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"content": "\u003cp>What does it mean to be marginalized? How does it feel when a community that shares your religious beliefs in turn rejects you based on your race, gender identity, or physical ability?\u003c/p>\n\u003cp>These are two of the many questions posed by SOMArts’ \u003cem>\u003ca href=\"http://www.somarts.org/thirdmuslim/\" target=\"_blank\" rel=\"noopener\">The Third Muslim\u003c/a>\u003c/em>, an engaging multimedia installation of work by 15 artists who identify as queer, trans, and gender non-conforming. Curators \u003ca href=\"https://zulfikaralibhuttoart.com/\" target=\"_blank\" rel=\"noopener\">Zulfikar Ali Bhutto\u003c/a> and \u003ca href=\"https://www.colorlines.com/articles/post-pulse-massacre-moving-forward-means-rejecting-scarcity-and-fear\" target=\"_blank\" rel=\"noopener\">Yas Ahmed\u003c/a> marshal images and ideas that highlight Islam — along with homophobia, racism, and rejection in queer communities — and the potential for visual art to foster both individual and communal healing.\u003c/p>\n\u003cfigure id=\"attachment_13823129\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13823129\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/25102714157_d8ca77566e_o.jpg\" alt=\"Curators Zulfikar Ali Bhutto and Yas Ahmed at the opening of 'The Third Muslim.'\" width=\"2048\" height=\"1365\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/25102714157_d8ca77566e_o.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/25102714157_d8ca77566e_o-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/25102714157_d8ca77566e_o-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/25102714157_d8ca77566e_o-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/25102714157_d8ca77566e_o-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/25102714157_d8ca77566e_o-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/25102714157_d8ca77566e_o-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/25102714157_d8ca77566e_o-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/25102714157_d8ca77566e_o-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/25102714157_d8ca77566e_o-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/25102714157_d8ca77566e_o-520x347.jpg 520w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Curators Zulfikar Ali Bhutto and Yas Ahmed at the opening of ‘The Third Muslim.’ \u003ccite>(Chani Bockwinkel for SOMArts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A note of context may be helpful. Though it’s not stated outright, critical theorist \u003ca href=\"https://english.fas.harvard.edu/faculty/bhabha/\" target=\"_blank\" rel=\"noopener\">Homi K. Bhabha\u003c/a>’s concept of the \u003ca href=\"http://monumenttotransformation.org/atlas-of-transformation/html/c/cultural-diversity/cultural-diversity-and-cultural-differences-homi-k-bhabha.html\" target=\"_blank\" rel=\"noopener\">third space\u003c/a> offers a lens through which to consider \u003cem>The Third Muslim\u003c/em>. Briefly described, the third space opens up when two or more individuals or cultures interact. Under the best circumstances, those interactions help blend disparate experiences, and undermine the notion that culture is homogenized, or worse, “pure.”\u003c/p>\n\u003cp>With Bhabha’s work in mind, the third space concept may help us understand historical and contemporary cultural collisions like imbalances of power between developed and developing nations, the consequences of colonialism, and the negative effect of mainstream media portrayals on communities represented in \u003cem>The Third Muslim\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13823119\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13823119\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/25102723107_ce39534638_o.jpg\" alt=\"Taba Saj, Installation view of 'F**k It Veil' at SOMArts.\" width=\"2048\" height=\"1365\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/25102723107_ce39534638_o.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/25102723107_ce39534638_o-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/25102723107_ce39534638_o-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/25102723107_ce39534638_o-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/25102723107_ce39534638_o-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/25102723107_ce39534638_o-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/25102723107_ce39534638_o-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/25102723107_ce39534638_o-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/25102723107_ce39534638_o-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/25102723107_ce39534638_o-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/25102723107_ce39534638_o-520x347.jpg 520w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Taba Saj, Installation view of ‘F**k It Veil’ at SOMArts. \u003ccite>(Chani Bockwinkel for SOMArts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Clothing is a potent and prominent metaphor throughout the installation. Walking into the gallery, viewers are immediately faced with a subject that arouses passionate responses from women and men alike worldwide. \u003ca href=\"http://www.artbysaba.com/\" target=\"_blank\" rel=\"noopener\">Saba Taj\u003c/a>’s \u003cem>F**k It Veil\u003c/em> series presents three burqas, the modest garments worn by millions of Muslim women that are dismissed as sexist and culturally regressive by many in the West.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Taj’s textiles depart from the black or dark blue cotton generally used to make burqas. Colorful print and gold lamé trimming (a la Scarlett O’Hara and Carol Burnett) introduce a note of uneasy humor intensified by how the mannequins, situated on a low platform, rise over the viewer. These representations of Muslim women do not suggest subservience or those lacking personal agency. Instead, they demonstrate pride in one’s ethnicity and religious identity. Against a media landscape lousy with loud and ill-informed, if not outright xenophobic personalities who live to condemn what they don’t understand, these silent figures speak volumes.\u003c/p>\n\u003cfigure id=\"attachment_13823130\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13823130\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/39941676762_8589c03e6a_o-1.jpg\" alt=\"Hushidar Mortezaie, Installation view of 'Occupy Me: Topping from the Bottom.'\" width=\"2048\" height=\"1365\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/39941676762_8589c03e6a_o-1.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/39941676762_8589c03e6a_o-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/39941676762_8589c03e6a_o-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/39941676762_8589c03e6a_o-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/39941676762_8589c03e6a_o-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/39941676762_8589c03e6a_o-1-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/39941676762_8589c03e6a_o-1-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/39941676762_8589c03e6a_o-1-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/39941676762_8589c03e6a_o-1-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/39941676762_8589c03e6a_o-1-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/39941676762_8589c03e6a_o-1-520x347.jpg 520w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Hushidar Mortezaie, Installation view of ‘Occupy Me: Topping from the Bottom.’ \u003ccite>(Chani Bockwinkel for SOMArts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Iranian artist \u003ca href=\"https://www.instagram.com/hushi5/?hl=en\" target=\"_blank\" rel=\"noopener\">Hushidar Mortezaie\u003c/a>’s \u003cem>Occupy Me: Topping from the Bottom Up\u003c/em> addresses state-sponsored murder and hope for the future in a conceptual red carpet scene. In front of backpacks and jerseys emblazoned with the phrases “magic whiteness,” and “orientalism makes me barf,” Mortezaie positions three mannequins fitted with the likenesses of three men — teenagers Mahmoud Asgari and Ayaz Marhoni and actor Fereydoun Farrokhzad — whose deaths are popularly linked to their homosexuality.\u003c/p>\n\u003cp>By the artist’s hand, the souls of these men are celebrated, honored as symbols of resistance against perceived governmental and corporate exploitation. Facing out to the main gallery, the figures spur us to recognize a violent past and present reality in Iran, and work for a future that honors the lives that were lost.\u003c/p>\n\u003cfigure id=\"attachment_13823122\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13823122\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/27360329549_4b86c8f49e_o.jpg\" alt=\"Nabeela Vega, 'Visiting Thahab.'\" width=\"2048\" height=\"2048\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/27360329549_4b86c8f49e_o.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/27360329549_4b86c8f49e_o-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/27360329549_4b86c8f49e_o-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/27360329549_4b86c8f49e_o-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/27360329549_4b86c8f49e_o-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/27360329549_4b86c8f49e_o-1920x1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/27360329549_4b86c8f49e_o-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/27360329549_4b86c8f49e_o-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/27360329549_4b86c8f49e_o-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/27360329549_4b86c8f49e_o-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/27360329549_4b86c8f49e_o-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/27360329549_4b86c8f49e_o-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/27360329549_4b86c8f49e_o-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/27360329549_4b86c8f49e_o-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/27360329549_4b86c8f49e_o-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/27360329549_4b86c8f49e_o-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/27360329549_4b86c8f49e_o-150x150.jpg 150w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Nabeela Vega, ‘Visiting Thahab.’ \u003ccite>(Nabeela Vega)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to presenting the work of accomplished artists, Bhutto and Ahmed view the exhibition as the beginning of a physical and psychological space where these ideas can be sustained even after the installation closes. Building what they term a “multi-sensory archive” enables a marginalized community to represent itself, directly defying the negative media branding of queer Muslims.\u003c/p>\n\u003cp>While constructing and maintaining an archive is a fraught process, the endeavor will start to fill in missing or erased histories, and create a third space, as Bhabha theorized, for members of the wider queer community to discuss the issues — race, representation, access, and visibility — that have thus far divided them.\u003c/p>\n\u003cp>From this perspective, \u003ca href=\"http://queermuslimproject.tumblr.com/\" target=\"_blank\" rel=\"noopener\">Samra Habib\u003c/a>’s luminous portrait series \u003cem>Just Me and Allah\u003c/em>, \u003ca href=\"http://jamilhellu.net/projects\" target=\"_blank\" rel=\"noopener\">Jamil Hellu\u003c/a>’s \u003cem>Cloaked\u003c/em>, and \u003ca href=\"http://www.nabeelavega.com/\" target=\"_blank\" rel=\"noopener\">Nabeela Vega\u003c/a>’s \u003cem>Visiting Thahab\u003c/em> may serve as reference points for those seeking visual affirmation of their queer and Muslim identities. Likewise, Totally Radical Muslims’ (TRM) \u003ca href=\"http://www.poconlineclassroom.com/blog/2016/6/12/rad-reading-totally-radical-muslims-zine-2\" target=\"_blank\" rel=\"noopener\">radical zine\u003c/a> and Kaamila Mohamed’s poetic verse may offer textual reassurance to those who seek healing. Set against a social and political milieu that shrinks and narrows by the day, the space created by \u003cem>The Third Muslim\u003c/em> is exactly what we need.\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>\u003cem>‘The Third Muslim is on view at San Francisco’s SOMArts Culture Center through Feb. 22, 2018. For more information, \u003ca href=\"http://www.somarts.org/thirdmuslim/\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "At SOMArts, a group exhibition of work by queer, trans, and gender non-conforming artists highlights Islam, and the potential for visual art to heal.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>What does it mean to be marginalized? How does it feel when a community that shares your religious beliefs in turn rejects you based on your race, gender identity, or physical ability?\u003c/p>\n\u003cp>These are two of the many questions posed by SOMArts’ \u003cem>\u003ca href=\"http://www.somarts.org/thirdmuslim/\" target=\"_blank\" rel=\"noopener\">The Third Muslim\u003c/a>\u003c/em>, an engaging multimedia installation of work by 15 artists who identify as queer, trans, and gender non-conforming. Curators \u003ca href=\"https://zulfikaralibhuttoart.com/\" target=\"_blank\" rel=\"noopener\">Zulfikar Ali Bhutto\u003c/a> and \u003ca href=\"https://www.colorlines.com/articles/post-pulse-massacre-moving-forward-means-rejecting-scarcity-and-fear\" target=\"_blank\" rel=\"noopener\">Yas Ahmed\u003c/a> marshal images and ideas that highlight Islam — along with homophobia, racism, and rejection in queer communities — and the potential for visual art to foster both individual and communal healing.\u003c/p>\n\u003cfigure id=\"attachment_13823129\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13823129\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/25102714157_d8ca77566e_o.jpg\" alt=\"Curators Zulfikar Ali Bhutto and Yas Ahmed at the opening of 'The Third Muslim.'\" width=\"2048\" height=\"1365\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/25102714157_d8ca77566e_o.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/25102714157_d8ca77566e_o-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/25102714157_d8ca77566e_o-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/25102714157_d8ca77566e_o-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/25102714157_d8ca77566e_o-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/25102714157_d8ca77566e_o-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/25102714157_d8ca77566e_o-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/25102714157_d8ca77566e_o-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/25102714157_d8ca77566e_o-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/25102714157_d8ca77566e_o-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/25102714157_d8ca77566e_o-520x347.jpg 520w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Curators Zulfikar Ali Bhutto and Yas Ahmed at the opening of ‘The Third Muslim.’ \u003ccite>(Chani Bockwinkel for SOMArts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A note of context may be helpful. Though it’s not stated outright, critical theorist \u003ca href=\"https://english.fas.harvard.edu/faculty/bhabha/\" target=\"_blank\" rel=\"noopener\">Homi K. Bhabha\u003c/a>’s concept of the \u003ca href=\"http://monumenttotransformation.org/atlas-of-transformation/html/c/cultural-diversity/cultural-diversity-and-cultural-differences-homi-k-bhabha.html\" target=\"_blank\" rel=\"noopener\">third space\u003c/a> offers a lens through which to consider \u003cem>The Third Muslim\u003c/em>. Briefly described, the third space opens up when two or more individuals or cultures interact. Under the best circumstances, those interactions help blend disparate experiences, and undermine the notion that culture is homogenized, or worse, “pure.”\u003c/p>\n\u003cp>With Bhabha’s work in mind, the third space concept may help us understand historical and contemporary cultural collisions like imbalances of power between developed and developing nations, the consequences of colonialism, and the negative effect of mainstream media portrayals on communities represented in \u003cem>The Third Muslim\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13823119\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13823119\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/25102723107_ce39534638_o.jpg\" alt=\"Taba Saj, Installation view of 'F**k It Veil' at SOMArts.\" width=\"2048\" height=\"1365\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/25102723107_ce39534638_o.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/25102723107_ce39534638_o-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/25102723107_ce39534638_o-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/25102723107_ce39534638_o-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/25102723107_ce39534638_o-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/25102723107_ce39534638_o-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/25102723107_ce39534638_o-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/25102723107_ce39534638_o-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/25102723107_ce39534638_o-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/25102723107_ce39534638_o-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/25102723107_ce39534638_o-520x347.jpg 520w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Taba Saj, Installation view of ‘F**k It Veil’ at SOMArts. \u003ccite>(Chani Bockwinkel for SOMArts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Clothing is a potent and prominent metaphor throughout the installation. Walking into the gallery, viewers are immediately faced with a subject that arouses passionate responses from women and men alike worldwide. \u003ca href=\"http://www.artbysaba.com/\" target=\"_blank\" rel=\"noopener\">Saba Taj\u003c/a>’s \u003cem>F**k It Veil\u003c/em> series presents three burqas, the modest garments worn by millions of Muslim women that are dismissed as sexist and culturally regressive by many in the West.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Taj’s textiles depart from the black or dark blue cotton generally used to make burqas. Colorful print and gold lamé trimming (a la Scarlett O’Hara and Carol Burnett) introduce a note of uneasy humor intensified by how the mannequins, situated on a low platform, rise over the viewer. These representations of Muslim women do not suggest subservience or those lacking personal agency. Instead, they demonstrate pride in one’s ethnicity and religious identity. Against a media landscape lousy with loud and ill-informed, if not outright xenophobic personalities who live to condemn what they don’t understand, these silent figures speak volumes.\u003c/p>\n\u003cfigure id=\"attachment_13823130\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13823130\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/39941676762_8589c03e6a_o-1.jpg\" alt=\"Hushidar Mortezaie, Installation view of 'Occupy Me: Topping from the Bottom.'\" width=\"2048\" height=\"1365\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/39941676762_8589c03e6a_o-1.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/39941676762_8589c03e6a_o-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/39941676762_8589c03e6a_o-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/39941676762_8589c03e6a_o-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/39941676762_8589c03e6a_o-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/39941676762_8589c03e6a_o-1-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/39941676762_8589c03e6a_o-1-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/39941676762_8589c03e6a_o-1-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/39941676762_8589c03e6a_o-1-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/39941676762_8589c03e6a_o-1-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/39941676762_8589c03e6a_o-1-520x347.jpg 520w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Hushidar Mortezaie, Installation view of ‘Occupy Me: Topping from the Bottom.’ \u003ccite>(Chani Bockwinkel for SOMArts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Iranian artist \u003ca href=\"https://www.instagram.com/hushi5/?hl=en\" target=\"_blank\" rel=\"noopener\">Hushidar Mortezaie\u003c/a>’s \u003cem>Occupy Me: Topping from the Bottom Up\u003c/em> addresses state-sponsored murder and hope for the future in a conceptual red carpet scene. In front of backpacks and jerseys emblazoned with the phrases “magic whiteness,” and “orientalism makes me barf,” Mortezaie positions three mannequins fitted with the likenesses of three men — teenagers Mahmoud Asgari and Ayaz Marhoni and actor Fereydoun Farrokhzad — whose deaths are popularly linked to their homosexuality.\u003c/p>\n\u003cp>By the artist’s hand, the souls of these men are celebrated, honored as symbols of resistance against perceived governmental and corporate exploitation. Facing out to the main gallery, the figures spur us to recognize a violent past and present reality in Iran, and work for a future that honors the lives that were lost.\u003c/p>\n\u003cfigure id=\"attachment_13823122\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13823122\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/27360329549_4b86c8f49e_o.jpg\" alt=\"Nabeela Vega, 'Visiting Thahab.'\" width=\"2048\" height=\"2048\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/27360329549_4b86c8f49e_o.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/27360329549_4b86c8f49e_o-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/27360329549_4b86c8f49e_o-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/27360329549_4b86c8f49e_o-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/27360329549_4b86c8f49e_o-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/27360329549_4b86c8f49e_o-1920x1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/27360329549_4b86c8f49e_o-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/27360329549_4b86c8f49e_o-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/27360329549_4b86c8f49e_o-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/27360329549_4b86c8f49e_o-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/27360329549_4b86c8f49e_o-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/27360329549_4b86c8f49e_o-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/27360329549_4b86c8f49e_o-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/27360329549_4b86c8f49e_o-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/27360329549_4b86c8f49e_o-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/27360329549_4b86c8f49e_o-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/27360329549_4b86c8f49e_o-150x150.jpg 150w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Nabeela Vega, ‘Visiting Thahab.’ \u003ccite>(Nabeela Vega)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to presenting the work of accomplished artists, Bhutto and Ahmed view the exhibition as the beginning of a physical and psychological space where these ideas can be sustained even after the installation closes. Building what they term a “multi-sensory archive” enables a marginalized community to represent itself, directly defying the negative media branding of queer Muslims.\u003c/p>\n\u003cp>While constructing and maintaining an archive is a fraught process, the endeavor will start to fill in missing or erased histories, and create a third space, as Bhabha theorized, for members of the wider queer community to discuss the issues — race, representation, access, and visibility — that have thus far divided them.\u003c/p>\n\u003cp>From this perspective, \u003ca href=\"http://queermuslimproject.tumblr.com/\" target=\"_blank\" rel=\"noopener\">Samra Habib\u003c/a>’s luminous portrait series \u003cem>Just Me and Allah\u003c/em>, \u003ca href=\"http://jamilhellu.net/projects\" target=\"_blank\" rel=\"noopener\">Jamil Hellu\u003c/a>’s \u003cem>Cloaked\u003c/em>, and \u003ca href=\"http://www.nabeelavega.com/\" target=\"_blank\" rel=\"noopener\">Nabeela Vega\u003c/a>’s \u003cem>Visiting Thahab\u003c/em> may serve as reference points for those seeking visual affirmation of their queer and Muslim identities. Likewise, Totally Radical Muslims’ (TRM) \u003ca href=\"http://www.poconlineclassroom.com/blog/2016/6/12/rad-reading-totally-radical-muslims-zine-2\" target=\"_blank\" rel=\"noopener\">radical zine\u003c/a> and Kaamila Mohamed’s poetic verse may offer textual reassurance to those who seek healing. Set against a social and political milieu that shrinks and narrows by the day, the space created by \u003cem>The Third Muslim\u003c/em> is exactly what we need.\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>\u003cem>‘The Third Muslim is on view at San Francisco’s SOMArts Culture Center through Feb. 22, 2018. For more information, \u003ca href=\"http://www.somarts.org/thirdmuslim/\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Artist Koons Meets French Minister Over Sculpture Dispute",
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"content": "\u003cp>American artist Jeff Koons met with the French culture minister Tuesday amid a debate over a monumental sculpture he plans to offer Paris as a memorial to victims of the 2015 terror attacks.\u003c/p>\n\u003cp>Two dozen people from the worlds of French art and entertainment signed an open letter this month urging the city to refuse Koons’ “Bouquet of Tulips,” calling the project “shocking” and its creator too commercially driven.\u003c/p>\n\u003cp>Koons donated the design in 2016, but not the cost to produce or install the sculpture. It is expected to weigh 36 metric tons (39.6-tons) and stand nearly 12-meters (39.3-feet) high.\u003c/p>\n\u003cp>The project’s direct and associated costs reportedly run to several million euros, some of which private sponsors are expected to pay.\u003c/p>\n\u003cp>The sculpture is intended for a museum hill with a view of the Eiffel tower.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>American artist Jeff Koons met with the French culture minister Tuesday amid a debate over a monumental sculpture he plans to offer Paris as a memorial to victims of the 2015 terror attacks.\u003c/p>\n\u003cp>Two dozen people from the worlds of French art and entertainment signed an open letter this month urging the city to refuse Koons’ “Bouquet of Tulips,” calling the project “shocking” and its creator too commercially driven.\u003c/p>\n\u003cp>Koons donated the design in 2016, but not the cost to produce or install the sculpture. It is expected to weigh 36 metric tons (39.6-tons) and stand nearly 12-meters (39.3-feet) high.\u003c/p>\n\u003cp>The project’s direct and associated costs reportedly run to several million euros, some of which private sponsors are expected to pay.\u003c/p>\n\u003cp>The sculpture is intended for a museum hill with a view of the Eiffel tower.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "With 'Queer Movie Stills', SF Artist Reframes Cinematic Romance",
"headTitle": "With ‘Queer Movie Stills’, SF Artist Reframes Cinematic Romance | KQED",
"content": "\u003cp>\u003cem>Grease. Say Anything. Titanic. The Notebook.\u003c/em> At first glance the images in \u003cem>Queer Movie Stills\u003c/em> look just like brightly colored renderings of iconic moments from popular cinema romances of the last four decades.\u003c/p>\n\u003cp>Yet a closer look reveals that the John Cusack look-alike holding a stereo is actually a pink-haired woman. The figures standing on the ship’s prow are both female — and “John Travolta” is a girl.\u003c/p>\n\u003cfigure id=\"attachment_13819541\" class=\"wp-caption alignnone\" style=\"max-width: 632px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13819541\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/say-anything_orig.jpg\" alt=\"\" width=\"632\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/say-anything_orig.jpg 632w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/say-anything_orig-160x203.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/say-anything_orig-240x304.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/say-anything_orig-375x475.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/say-anything_orig-520x658.jpg 520w\" sizes=\"(max-width: 632px) 100vw, 632px\">\u003cfigcaption class=\"wp-caption-text\">Detail from ‘Say Anything’ in Crystal Vielula’s Queer Movie Stills series. \u003ccite>(Courtesy Crystal Vielula)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The work of San Francisco artist and fashion designer \u003ca href=\"https://www.crystalvielula.com/\">Crystal Vielula\u003c/a>, this exuberant series that exhibited in the city’s Castro neighborhood earlier this year plays with popular culture’s quintessential romance scenes — transforming them into queer love stories. “Because it’s hard to find representation of happy queer love in popular media,” Vielula says, “we need to create them in our own imaginations.”\u003c/p>\n\u003cp>The intent here, in Vielula’s words, is “recreating the narrative and claiming it” — “changing the world in the way that you would like to see it, rather than maybe how it is right now.” She was inspired to begin work on the series in 2017 by observing the chronic absence of positive representation of LGBTQ relationships, while she herself was in a happy lesbian partnership.\u003c/p>\n\u003cfigure id=\"attachment_13819542\" class=\"wp-caption alignnone\" style=\"max-width: 623px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13819542\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/ghost_orig.jpg\" alt=\"\" width=\"623\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ghost_orig.jpg 623w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ghost_orig-160x205.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ghost_orig-240x308.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ghost_orig-375x482.