c/a>.\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_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium 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>\u003cb>CORRECTION:\u003c/b> \u003ci>This article previously described the SFAC census as being a continuation of its artist surveys, which was incorrect. The artist census is separate from other surveys the commission has conducted.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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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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