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ghost_orig-520x668.jpg 520w\" sizes=\"(max-width: 623px) 100vw, 623px\">\u003cfigcaption class=\"wp-caption-text\">Detail from ‘Ghost’ in Crystal Vielula’s Queer Movie Stills series. \u003ccite>(Courtesy Crytal Vielula)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We would always try to find movies to watch together — like romantic comedies or anything that would be nice and fun to watch,” she says. Yet in movies like 2013’s \u003cem>Blue is the Warmest Color\u003c/em>, they saw only situations in which “the couple ends up breaking up because one of them ends up deciding they’re straight again” — or dies. Finding it “very strange not to be able to find any representations of a ‘happily ever after’” in popular visual culture that mirrored her own experience, Vielula went about creating them.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>With their bright, saturated color palettes and poppy aesthetic, Vielula’s series intentionally reimagines these newly-queered scenes with an overwhelmingly “super positive” look and feel. Her figures also feature hyper-colorized, thoroughly unrealistic skin and hair tones, to signal an ideological departure from conventional media narratives of “white people in straight relationships,” as she puts it.\u003c/p>\n\u003cp>Without clear facial features, her reimagined film figures act as symbolic blank canvases ready to receive the viewer: “I wanted people to be able,” she says, “to imagine themselves in it — not specific to race.” Her personal favorite in the series is the \u003cem>Dirty Dancing\u003c/em>-inspired image, because of its representation of “an exciting romantic moment” — and because “I’ve always loved that movie.”\u003c/p>\n\u003cfigure id=\"attachment_13819539\" class=\"wp-caption alignnone\" style=\"max-width: 643px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13819539\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/hey-silvia-dirty-dancing_orig.jpg\" alt=\"\" width=\"643\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/hey-silvia-dirty-dancing_orig.jpg 643w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/hey-silvia-dirty-dancing_orig-160x199.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/hey-silvia-dirty-dancing_orig-240x299.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/hey-silvia-dirty-dancing_orig-375x467.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/hey-silvia-dirty-dancing_orig-520x647.jpg 520w\" sizes=\"(max-width: 643px) 100vw, 643px\">\u003cfigcaption class=\"wp-caption-text\">Detail from ‘Hey Silvia/Dirty Dancing’ in Crystal Vielula’s Queer Movie Stills series. \u003ccite>(Courtesy Crystal Vielula)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Vielula is also the artist behind the much-Instagrammed \u003ca href=\"https://www.crystalvielula.com/murals.html\" target=\"_blank\" rel=\"noopener\">queer pride murals in San Francisco’s Clarion Alley\u003c/a>, with their joyous depictions of affectionate, animal-headed same-sex couples. She sees \u003cem>Queer Movie Stills\u003c/em> as a continuation of that impulse towards positivity as both the message and the medium — to highlight the very lack of it in conventional representations of queer love.\u003c/p>\n\u003cp>In this respect, Vielula says, her work is “not outright activist artwork” — but “more a possibility for the future.” Framing things in this irresistibly irrepressible way, she hopes, will be the digestible. “Then,” Vielula says, “people can really think about ‘Oh, why \u003cem>did\u003c/em> I think that queer love actually wasn’t real love?’ and ‘Why \u003cem>did\u003c/em> I think it was fine that all movie romances were straight?’”\u003c/p>\n\u003cfigure id=\"attachment_13819543\" class=\"wp-caption alignnone\" style=\"max-width: 636px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13819543\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/titanic_orig.jpg\" alt=\"\" width=\"636\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/titanic_orig.jpg 636w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/titanic_orig-160x201.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/titanic_orig-240x302.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/titanic_orig-375x472.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/titanic_orig-520x654.jpg 520w\" sizes=\"(max-width: 636px) 100vw, 636px\">\u003cfigcaption class=\"wp-caption-text\">Detail from ‘Titanic’ in Crystal Vielula’s Queer Movie Stills series. \u003ccite>(Courtesy Crystal Vielula)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Asked whether she thinks positive LGBTQ representation in today’s popular culture has at least begun to progress beyond the scenes she refashions, Vielula is hopeful — she’s a fan of Amazon’s \u003cem>Transparent\u003c/em>, in particular — but acknowledges there’s still a long way to go.\u003c/p>\n\u003cp>As for her \u003cem>Queer Movie Stills\u003c/em> series, she hopes that for younger members of the LGBTQ community perhaps still finding their path forward, it might serve to “make them feel like they’re part of a community of people that can have happy, romantic lives.” And that, she adds, “the ‘romantic fairytale’ is possible for all people to experience in their lives.”\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>\u003cem>Crystal Vielula’s ‘Queer Movie Stills’ was on display at \u003ca href=\"https://spikescoffee.com/\" target=\"_blank\" rel=\"noopener\">Spike’s Coffees and Teas\u003c/a> (4117 19th Street) in San Francisco in January 2018.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Grease. Say Anything. Titanic. The Notebook.\u003c/em> At first glance the images in \u003cem>Queer Movie Stills\u003c/em> look just like brightly colored renderings of iconic moments from popular cinema romances of the last four decades.\u003c/p>\n\u003cp>Yet a closer look reveals that the John Cusack look-alike holding a stereo is actually a pink-haired woman. The figures standing on the ship’s prow are both female — and “John Travolta” is a girl.\u003c/p>\n\u003cfigure id=\"attachment_13819541\" class=\"wp-caption alignnone\" style=\"max-width: 632px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13819541\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/say-anything_orig.jpg\" alt=\"\" width=\"632\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/say-anything_orig.jpg 632w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/say-anything_orig-160x203.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/say-anything_orig-240x304.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/say-anything_orig-375x475.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/say-anything_orig-520x658.jpg 520w\" sizes=\"(max-width: 632px) 100vw, 632px\">\u003cfigcaption class=\"wp-caption-text\">Detail from ‘Say Anything’ in Crystal Vielula’s Queer Movie Stills series. \u003ccite>(Courtesy Crystal Vielula)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The work of San Francisco artist and fashion designer \u003ca href=\"https://www.crystalvielula.com/\">Crystal Vielula\u003c/a>, this exuberant series that exhibited in the city’s Castro neighborhood earlier this year plays with popular culture’s quintessential romance scenes — transforming them into queer love stories. “Because it’s hard to find representation of happy queer love in popular media,” Vielula says, “we need to create them in our own imaginations.”\u003c/p>\n\u003cp>The intent here, in Vielula’s words, is “recreating the narrative and claiming it” — “changing the world in the way that you would like to see it, rather than maybe how it is right now.” She was inspired to begin work on the series in 2017 by observing the chronic absence of positive representation of LGBTQ relationships, while she herself was in a happy lesbian partnership.\u003c/p>\n\u003cfigure id=\"attachment_13819542\" class=\"wp-caption alignnone\" style=\"max-width: 623px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13819542\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/ghost_orig.jpg\" alt=\"\" width=\"623\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ghost_orig.jpg 623w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ghost_orig-160x205.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ghost_orig-240x308.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ghost_orig-375x482.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ghost_orig-520x668.jpg 520w\" sizes=\"(max-width: 623px) 100vw, 623px\">\u003cfigcaption class=\"wp-caption-text\">Detail from ‘Ghost’ in Crystal Vielula’s Queer Movie Stills series. \u003ccite>(Courtesy Crytal Vielula)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We would always try to find movies to watch together — like romantic comedies or anything that would be nice and fun to watch,” she says. Yet in movies like 2013’s \u003cem>Blue is the Warmest Color\u003c/em>, they saw only situations in which “the couple ends up breaking up because one of them ends up deciding they’re straight again” — or dies. Finding it “very strange not to be able to find any representations of a ‘happily ever after’” in popular visual culture that mirrored her own experience, Vielula went about creating them.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>With their bright, saturated color palettes and poppy aesthetic, Vielula’s series intentionally reimagines these newly-queered scenes with an overwhelmingly “super positive” look and feel. Her figures also feature hyper-colorized, thoroughly unrealistic skin and hair tones, to signal an ideological departure from conventional media narratives of “white people in straight relationships,” as she puts it.\u003c/p>\n\u003cp>Without clear facial features, her reimagined film figures act as symbolic blank canvases ready to receive the viewer: “I wanted people to be able,” she says, “to imagine themselves in it — not specific to race.” Her personal favorite in the series is the \u003cem>Dirty Dancing\u003c/em>-inspired image, because of its representation of “an exciting romantic moment” — and because “I’ve always loved that movie.”\u003c/p>\n\u003cfigure id=\"attachment_13819539\" class=\"wp-caption alignnone\" style=\"max-width: 643px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13819539\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/hey-silvia-dirty-dancing_orig.jpg\" alt=\"\" width=\"643\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/hey-silvia-dirty-dancing_orig.jpg 643w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/hey-silvia-dirty-dancing_orig-160x199.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/hey-silvia-dirty-dancing_orig-240x299.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/hey-silvia-dirty-dancing_orig-375x467.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/hey-silvia-dirty-dancing_orig-520x647.jpg 520w\" sizes=\"(max-width: 643px) 100vw, 643px\">\u003cfigcaption class=\"wp-caption-text\">Detail from ‘Hey Silvia/Dirty Dancing’ in Crystal Vielula’s Queer Movie Stills series. \u003ccite>(Courtesy Crystal Vielula)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Vielula is also the artist behind the much-Instagrammed \u003ca href=\"https://www.crystalvielula.com/murals.html\" target=\"_blank\" rel=\"noopener\">queer pride murals in San Francisco’s Clarion Alley\u003c/a>, with their joyous depictions of affectionate, animal-headed same-sex couples. She sees \u003cem>Queer Movie Stills\u003c/em> as a continuation of that impulse towards positivity as both the message and the medium — to highlight the very lack of it in conventional representations of queer love.\u003c/p>\n\u003cp>In this respect, Vielula says, her work is “not outright activist artwork” — but “more a possibility for the future.” Framing things in this irresistibly irrepressible way, she hopes, will be the digestible. “Then,” Vielula says, “people can really think about ‘Oh, why \u003cem>did\u003c/em> I think that queer love actually wasn’t real love?’ and ‘Why \u003cem>did\u003c/em> I think it was fine that all movie romances were straight?’”\u003c/p>\n\u003cfigure id=\"attachment_13819543\" class=\"wp-caption alignnone\" style=\"max-width: 636px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13819543\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/titanic_orig.jpg\" alt=\"\" width=\"636\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/titanic_orig.jpg 636w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/titanic_orig-160x201.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/titanic_orig-240x302.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/titanic_orig-375x472.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/titanic_orig-520x654.jpg 520w\" sizes=\"(max-width: 636px) 100vw, 636px\">\u003cfigcaption class=\"wp-caption-text\">Detail from ‘Titanic’ in Crystal Vielula’s Queer Movie Stills series. \u003ccite>(Courtesy Crystal Vielula)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Asked whether she thinks positive LGBTQ representation in today’s popular culture has at least begun to progress beyond the scenes she refashions, Vielula is hopeful — she’s a fan of Amazon’s \u003cem>Transparent\u003c/em>, in particular — but acknowledges there’s still a long way to go.\u003c/p>\n\u003cp>As for her \u003cem>Queer Movie Stills\u003c/em> series, she hopes that for younger members of the LGBTQ community perhaps still finding their path forward, it might serve to “make them feel like they’re part of a community of people that can have happy, romantic lives.” And that, she adds, “the ‘romantic fairytale’ is possible for all people to experience in their lives.”\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>\u003cem>Crystal Vielula’s ‘Queer Movie Stills’ was on display at \u003ca href=\"https://spikescoffee.com/\" target=\"_blank\" rel=\"noopener\">Spike’s Coffees and Teas\u003c/a> (4117 19th Street) in San Francisco in January 2018.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>KQED Youth Media Manager Ariana Proehl is back as co-host to bring some hipness to the Do List this week. The real challenge was pruning down the list! I can’t remember a late January with more enticing shows to choose from. Enjoy.\u003c/p>\n\u003cp>\u003cstrong>Jan 26–31:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2018/01/24/whats-old-is-new-again-with-ladysmith-black-mambazo/\" target=\"_blank\" rel=\"noopener\">Ladysmith Black Mambazo high-kicks its way back to the Bay Area\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 4–March 3:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2018/01/24/at-the-intersection-of-art-and-vinyl/\" target=\"_blank\" rel=\"noopener\">The Fraenkel Gallery hangs a show of artful record album covers — and it’s free\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 26 and Feb. 3 and 4: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/01/24/circa-il-ritorno/\" target=\"_blank\" rel=\"noopener\">Circa melds daring circus, opera, and dance to tell a story about a refugee’s search for home\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 2–3\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2018/01/24/dance-and-theater-join-in-a-healing-ritual/\" target=\"_blank\" rel=\"noopener\">The next episode of a dance and theater series about sex trafficking and displacement in Oakland\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Jan. 25–Feb 18 and March 7–April 1: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/01/24/a-skeleton-crew-battles-for-a-future-in-a-detroit-auto-plant/\" target=\"_blank\" rel=\"noopener\">A skeleton crew tries to save their hopes for a future as Detroit’s last auto plant faces a shutdown\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 2–3: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/01/24/stew-develops-a-show-based-on-the-ideas-of-james-baldwin/\" target=\"_blank\" rel=\"noopener\">Stew invokes the ideas and memory of writer James Baldwin in a musical tribute\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Feb. 6–7: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/01/24/new-sounds-with-a-powerhouse-brittany-howard-at-the-mic/\" target=\"_blank\" rel=\"noopener\">Super folk-rock trio Bermuda Triangle make gorgeous harmonies seem effortless\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13819995\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13819995\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-800x495.jpg\" alt=\"The Do List's Cy and Ariana check out the 'Art and Vinyl' show at the Freaenkel Gallery\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-1020x631.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-1920x1188.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-960x594.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-240x148.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-375x232.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-520x322.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Do List’s Cy and Ariana check out the ‘Art and Vinyl’ show at the Freaenkel Gallery. \u003ccite>(Photo: Rebecca Robertson/Fraenkel Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"excerpt": "KQED's Cy Musiker and Do List co-host Ariana Proehl talk record album art, a play about auto workers, Brittany Howard's new band and more.",
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"title": "On the Air: Cy and Ariana's Do List Picks for Jan. 26, 2018 | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>KQED Youth Media Manager Ariana Proehl is back as co-host to bring some hipness to the Do List this week. The real challenge was pruning down the list! I can’t remember a late January with more enticing shows to choose from. Enjoy.\u003c/p>\n\u003cp>\u003cstrong>Jan 26–31:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2018/01/24/whats-old-is-new-again-with-ladysmith-black-mambazo/\" target=\"_blank\" rel=\"noopener\">Ladysmith Black Mambazo high-kicks its way back to the Bay Area\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 4–March 3:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2018/01/24/at-the-intersection-of-art-and-vinyl/\" target=\"_blank\" rel=\"noopener\">The Fraenkel Gallery hangs a show of artful record album covers — and it’s free\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 26 and Feb. 3 and 4: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/01/24/circa-il-ritorno/\" target=\"_blank\" rel=\"noopener\">Circa melds daring circus, opera, and dance to tell a story about a refugee’s search for home\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 2–3\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2018/01/24/dance-and-theater-join-in-a-healing-ritual/\" target=\"_blank\" rel=\"noopener\">The next episode of a dance and theater series about sex trafficking and displacement in Oakland\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>Jan. 25–Feb 18 and March 7–April 1: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/01/24/a-skeleton-crew-battles-for-a-future-in-a-detroit-auto-plant/\" target=\"_blank\" rel=\"noopener\">A skeleton crew tries to save their hopes for a future as Detroit’s last auto plant faces a shutdown\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 2–3: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/01/24/stew-develops-a-show-based-on-the-ideas-of-james-baldwin/\" target=\"_blank\" rel=\"noopener\">Stew invokes the ideas and memory of writer James Baldwin in a musical tribute\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Feb. 6–7: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/01/24/new-sounds-with-a-powerhouse-brittany-howard-at-the-mic/\" target=\"_blank\" rel=\"noopener\">Super folk-rock trio Bermuda Triangle make gorgeous harmonies seem effortless\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13819995\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13819995\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-800x495.jpg\" alt=\"The Do List's Cy and Ariana check out the 'Art and Vinyl' show at the Freaenkel Gallery\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-1020x631.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-1920x1188.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-960x594.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-240x148.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-375x232.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-520x322.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Do List’s Cy and Ariana check out the ‘Art and Vinyl’ show at the Freaenkel Gallery. \u003ccite>(Photo: Rebecca Robertson/Fraenkel Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"title": "At the Intersection of Art and Vinyl",
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"content": "\u003cp>I’m old enough to remember what it was like to spend hours listening to records with nothing more to look at than the album covers, which ranged from Blue Note’s black-and-white photographs of intense stares in smoky studios, to the Beatles’ \u003cem>Sgt. Pepper’s\u003c/em> with its intricate arrangement of subjects and range of meaning. Now, the Fraenkel Gallery in San Francisco hosts a show celebrating album covers designed by artists who made their name in the art world.\u003c/p>\n\u003cfigure id=\"attachment_13819911\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13819911\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Paul-Robeson-Pablo-Picasso-e1516835461100-800x774.jpg\" alt=\"Pablo Picasso's painting of a dove decorates Paul Robeson's 'Songs of Peace' from 1949 at the Fraenkel Gallery in San Francisco\" width=\"800\" height=\"774\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Paul-Robeson-Pablo-Picasso-e1516835461100-800x774.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Paul-Robeson-Pablo-Picasso-e1516835461100-160x155.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Paul-Robeson-Pablo-Picasso-e1516835461100-768x743.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Paul-Robeson-Pablo-Picasso-e1516835461100-1020x987.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Paul-Robeson-Pablo-Picasso-e1516835461100-1920x1858.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Paul-Robeson-Pablo-Picasso-e1516835461100-1180x1142.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Paul-Robeson-Pablo-Picasso-e1516835461100-960x929.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Paul-Robeson-Pablo-Picasso-e1516835461100-240x232.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Paul-Robeson-Pablo-Picasso-e1516835461100-375x363.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Paul-Robeson-Pablo-Picasso-e1516835461100-520x503.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Paul-Robeson-Pablo-Picasso-e1516835461100-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Paul-Robeson-Pablo-Picasso-e1516835461100.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pablo Picasso’s painting of a dove decorates Paul Robeson’s ‘Songs of Peace’ from 1949 at the Fraenkel Gallery in San Francisco. \u003ccite>(Photo: Courtesy of Fraenkel Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The oldest on display is a depiction by Pablo Picasso of a white dove, printed directly onto the surface of a Paul Robeson album called \u003cem>Songs of Peace\u003c/em> from 1949. There’s more recent work by Cindy Sherman and Sol Lewitt; Takashi Murakami’s cover for \u003cem>Graduation\u003c/em> by Kanye West; and Jeff Koons’ collaboration with Lady Gaga. Gerhard Richter painted directly onto an LP of Glenn Gould’s \u003cem>Goldberg Variations\u003c/em>, rendering the album unplayable. The exhibit also features four examples of cover work by Andy Warhol, including his peelable banana for \u003cem>The Velvet Underground and Nico\u003c/em>, and the Mick Jagger crotch with a working zipper on the cover of \u003cem>Sticky Fingers\u003c/em> by the Rolling Stones.\u003c/p>\n\u003cfigure id=\"attachment_13819913\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13819913\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/GERHARD-RICHTER-Goldberg-Variations-1984-800x809.jpg\" alt=\"This rare painting by Gerhard Richter is brushed directly on a copy of the Goldberg Variations recorded by Glenn Gould\" width=\"800\" height=\"809\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/GERHARD-RICHTER-Goldberg-Variations-1984-800x809.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/GERHARD-RICHTER-Goldberg-Variations-1984-160x162.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/GERHARD-RICHTER-Goldberg-Variations-1984-768x777.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/GERHARD-RICHTER-Goldberg-Variations-1984-1020x1031.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/GERHARD-RICHTER-Goldberg-Variations-1984-1920x1941.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/GERHARD-RICHTER-Goldberg-Variations-1984-1180x1193.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/GERHARD-RICHTER-Goldberg-Variations-1984-960x971.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/GERHARD-RICHTER-Goldberg-Variations-1984-240x243.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/GERHARD-RICHTER-Goldberg-Variations-1984-375x379.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/GERHARD-RICHTER-Goldberg-Variations-1984-520x526.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/GERHARD-RICHTER-Goldberg-Variations-1984-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/GERHARD-RICHTER-Goldberg-Variations-1984-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/GERHARD-RICHTER-Goldberg-Variations-1984-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/GERHARD-RICHTER-Goldberg-Variations-1984-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/GERHARD-RICHTER-Goldberg-Variations-1984-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/GERHARD-RICHTER-Goldberg-Variations-1984.jpg 1978w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">This rare painting by Gerhard Richter is brushed directly on a copy of ‘The Goldberg Variations,’ recorded by Glenn Gould. \u003ccite>(Photo: Courtesy of Fraenkel Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gallery co-owner Jeffrey Fraenkel says the collection is a testimony to the passion of French rare book dealer Antoine de Beaupré, who assembled the collection. “We are pitched a lot of inventive ideas all the time. This was a no-brainer. This was like, ‘Whoa!’ That has never been done before. It is such a fresh take on things.”\u003c/p>\n\u003cp>One suggestion: bring your smartphone and earbuds, and if you’ve got a streaming subscription, listen to cuts from the albums as you peruse the exhibit. The show runs Jan. 4–March 3 at the Fraenkel Gallery in San Francisco; admission is free. Details \u003ca href=\"https://fraenkelgallery.com/exhibitions/art-vinyl\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13819914\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13819914\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Andy-Warhols-cover-for-Sticky-Fingers-by-the-Rolling-Stones-e1516835682361-800x488.jpg\" alt=\"Andy Warhol's cover for 'Sticky Fingers' by the Rolling Stones is part of the exhibit 'Art and Vinyl' at the Fraenkel Gallery\" width=\"800\" height=\"488\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Andy-Warhols-cover-for-Sticky-Fingers-by-the-Rolling-Stones-e1516835682361-800x488.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Andy-Warhols-cover-for-Sticky-Fingers-by-the-Rolling-Stones-e1516835682361-160x98.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Andy-Warhols-cover-for-Sticky-Fingers-by-the-Rolling-Stones-e1516835682361-768x468.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Andy-Warhols-cover-for-Sticky-Fingers-by-the-Rolling-Stones-e1516835682361-1020x622.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Andy-Warhols-cover-for-Sticky-Fingers-by-the-Rolling-Stones-e1516835682361-1180x720.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Andy-Warhols-cover-for-Sticky-Fingers-by-the-Rolling-Stones-e1516835682361-960x586.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Andy-Warhols-cover-for-Sticky-Fingers-by-the-Rolling-Stones-e1516835682361-240x146.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Andy-Warhols-cover-for-Sticky-Fingers-by-the-Rolling-Stones-e1516835682361-375x229.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Andy-Warhols-cover-for-Sticky-Fingers-by-the-Rolling-Stones-e1516835682361-520x317.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Andy-Warhols-cover-for-Sticky-Fingers-by-the-Rolling-Stones-e1516835682361.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Andy Warhol’s cover for ‘Sticky Fingers’ by the Rolling Stones is part of the exhibit ‘Art and Vinyl’ at the Fraenkel Gallery \u003ccite>(Photo: Courtesy of Fraenkel Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "A gallery show celebrates the work of artists illustrating and designing album covers.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I’m old enough to remember what it was like to spend hours listening to records with nothing more to look at than the album covers, which ranged from Blue Note’s black-and-white photographs of intense stares in smoky studios, to the Beatles’ \u003cem>Sgt. Pepper’s\u003c/em> with its intricate arrangement of subjects and range of meaning. Now, the Fraenkel Gallery in San Francisco hosts a show celebrating album covers designed by artists who made their name in the art world.\u003c/p>\n\u003cfigure id=\"attachment_13819911\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13819911\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Paul-Robeson-Pablo-Picasso-e1516835461100-800x774.jpg\" alt=\"Pablo Picasso's painting of a dove decorates Paul Robeson's 'Songs of Peace' from 1949 at the Fraenkel Gallery in San Francisco\" width=\"800\" height=\"774\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Paul-Robeson-Pablo-Picasso-e1516835461100-800x774.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Paul-Robeson-Pablo-Picasso-e1516835461100-160x155.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Paul-Robeson-Pablo-Picasso-e1516835461100-768x743.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Paul-Robeson-Pablo-Picasso-e1516835461100-1020x987.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Paul-Robeson-Pablo-Picasso-e1516835461100-1920x1858.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Paul-Robeson-Pablo-Picasso-e1516835461100-1180x1142.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Paul-Robeson-Pablo-Picasso-e1516835461100-960x929.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Paul-Robeson-Pablo-Picasso-e1516835461100-240x232.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Paul-Robeson-Pablo-Picasso-e1516835461100-375x363.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Paul-Robeson-Pablo-Picasso-e1516835461100-520x503.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Paul-Robeson-Pablo-Picasso-e1516835461100-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Paul-Robeson-Pablo-Picasso-e1516835461100.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pablo Picasso’s painting of a dove decorates Paul Robeson’s ‘Songs of Peace’ from 1949 at the Fraenkel Gallery in San Francisco. \u003ccite>(Photo: Courtesy of Fraenkel Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The oldest on display is a depiction by Pablo Picasso of a white dove, printed directly onto the surface of a Paul Robeson album called \u003cem>Songs of Peace\u003c/em> from 1949. There’s more recent work by Cindy Sherman and Sol Lewitt; Takashi Murakami’s cover for \u003cem>Graduation\u003c/em> by Kanye West; and Jeff Koons’ collaboration with Lady Gaga. Gerhard Richter painted directly onto an LP of Glenn Gould’s \u003cem>Goldberg Variations\u003c/em>, rendering the album unplayable. The exhibit also features four examples of cover work by Andy Warhol, including his peelable banana for \u003cem>The Velvet Underground and Nico\u003c/em>, and the Mick Jagger crotch with a working zipper on the cover of \u003cem>Sticky Fingers\u003c/em> by the Rolling Stones.\u003c/p>\n\u003cfigure id=\"attachment_13819913\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13819913\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/GERHARD-RICHTER-Goldberg-Variations-1984-800x809.jpg\" alt=\"This rare painting by Gerhard Richter is brushed directly on a copy of the Goldberg Variations recorded by Glenn Gould\" width=\"800\" height=\"809\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/GERHARD-RICHTER-Goldberg-Variations-1984-800x809.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/GERHARD-RICHTER-Goldberg-Variations-1984-160x162.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/GERHARD-RICHTER-Goldberg-Variations-1984-768x777.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/GERHARD-RICHTER-Goldberg-Variations-1984-1020x1031.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/GERHARD-RICHTER-Goldberg-Variations-1984-1920x1941.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/GERHARD-RICHTER-Goldberg-Variations-1984-1180x1193.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/GERHARD-RICHTER-Goldberg-Variations-1984-960x971.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/GERHARD-RICHTER-Goldberg-Variations-1984-240x243.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/GERHARD-RICHTER-Goldberg-Variations-1984-375x379.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/GERHARD-RICHTER-Goldberg-Variations-1984-520x526.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/GERHARD-RICHTER-Goldberg-Variations-1984-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/GERHARD-RICHTER-Goldberg-Variations-1984-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/GERHARD-RICHTER-Goldberg-Variations-1984-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/GERHARD-RICHTER-Goldberg-Variations-1984-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/GERHARD-RICHTER-Goldberg-Variations-1984-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/GERHARD-RICHTER-Goldberg-Variations-1984.jpg 1978w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">This rare painting by Gerhard Richter is brushed directly on a copy of ‘The Goldberg Variations,’ recorded by Glenn Gould. \u003ccite>(Photo: Courtesy of Fraenkel Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gallery co-owner Jeffrey Fraenkel says the collection is a testimony to the passion of French rare book dealer Antoine de Beaupré, who assembled the collection. “We are pitched a lot of inventive ideas all the time. This was a no-brainer. This was like, ‘Whoa!’ That has never been done before. It is such a fresh take on things.”\u003c/p>\n\u003cp>One suggestion: bring your smartphone and earbuds, and if you’ve got a streaming subscription, listen to cuts from the albums as you peruse the exhibit. The show runs Jan. 4–March 3 at the Fraenkel Gallery in San Francisco; admission is free. Details \u003ca href=\"https://fraenkelgallery.com/exhibitions/art-vinyl\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13819914\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13819914\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Andy-Warhols-cover-for-Sticky-Fingers-by-the-Rolling-Stones-e1516835682361-800x488.jpg\" alt=\"Andy Warhol's cover for 'Sticky Fingers' by the Rolling Stones is part of the exhibit 'Art and Vinyl' at the Fraenkel Gallery\" width=\"800\" height=\"488\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Andy-Warhols-cover-for-Sticky-Fingers-by-the-Rolling-Stones-e1516835682361-800x488.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Andy-Warhols-cover-for-Sticky-Fingers-by-the-Rolling-Stones-e1516835682361-160x98.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Andy-Warhols-cover-for-Sticky-Fingers-by-the-Rolling-Stones-e1516835682361-768x468.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Andy-Warhols-cover-for-Sticky-Fingers-by-the-Rolling-Stones-e1516835682361-1020x622.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Andy-Warhols-cover-for-Sticky-Fingers-by-the-Rolling-Stones-e1516835682361-1180x720.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Andy-Warhols-cover-for-Sticky-Fingers-by-the-Rolling-Stones-e1516835682361-960x586.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Andy-Warhols-cover-for-Sticky-Fingers-by-the-Rolling-Stones-e1516835682361-240x146.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Andy-Warhols-cover-for-Sticky-Fingers-by-the-Rolling-Stones-e1516835682361-375x229.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Andy-Warhols-cover-for-Sticky-Fingers-by-the-Rolling-Stones-e1516835682361-520x317.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Andy-Warhols-cover-for-Sticky-Fingers-by-the-Rolling-Stones-e1516835682361.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Andy Warhol’s cover for ‘Sticky Fingers’ by the Rolling Stones is part of the exhibit ‘Art and Vinyl’ at the Fraenkel Gallery \u003ccite>(Photo: Courtesy of Fraenkel Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "200 Years of Eclectic Bay Area Art at BAMPFA",
"headTitle": "200 Years of Eclectic Bay Area Art at BAMPFA | KQED",
"content": "\u003cp>If BAMPFA’s grand coming-out party in their now two-year-old Center Street location \u003ca href=\"https://ww2.kqed.org/arts/2016/01/29/architecture-of-life-an-optimistic-start-for-new-bampfa/\" rel=\"noopener noreferrer\" target=\"_blank\">addressed their immediate surroundings\u003c/a> (new building, who dis?), their latest foray into large-scale group exhibition-making expands that area of self-reflection to encompass the entire Bay Area.\u003c/p>\n\u003cp>\u003ci>Way Bay\u003c/i>, an wide-ranging retrospective of Bay Area art running through June 3, is smaller in square footage than \u003ci>Architecture of Life\u003c/i>, but packed full, salon-style, with objects from the museum’s collection (along with a few pieces from the Phoebe A. Hearst Museum of Anthropology and the Bancroft Library).\u003c/p>\n\u003cp>The result is (way) overwhelming and (way) exhilarating. Instead of identifying artworks with wall labels, the exhibition relies on a 36-page gallery guide, complete with diagrams that indicate pieces by the black vinyl numbers mounted discretely near them. Those groupings aren’t chronological or media-specific, but poetic — literally. Lines written by Bay Area poets appear as headings for works related to categories which could be loosely interpreted as “light,” “gesture” and “interior spaces,” to name a few.\u003c/p>\n\u003cfigure id=\"attachment_13819948\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Williams_Untitled_1200.jpg\" alt=\"Franklin Williams, 'Untitled,' 1968.\" width=\"1200\" height=\"1039\" class=\"size-full wp-image-13819948\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Williams_Untitled_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Williams_Untitled_1200-160x139.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Williams_Untitled_1200-800x693.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Williams_Untitled_1200-768x665.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Williams_Untitled_1200-1020x883.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Williams_Untitled_1200-1180x1022.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Williams_Untitled_1200-960x831.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Williams_Untitled_1200-240x208.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Williams_Untitled_1200-375x325.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Williams_Untitled_1200-520x450.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Franklin Williams, ‘Untitled,’ 1968. \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hearing BAMPFA director Larry Rinder announce this system of organization at the press preview, one couldn’t help but recall the scene from \u003ci>High Fidelity\u003c/i> when John Cusack’s character describes his efforts to reorganize his record collection “autobiographically.”\u003c/p>\n\u003cp>“It sounds…” says one character. “Comforting,” Cusack finishes.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ci>Way Bay\u003c/i> is also comforting. The Bay Area art scene has a tendency to feel insular — often proudly so — especially when compared to cities with larger commercial markets, higher-profile gallery scenes and moneyed populations that actually buy art. What we find at BAMPFA is 200 years’ worth of artmaking that doesn’t necessarily ignore those concerns, but also buttresses itself. The exhibition’s groupings, enigmatic as they might be, support the premise that across centuries Bay Area artists have engaged with common ideas and themes, building on the work of their predecessors in endlessly generative cycles.\u003c/p>\n\u003cfigure id=\"attachment_13819947\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/NickMakanna_640.jpg\" alt=\"Nick Makanna, 'Rune XX,' 2017.\" width=\"640\" height=\"985\" class=\"size-full wp-image-13819947\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/NickMakanna_640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/NickMakanna_640-160x246.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/NickMakanna_640-240x369.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/NickMakanna_640-375x577.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/NickMakanna_640-520x800.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Nick Makanna, ‘Rune XX,’ 2017. \u003ccite>(Courtesy of Andres Guerrero Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Juxtapositions within groupings create those moments of exhilaration. In the very first gallery of the show, Alice Anne Parker’s \u003ci>Riverbody\u003c/i>, a 16mm print (digitally presented) fades between short clips of nude men and women standing squarely before the camera. The sound of lapping water creates a soothing soundtrack. Their identities fade into one another, finding a nice analog a little way up the wall in Carina Baumann’s \u003ci>Untitled\u003c/i>, an almost-invisible self portrait taken under the light of the moon. \u003c/p>\n\u003cp>Later in the show, a hulking bronze vessel made by Bay Area ceramics legend Peter Voulkos sits opposite newcomer Nick Makanna’s more delicate ceramic armature of \u003ci>Rune XX\u003c/i>, a few generations between them. \u003c/p>\n\u003cp>While some of the more formal and abstract pieces feel as if they could have been made anywhere, anchors dotted throughout the exhibition squarely locate the show in Bay Area history, many of them photographs: Ruth-Marion Baruch’s shot from a 1968 Free Huey Rally, Imogen Cunningham’s \u003ci>Coffee Gallery\u003c/i>, Christopher Russell’s rushed and blurry images of men cruising in San Francisco’s Buena Vista Park. Scott Stark’s 1982 film \u003ci>Degrees of Limitation\u003c/i> captures the artist running up a steep San Francisco hill. It’s part conceptual art piece, part Chaplin-esque comedy, and wholly relatable. \u003c/p>\n\u003cfigure id=\"attachment_13819943\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Baillie_All-My-Life_1200.jpg\" alt=\"Bruce Baillie, Still from 'All My Life,' 1966.\" width=\"1200\" height=\"894\" class=\"size-full wp-image-13819943\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Baillie_All-My-Life_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Baillie_All-My-Life_1200-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Baillie_All-My-Life_1200-800x596.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Baillie_All-My-Life_1200-768x572.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Baillie_All-My-Life_1200-1020x760.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Baillie_All-My-Life_1200-1180x879.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Baillie_All-My-Life_1200-960x715.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Baillie_All-My-Life_1200-240x179.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Baillie_All-My-Life_1200-375x279.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Baillie_All-My-Life_1200-520x387.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Bruce Baillie, Still from ‘All My Life,’ 1966. \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The inclusion of moving images alongside static pieces give the exhibition a wonderful liveliness. Unlike one-off screenings, the curators hope these looping digitized films will provide visitors with the chance to return for repeat viewings — and to see the films in the context of other Bay Area art. \u003c/p>\n\u003cp>The standouts of these are two films projected on opposite sides of a hanging wall in the exhibition’s rear corner. \u003ci>Tribune-American Dream Picture\u003c/i>, a 7-minute silent film produced by the \u003ci>Oakland Tribune\u003c/i> in 1924, reenacts a dream submitted by Mrs. L.L. Nicholson (of Oakland) as a photoplay — starring Mrs. Nicholson herself. The dream, which involves a lost baby, a rowboat trip across the Bay, a found fish and a police officer, is like all dreams — illogical, personal, inchoate, like an episode of \u003ci>Drunk History\u003c/i> based on a made-up incident. It’s hilarious.\u003c/p>\n\u003cp>On the back of that wall is an equally strange journey. \u003ci>Simulated Marin Tour\u003c/i>, a 1973 film made at UC Berkeley’s Environmental Simulation Laboratory, captures the experience of a drive through San Rafael. You think. You soon realize that the other cars aren’t moving, the lights aren’t changing, and all the scenery, though meticulously rendered, has the appearance of being slightly “off.” What we’re seeing isn’t 1973 Marin, but a model of 1973 Marin — trees included — captured by a camera on a moving crane.\u003c/p>\n\u003cfigure id=\"attachment_13819944\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Laurie-Reid_1200.jpg\" alt=\"Laurie Reid, 'Up the stairs into the warm night,' 2016.\" width=\"1200\" height=\"1000\" class=\"size-full wp-image-13819944\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Laurie-Reid_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Laurie-Reid_1200-160x133.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Laurie-Reid_1200-800x667.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Laurie-Reid_1200-768x640.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Laurie-Reid_1200-1020x850.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Laurie-Reid_1200-1180x983.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Laurie-Reid_1200-960x800.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Laurie-Reid_1200-240x200.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Laurie-Reid_1200-375x313.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Laurie-Reid_1200-520x433.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Laurie Reid, ‘Up the stairs into the warm night,’ 2016. \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>Way Bay\u003c/i> shares qualities with both of these films. The exhibition is a mixture of the familiar and the unknown, all organized in a free-associative, dream-like way.\u003c/p>\n\u003cp>The museum made significant acquisitions — with a focus on work by women and artists of color — to fill gaps leading up to this exhibition. And what comforted and exhilarated me the most in all of \u003ci>Way Bay\u003c/i>’s meanderings were the new names and heretofore unseen artworks to which the Bay Area can now lay claim.\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>\u003ci>‘Way Bay’ is on view at the Berkeley Art Museum and Pacific Film Archive thorugh June 3, 2018, with a second iteration of the exhibition running June 13—Sep. 2, 2018. For more information, \u003ca href=\"https://bampfa.org/program/way-bay\" rel=\"noopener noreferrer\" target=\"_blank\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"excerpt": "The large-scale retrospective 'Way Bay' gathers work by Bay Area artists into poetic groupings both overwhelming and exhilarating.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If BAMPFA’s grand coming-out party in their now two-year-old Center Street location \u003ca href=\"https://ww2.kqed.org/arts/2016/01/29/architecture-of-life-an-optimistic-start-for-new-bampfa/\" rel=\"noopener noreferrer\" target=\"_blank\">addressed their immediate surroundings\u003c/a> (new building, who dis?), their latest foray into large-scale group exhibition-making expands that area of self-reflection to encompass the entire Bay Area.\u003c/p>\n\u003cp>\u003ci>Way Bay\u003c/i>, an wide-ranging retrospective of Bay Area art running through June 3, is smaller in square footage than \u003ci>Architecture of Life\u003c/i>, but packed full, salon-style, with objects from the museum’s collection (along with a few pieces from the Phoebe A. Hearst Museum of Anthropology and the Bancroft Library).\u003c/p>\n\u003cp>The result is (way) overwhelming and (way) exhilarating. Instead of identifying artworks with wall labels, the exhibition relies on a 36-page gallery guide, complete with diagrams that indicate pieces by the black vinyl numbers mounted discretely near them. Those groupings aren’t chronological or media-specific, but poetic — literally. Lines written by Bay Area poets appear as headings for works related to categories which could be loosely interpreted as “light,” “gesture” and “interior spaces,” to name a few.\u003c/p>\n\u003cfigure id=\"attachment_13819948\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Williams_Untitled_1200.jpg\" alt=\"Franklin Williams, 'Untitled,' 1968.\" width=\"1200\" height=\"1039\" class=\"size-full wp-image-13819948\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Williams_Untitled_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Williams_Untitled_1200-160x139.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Williams_Untitled_1200-800x693.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Williams_Untitled_1200-768x665.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Williams_Untitled_1200-1020x883.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Williams_Untitled_1200-1180x1022.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Williams_Untitled_1200-960x831.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Williams_Untitled_1200-240x208.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Williams_Untitled_1200-375x325.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Williams_Untitled_1200-520x450.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Franklin Williams, ‘Untitled,’ 1968. \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hearing BAMPFA director Larry Rinder announce this system of organization at the press preview, one couldn’t help but recall the scene from \u003ci>High Fidelity\u003c/i> when John Cusack’s character describes his efforts to reorganize his record collection “autobiographically.”\u003c/p>\n\u003cp>“It sounds…” says one character. “Comforting,” Cusack finishes.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>Way Bay\u003c/i> is also comforting. The Bay Area art scene has a tendency to feel insular — often proudly so — especially when compared to cities with larger commercial markets, higher-profile gallery scenes and moneyed populations that actually buy art. What we find at BAMPFA is 200 years’ worth of artmaking that doesn’t necessarily ignore those concerns, but also buttresses itself. The exhibition’s groupings, enigmatic as they might be, support the premise that across centuries Bay Area artists have engaged with common ideas and themes, building on the work of their predecessors in endlessly generative cycles.\u003c/p>\n\u003cfigure id=\"attachment_13819947\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/NickMakanna_640.jpg\" alt=\"Nick Makanna, 'Rune XX,' 2017.\" width=\"640\" height=\"985\" class=\"size-full wp-image-13819947\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/NickMakanna_640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/NickMakanna_640-160x246.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/NickMakanna_640-240x369.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/NickMakanna_640-375x577.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/NickMakanna_640-520x800.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Nick Makanna, ‘Rune XX,’ 2017. \u003ccite>(Courtesy of Andres Guerrero Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Juxtapositions within groupings create those moments of exhilaration. In the very first gallery of the show, Alice Anne Parker’s \u003ci>Riverbody\u003c/i>, a 16mm print (digitally presented) fades between short clips of nude men and women standing squarely before the camera. The sound of lapping water creates a soothing soundtrack. Their identities fade into one another, finding a nice analog a little way up the wall in Carina Baumann’s \u003ci>Untitled\u003c/i>, an almost-invisible self portrait taken under the light of the moon. \u003c/p>\n\u003cp>Later in the show, a hulking bronze vessel made by Bay Area ceramics legend Peter Voulkos sits opposite newcomer Nick Makanna’s more delicate ceramic armature of \u003ci>Rune XX\u003c/i>, a few generations between them. \u003c/p>\n\u003cp>While some of the more formal and abstract pieces feel as if they could have been made anywhere, anchors dotted throughout the exhibition squarely locate the show in Bay Area history, many of them photographs: Ruth-Marion Baruch’s shot from a 1968 Free Huey Rally, Imogen Cunningham’s \u003ci>Coffee Gallery\u003c/i>, Christopher Russell’s rushed and blurry images of men cruising in San Francisco’s Buena Vista Park. Scott Stark’s 1982 film \u003ci>Degrees of Limitation\u003c/i> captures the artist running up a steep San Francisco hill. It’s part conceptual art piece, part Chaplin-esque comedy, and wholly relatable. \u003c/p>\n\u003cfigure id=\"attachment_13819943\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Baillie_All-My-Life_1200.jpg\" alt=\"Bruce Baillie, Still from 'All My Life,' 1966.\" width=\"1200\" height=\"894\" class=\"size-full wp-image-13819943\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Baillie_All-My-Life_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Baillie_All-My-Life_1200-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Baillie_All-My-Life_1200-800x596.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Baillie_All-My-Life_1200-768x572.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Baillie_All-My-Life_1200-1020x760.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Baillie_All-My-Life_1200-1180x879.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Baillie_All-My-Life_1200-960x715.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Baillie_All-My-Life_1200-240x179.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Baillie_All-My-Life_1200-375x279.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Baillie_All-My-Life_1200-520x387.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Bruce Baillie, Still from ‘All My Life,’ 1966. \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The inclusion of moving images alongside static pieces give the exhibition a wonderful liveliness. Unlike one-off screenings, the curators hope these looping digitized films will provide visitors with the chance to return for repeat viewings — and to see the films in the context of other Bay Area art. \u003c/p>\n\u003cp>The standouts of these are two films projected on opposite sides of a hanging wall in the exhibition’s rear corner. \u003ci>Tribune-American Dream Picture\u003c/i>, a 7-minute silent film produced by the \u003ci>Oakland Tribune\u003c/i> in 1924, reenacts a dream submitted by Mrs. L.L. Nicholson (of Oakland) as a photoplay — starring Mrs. Nicholson herself. The dream, which involves a lost baby, a rowboat trip across the Bay, a found fish and a police officer, is like all dreams — illogical, personal, inchoate, like an episode of \u003ci>Drunk History\u003c/i> based on a made-up incident. It’s hilarious.\u003c/p>\n\u003cp>On the back of that wall is an equally strange journey. \u003ci>Simulated Marin Tour\u003c/i>, a 1973 film made at UC Berkeley’s Environmental Simulation Laboratory, captures the experience of a drive through San Rafael. You think. You soon realize that the other cars aren’t moving, the lights aren’t changing, and all the scenery, though meticulously rendered, has the appearance of being slightly “off.” What we’re seeing isn’t 1973 Marin, but a model of 1973 Marin — trees included — captured by a camera on a moving crane.\u003c/p>\n\u003cfigure id=\"attachment_13819944\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Laurie-Reid_1200.jpg\" alt=\"Laurie Reid, 'Up the stairs into the warm night,' 2016.\" width=\"1200\" height=\"1000\" class=\"size-full wp-image-13819944\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Laurie-Reid_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Laurie-Reid_1200-160x133.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Laurie-Reid_1200-800x667.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Laurie-Reid_1200-768x640.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Laurie-Reid_1200-1020x850.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Laurie-Reid_1200-1180x983.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Laurie-Reid_1200-960x800.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Laurie-Reid_1200-240x200.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Laurie-Reid_1200-375x313.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Laurie-Reid_1200-520x433.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Laurie Reid, ‘Up the stairs into the warm night,’ 2016. \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>Way Bay\u003c/i> shares qualities with both of these films. The exhibition is a mixture of the familiar and the unknown, all organized in a free-associative, dream-like way.\u003c/p>\n\u003cp>The museum made significant acquisitions — with a focus on work by women and artists of color — to fill gaps leading up to this exhibition. And what comforted and exhilarated me the most in all of \u003ci>Way Bay\u003c/i>’s meanderings were the new names and heretofore unseen artworks to which the Bay Area can now lay claim.\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>\u003ci>‘Way Bay’ is on view at the Berkeley Art Museum and Pacific Film Archive thorugh June 3, 2018, with a second iteration of the exhibition running June 13—Sep. 2, 2018. For more information, \u003ca href=\"https://bampfa.org/program/way-bay\" rel=\"noopener noreferrer\" target=\"_blank\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"headTitle": "A Personal Transformation Becomes Public in ‘Surface Tension’ | KQED",
"content": "\u003cp>In early 2017, San Francisco-based curator \u003ca href=\"https://dorothysantos.com/bio/\" target=\"_blank\" rel=\"noopener\">Dorothy R. Santos\u003c/a> witnessed a performance by multimedia artist \u003ca href=\"http://www.josephliatela.com/\" target=\"_blank\" rel=\"noopener\">Joseph Liatela\u003c/a> at the opening reception for \u003ca href=\"https://ww2.kqed.org/arts/2017/02/01/on-and-off-our-backs-were-still-working-the-art-of-sex-work-at-somarts/\" target=\"_blank\" rel=\"noopener\">\u003ci>We’re Still Working: The Art of Sex Work\u003c/i>\u003c/a> at San Francisco’s SOMArts Cultural Center. Santos, who maintains a dynamic creative practice focused on digital art and the overlap of biology and technology, immediately approached Liatela about a possible collaboration.\u003c/p>\n\u003cp>That first dialogue lead to additional conversations about visibility, surveillance, and how identity that rejects oppressive binary definition may be portrayed in contemporary art. Open through Feb. 16 at the Center for Sex & Culture, \u003cem>Surface Tension\u003c/em> — Liatela’s first solo exhibition — represents their year-long collaboration with Santos, and visualizes a potent personal transformation.\u003c/p>\n\u003cfigure id=\"attachment_13819506\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13819506\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/surface-tension-install-shot-for-press-2.jpg\" alt=\"Joseph Liatela, Installation view of 'Surface Tension I-IV,' 2017.\" width=\"2048\" height=\"1365\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/surface-tension-install-shot-for-press-2.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/surface-tension-install-shot-for-press-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/surface-tension-install-shot-for-press-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/surface-tension-install-shot-for-press-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/surface-tension-install-shot-for-press-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/surface-tension-install-shot-for-press-2-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/surface-tension-install-shot-for-press-2-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/surface-tension-install-shot-for-press-2-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/surface-tension-install-shot-for-press-2-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/surface-tension-install-shot-for-press-2-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/surface-tension-install-shot-for-press-2-520x347.jpg 520w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Joseph Liatela, Installation view of ‘Surface Tension I-IV,’ 2017. \u003ccite>(Kimberley Acebo Arteche)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I arrive at the Center for Sex & Culture (CSC) with enough time to view the installation before interviewing Liatela and Santos. Hung opposite the small but solid library and media archive for which the Center is known worldwide, \u003cem>Surface Tension I-IV\u003c/em> immediately draws my attention. Printed on swaths of silk and organza suspended from the ceiling, the four photo objects invite us to witness the gradual shedding of Liatela’s identity as they transitioned.\u003c/p>\n\u003cp>The organza, draped delicately like a diaphanous blouse that barely masks the artist’s evolving form, is absent from the sequence’s final image. What is revealed is the artist’s altered torso, chest proud and arms spread wide, unburdened by disguise. It captures, with subtlety and precision, a range of emotions — trepidation, joy, relief — that many transgender people feel when exposing the body that fits them to the world at large.\u003c/p>\n\u003cp>Any movement in the gallery causes the objects to flutter gently, a quality made more notable by the not-so-gentle surgical scars revealed in the photographs and the sutures that bind the tensile materials. Liatela and Santos both aver violence is an element in the work.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But rather than associate that violence with harmful (though recently modified) medical perspectives that link a desire to transition to mental illness, Liatela views the ruptured silk surface as symbolic of a physical and emotional breakthrough. In other words, out of violence emerges new growth and new life.\u003c/p>\n\u003cfigure id=\"attachment_13819505\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13819505\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/surface-tension-install-shot-for-press-3.jpg\" alt=\"Joseph Liatela, Installation view of 'Cloaked,' 2017.\" width=\"2048\" height=\"1569\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/surface-tension-install-shot-for-press-3.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/surface-tension-install-shot-for-press-3-160x123.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/surface-tension-install-shot-for-press-3-800x613.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/surface-tension-install-shot-for-press-3-768x588.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/surface-tension-install-shot-for-press-3-1020x782.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/surface-tension-install-shot-for-press-3-1920x1471.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/surface-tension-install-shot-for-press-3-1180x904.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/surface-tension-install-shot-for-press-3-960x736.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/surface-tension-install-shot-for-press-3-240x184.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/surface-tension-install-shot-for-press-3-375x287.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/surface-tension-install-shot-for-press-3-520x398.jpg 520w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Joseph Liatela, Installation view of ‘Cloaked,’ 2017. \u003ccite>(Kimberley Acebo Arteche)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A sculpture called \u003cem>Cloaked\u003c/em> anchors the exhibition. Comprising disparate materials, including latex, nylon, and archival photo transfers, the sculpture hangs from an intimidating metal hook and spreads across the floor in a way that makes visitors aware of their own movements in the space.\u003c/p>\n\u003cp>Where \u003cem>Surface Tension I-IV\u003c/em> suggests motion, \u003cem>Cloaked\u003c/em> appears leaden despite the relatively light materials Liatela used in its construction. The piece demands a physical and psychological reckoning.\u003c/p>\n\u003cp>The piece — and its creation by an artist whose identity results in automatic social marginalization — reminds me of Angela Hennessy’s \u003ca href=\"http://www.angelahennessy.com/\" target=\"_blank\" rel=\"noopener\">\u003ci>Black Hole\u003c/i>\u003c/a>, which was on view recently in her \u003ca href=\"https://ww2.kqed.org/arts/2017/10/26/angela-hennessy-southern-exposure-when-and-where-i-enter/\" target=\"_blank\" rel=\"noopener\">superb solo exhibition at Southern Exposure\u003c/a>. Both \u003cem>Cloaked\u003c/em> and \u003cem>Black Hole\u003c/em> elicit psychological responses similar to those created by Richard Serra’s imposing floor pieces, an effect intensified by knowing Hennessy and Liatela aren’t the artists (white, male-identified, gruff) traditionally encouraged to take up space.\u003c/p>\n\u003cfigure id=\"attachment_13819504\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13819504\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/surface-tension-install-shot-for-press-4.jpg\" alt=\"Joseph Liatela, 'Cloaked (detail),' 2017.\" width=\"2048\" height=\"1365\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/surface-tension-install-shot-for-press-4.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/surface-tension-install-shot-for-press-4-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/surface-tension-install-shot-for-press-4-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/surface-tension-install-shot-for-press-4-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/surface-tension-install-shot-for-press-4-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/surface-tension-install-shot-for-press-4-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/surface-tension-install-shot-for-press-4-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/surface-tension-install-shot-for-press-4-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/surface-tension-install-shot-for-press-4-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/surface-tension-install-shot-for-press-4-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/surface-tension-install-shot-for-press-4-520x347.jpg 520w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Joseph Liatela, ‘Cloaked (detail),’ 2017. \u003ccite>(Kimberley Acebo Arteche)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Surface Tension\u003c/em> reveals one person’s singular and personal journey through transition and the psycho-physiological effects of that journey. If our brief view of that experience is the sole takeaway from the exhibition, it would be a triumph.\u003c/p>\n\u003cp>Liatela and Santos go beyond the personal, however, and encourage us to think about critical issues that impact all of our lives, but especially those of trans men and women: surveillance, or who is welcome in public spaces; the medical establishment and how it is implicated in determining who receives treatment and at what cost; bodily sovereignty, and how it’s \u003cem>no one’s\u003c/em> business what do you or don’t have between your legs.\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>\u003cem>‘Surface Tension’ is on view at the Center for Sex & Culture in San Francisco through Feb. 16, 2018. A conversation between the artist and theorist Julian Carter takes place Feb. 5 at 7pm. For more information, \u003ca href=\"http://www.sexandculture.org/\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In early 2017, San Francisco-based curator \u003ca href=\"https://dorothysantos.com/bio/\" target=\"_blank\" rel=\"noopener\">Dorothy R. Santos\u003c/a> witnessed a performance by multimedia artist \u003ca href=\"http://www.josephliatela.com/\" target=\"_blank\" rel=\"noopener\">Joseph Liatela\u003c/a> at the opening reception for \u003ca href=\"https://ww2.kqed.org/arts/2017/02/01/on-and-off-our-backs-were-still-working-the-art-of-sex-work-at-somarts/\" target=\"_blank\" rel=\"noopener\">\u003ci>We’re Still Working: The Art of Sex Work\u003c/i>\u003c/a> at San Francisco’s SOMArts Cultural Center. Santos, who maintains a dynamic creative practice focused on digital art and the overlap of biology and technology, immediately approached Liatela about a possible collaboration.\u003c/p>\n\u003cp>That first dialogue lead to additional conversations about visibility, surveillance, and how identity that rejects oppressive binary definition may be portrayed in contemporary art. Open through Feb. 16 at the Center for Sex & Culture, \u003cem>Surface Tension\u003c/em> — Liatela’s first solo exhibition — represents their year-long collaboration with Santos, and visualizes a potent personal transformation.\u003c/p>\n\u003cfigure id=\"attachment_13819506\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13819506\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/surface-tension-install-shot-for-press-2.jpg\" alt=\"Joseph Liatela, Installation view of 'Surface Tension I-IV,' 2017.\" width=\"2048\" height=\"1365\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/surface-tension-install-shot-for-press-2.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/surface-tension-install-shot-for-press-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/surface-tension-install-shot-for-press-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/surface-tension-install-shot-for-press-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/surface-tension-install-shot-for-press-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/surface-tension-install-shot-for-press-2-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/surface-tension-install-shot-for-press-2-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/surface-tension-install-shot-for-press-2-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/surface-tension-install-shot-for-press-2-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/surface-tension-install-shot-for-press-2-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/surface-tension-install-shot-for-press-2-520x347.jpg 520w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Joseph Liatela, Installation view of ‘Surface Tension I-IV,’ 2017. \u003ccite>(Kimberley Acebo Arteche)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I arrive at the Center for Sex & Culture (CSC) with enough time to view the installation before interviewing Liatela and Santos. Hung opposite the small but solid library and media archive for which the Center is known worldwide, \u003cem>Surface Tension I-IV\u003c/em> immediately draws my attention. Printed on swaths of silk and organza suspended from the ceiling, the four photo objects invite us to witness the gradual shedding of Liatela’s identity as they transitioned.\u003c/p>\n\u003cp>The organza, draped delicately like a diaphanous blouse that barely masks the artist’s evolving form, is absent from the sequence’s final image. What is revealed is the artist’s altered torso, chest proud and arms spread wide, unburdened by disguise. It captures, with subtlety and precision, a range of emotions — trepidation, joy, relief — that many transgender people feel when exposing the body that fits them to the world at large.\u003c/p>\n\u003cp>Any movement in the gallery causes the objects to flutter gently, a quality made more notable by the not-so-gentle surgical scars revealed in the photographs and the sutures that bind the tensile materials. Liatela and Santos both aver violence is an element in the work.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But rather than associate that violence with harmful (though recently modified) medical perspectives that link a desire to transition to mental illness, Liatela views the ruptured silk surface as symbolic of a physical and emotional breakthrough. In other words, out of violence emerges new growth and new life.\u003c/p>\n\u003cfigure id=\"attachment_13819505\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13819505\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/surface-tension-install-shot-for-press-3.jpg\" alt=\"Joseph Liatela, Installation view of 'Cloaked,' 2017.\" width=\"2048\" height=\"1569\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/surface-tension-install-shot-for-press-3.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/surface-tension-install-shot-for-press-3-160x123.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/surface-tension-install-shot-for-press-3-800x613.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/surface-tension-install-shot-for-press-3-768x588.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/surface-tension-install-shot-for-press-3-1020x782.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/surface-tension-install-shot-for-press-3-1920x1471.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/surface-tension-install-shot-for-press-3-1180x904.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/surface-tension-install-shot-for-press-3-960x736.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/surface-tension-install-shot-for-press-3-240x184.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/surface-tension-install-shot-for-press-3-375x287.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/surface-tension-install-shot-for-press-3-520x398.jpg 520w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Joseph Liatela, Installation view of ‘Cloaked,’ 2017. \u003ccite>(Kimberley Acebo Arteche)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A sculpture called \u003cem>Cloaked\u003c/em> anchors the exhibition. Comprising disparate materials, including latex, nylon, and archival photo transfers, the sculpture hangs from an intimidating metal hook and spreads across the floor in a way that makes visitors aware of their own movements in the space.\u003c/p>\n\u003cp>Where \u003cem>Surface Tension I-IV\u003c/em> suggests motion, \u003cem>Cloaked\u003c/em> appears leaden despite the relatively light materials Liatela used in its construction. The piece demands a physical and psychological reckoning.\u003c/p>\n\u003cp>The piece — and its creation by an artist whose identity results in automatic social marginalization — reminds me of Angela Hennessy’s \u003ca href=\"http://www.angelahennessy.com/\" target=\"_blank\" rel=\"noopener\">\u003ci>Black Hole\u003c/i>\u003c/a>, which was on view recently in her \u003ca href=\"https://ww2.kqed.org/arts/2017/10/26/angela-hennessy-southern-exposure-when-and-where-i-enter/\" target=\"_blank\" rel=\"noopener\">superb solo exhibition at Southern Exposure\u003c/a>. Both \u003cem>Cloaked\u003c/em> and \u003cem>Black Hole\u003c/em> elicit psychological responses similar to those created by Richard Serra’s imposing floor pieces, an effect intensified by knowing Hennessy and Liatela aren’t the artists (white, male-identified, gruff) traditionally encouraged to take up space.\u003c/p>\n\u003cfigure id=\"attachment_13819504\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13819504\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/surface-tension-install-shot-for-press-4.jpg\" alt=\"Joseph Liatela, 'Cloaked (detail),' 2017.\" width=\"2048\" height=\"1365\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/surface-tension-install-shot-for-press-4.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/surface-tension-install-shot-for-press-4-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/surface-tension-install-shot-for-press-4-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/surface-tension-install-shot-for-press-4-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/surface-tension-install-shot-for-press-4-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/surface-tension-install-shot-for-press-4-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/surface-tension-install-shot-for-press-4-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/surface-tension-install-shot-for-press-4-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/surface-tension-install-shot-for-press-4-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/surface-tension-install-shot-for-press-4-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/surface-tension-install-shot-for-press-4-520x347.jpg 520w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Joseph Liatela, ‘Cloaked (detail),’ 2017. \u003ccite>(Kimberley Acebo Arteche)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Surface Tension\u003c/em> reveals one person’s singular and personal journey through transition and the psycho-physiological effects of that journey. If our brief view of that experience is the sole takeaway from the exhibition, it would be a triumph.\u003c/p>\n\u003cp>Liatela and Santos go beyond the personal, however, and encourage us to think about critical issues that impact all of our lives, but especially those of trans men and women: surveillance, or who is welcome in public spaces; the medical establishment and how it is implicated in determining who receives treatment and at what cost; bodily sovereignty, and how it’s \u003cem>no one’s\u003c/em> business what do you or don’t have between your legs.\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>\u003cem>‘Surface Tension’ is on view at the Center for Sex & Culture in San Francisco through Feb. 16, 2018. A conversation between the artist and theorist Julian Carter takes place Feb. 5 at 7pm. For more information, \u003ca href=\"http://www.sexandculture.org/\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "GLBT History Museum Looks Back on Magazine that Birthed 'The Queer'",
"headTitle": "GLBT History Museum Looks Back on Magazine that Birthed ‘The Queer’ | KQED",
"content": "\u003cp>It’s 1988: the year of the first National Coming Out Day, the year of the first World AIDS Day. ACT UP (AIDS Coalition to Unleash Power), a group of radical and mostly queer activists, take to the streets of New York to demand medical research and accessible treatment services for people living with HIV and AIDS. The term “transgender” becomes more common to describe gender non-conforming people. It’s a confusing and exciting time.\u003c/p>\n\u003cp>And in 1988 San Francisco, \u003ci>OUT/LOOK\u003c/i>, a magazine bearing the subtitle “National Gay and Lesbian Quarterly” launches to chronicle the moment.\u003c/p>\n\u003cfigure id=\"attachment_13819486\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13819486\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Outlook_Cover_No11_preview.jpeg\" alt=\"'OUT/LOOK' Issue 11, 1991.\" width=\"600\" height=\"777\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Outlook_Cover_No11_preview.jpeg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Outlook_Cover_No11_preview-160x207.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Outlook_Cover_No11_preview-240x311.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Outlook_Cover_No11_preview-375x486.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Outlook_Cover_No11_preview-520x673.jpeg 520w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">‘OUT/LOOK’ Issue 11, 1991. \u003ccite>(Courtesy of GLBT History Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Thirty years later, San Francisco’s GLBT History Museum celebrates the publication’s groundbreaking work with \u003ca href=\"http://www.glbthistory.org/museum/outlook/\" target=\"_blank\" rel=\"noopener\">\u003ci>OUT/LOOK & The Birth of the Queer\u003c/i>\u003c/a>, on view through Jan. 26. Included in the exhibition: a mural featuring cover art from issues of \u003ci>OUT/LOOK\u003c/i>, a library with books written by the quarterly’s contributors, and several copies of the original publication. Reflecting on the magazine’s influence today, exhibition curator E.G. Crichton asked contemporary artists and writers to respond to articles and images published in \u003ci>OUT/LOOK\u003c/i>. The result is an empowering and eclectic bridge between the past and present.\u003c/p>\n\u003cp>In \u003ca href=\"http://misterloki.com/contact/\" target=\"_blank\" rel=\"noopener\">Mister Loki\u003c/a>’s contribution to the exhibition, inspired by Will Roscoe’s article “The Zuni Man-Woman” in \u003ci>OUT/LOOK\u003c/i>’s second issue, the Los Angeles-based comic artist graphically explains the traditional role of \u003ca href=\"https://en.wikipedia.org/wiki/Lhamana\" target=\"_blank\" rel=\"noopener\">lhamana\u003c/a> in Zuni culture. The comic argues that gender non-conforming individuals have been celebrated members of various societies for generations.\u003c/p>\n\u003cfigure id=\"attachment_13819487\" class=\"wp-caption aligncenter\" style=\"max-width: 1844px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13819487\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/outlook-zuniedited.jpg\" alt=\"Mister Loki, 'Gender and its Role in Zuni Society,' 2017.\" width=\"1844\" height=\"1367\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/outlook-zuniedited.jpg 1844w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/outlook-zuniedited-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/outlook-zuniedited-800x593.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/outlook-zuniedited-768x569.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/outlook-zuniedited-1020x756.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/outlook-zuniedited-1180x875.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/outlook-zuniedited-960x712.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/outlook-zuniedited-240x178.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/outlook-zuniedited-375x278.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/outlook-zuniedited-520x385.jpg 520w\" sizes=\"(max-width: 1844px) 100vw, 1844px\">\u003cfigcaption class=\"wp-caption-text\">Mister Loki, ‘Gender and its Role in Zuni Society,’ 2017. \u003ccite>(Photo by Dani Burlison; Courtesy of the artist and GLBT History Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"http://juliosalgadoart.com/\" target=\"_blank\" rel=\"noopener\">Julio Salgado\u003c/a>’s piece \u003ci>Drawing My Brown In A Sea of White\u003c/i> responds to an interview with playwright and novelist Han Ong in \u003ci>OUT/LOOK\u003c/i> issue 17. “It resonated with me how as artists of color we must keep telling our own narratives because nobody is going to do it for us,” Salgado says of the Q&A with Ong. His print in \u003ci>The Birth of the Queer\u003c/i> is one in a series where Salgado explores his “immigration status, queerness and brown body.”\u003c/p>\n\u003cfigure id=\"attachment_13819488\" class=\"wp-caption aligncenter\" style=\"max-width: 1454px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13819488\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/outlook-salgado.jpg\" alt=\"Julio Salgado, 'Drawing My Brown In A Sea Of White,' 2017.\" width=\"1454\" height=\"1444\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/outlook-salgado.jpg 1454w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/outlook-salgado-160x159.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/outlook-salgado-800x794.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/outlook-salgado-768x763.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/outlook-salgado-1020x1013.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/outlook-salgado-1180x1172.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/outlook-salgado-960x953.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/outlook-salgado-240x238.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/outlook-salgado-375x372.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/outlook-salgado-520x516.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/outlook-salgado-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/outlook-salgado-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/outlook-salgado-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/outlook-salgado-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/outlook-salgado-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/outlook-salgado-150x150.jpg 150w\" sizes=\"(max-width: 1454px) 100vw, 1454px\">\u003cfigcaption class=\"wp-caption-text\">Julio Salgado, ‘Drawing My Brown In A Sea Of White,’ 2017. \u003ccite>(Photo by Dani Burlison; courtesy of the artist and GLBT History Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Artist \u003ca href=\"http://www.queeroutlook.org/portfolio/weyam/\" target=\"_blank\" rel=\"noopener\">Weyam\u003c/a> imagines a transformed future where the hard work of today’s queer, social justice and environmental movements pays off with \u003ci>OUT/LOOK Cover 2048\u003c/i>, an imagined issue 30 years down the line. Weyam’s 110th issue includes “How Queers Interrupted the Climate Crisis and Restored the Earth,” how Black Lives Matter transformed racial politics in the U.S., and a reflection on the end of toxic masculinity.\u003c/p>\n\u003cfigure id=\"attachment_13819489\" class=\"wp-caption alignright\" style=\"max-width: 616px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13819489\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Outlook_Cover_No3_preview.jpeg\" alt=\"\" width=\"616\" height=\"802\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Outlook_Cover_No3_preview.jpeg 616w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Outlook_Cover_No3_preview-160x208.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Outlook_Cover_No3_preview-240x312.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Outlook_Cover_No3_preview-375x488.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Outlook_Cover_No3_preview-520x677.jpeg 520w\" sizes=\"(max-width: 616px) 100vw, 616px\">\u003cfigcaption class=\"wp-caption-text\">Outlook #3 \u003ccite>(Courtesy of GLBT History Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Perhaps the most moving piece in the exhibit is a video installation, \u003ci>The Presences of Absences\u003c/i> by \u003ca href=\"http://www.queeroutlook.org/portfolio/andrew-r-spieldenner/\" target=\"_blank\" rel=\"noopener\">Andrew Spieldenner\u003c/a> and \u003ca href=\"http://freeandfunky.tumblr.com/\" target=\"_blank\" rel=\"noopener\">Catron Booker\u003c/a>. The four-minute video includes a sound recording tribute to the late Allan Bérubé’s “Caught in the Storm: AIDS and the Meaning of Natural Disaster,” from \u003ci>OUT/LOOK\u003c/i>’s third issue. Bérubé’s essay, written just a year after his partner’s AIDS-related death, explores the fear, anger and guilt of living as a gay man during the AIDS epidemic of the 1980s.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I wish there was some way for you to meet the men I’ve known both platonically and intimately because they were amazing, even the ones I forgot (or whose names I never asked),” Spieldenner says in the video, expressing the fear of being forgotten. “Will you only know me and the surrounding constellation through my writing or the stories people know about me?…Would you even know that I lived?”\u003c/p>\n\u003cp>\u003ci>OUT/LOOK\u003c/i> was remarkable not just for publishing stories of gay and lesbian communities, but perspectives from bisexuals and queer people of color. The magazine printed news and commentary on sexuality, gender roles, race, politics, culture and more for five years; their 17th and final issue came out in the summer of 1992. Awareness of the issues affecting queer communities has transformed in the 30 years since \u003ci>OUT/LOOK\u003c/i>’s coming out — changes certainly connected to the magazine and publications like it.\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>‘OUT/LOOK & The Birth of the Queer’ is on view at the GLBT History Museum through Jan. 26, 2018 with a closing reception Friday, Jan. 26, 7-9pm. For more information \u003ca href=\"http://www.glbthistory.org/museum/outlook/\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.’\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s 1988: the year of the first National Coming Out Day, the year of the first World AIDS Day. ACT UP (AIDS Coalition to Unleash Power), a group of radical and mostly queer activists, take to the streets of New York to demand medical research and accessible treatment services for people living with HIV and AIDS. The term “transgender” becomes more common to describe gender non-conforming people. It’s a confusing and exciting time.\u003c/p>\n\u003cp>And in 1988 San Francisco, \u003ci>OUT/LOOK\u003c/i>, a magazine bearing the subtitle “National Gay and Lesbian Quarterly” launches to chronicle the moment.\u003c/p>\n\u003cfigure id=\"attachment_13819486\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13819486\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Outlook_Cover_No11_preview.jpeg\" alt=\"'OUT/LOOK' Issue 11, 1991.\" width=\"600\" height=\"777\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Outlook_Cover_No11_preview.jpeg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Outlook_Cover_No11_preview-160x207.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Outlook_Cover_No11_preview-240x311.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Outlook_Cover_No11_preview-375x486.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Outlook_Cover_No11_preview-520x673.jpeg 520w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">‘OUT/LOOK’ Issue 11, 1991. \u003ccite>(Courtesy of GLBT History Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Thirty years later, San Francisco’s GLBT History Museum celebrates the publication’s groundbreaking work with \u003ca href=\"http://www.glbthistory.org/museum/outlook/\" target=\"_blank\" rel=\"noopener\">\u003ci>OUT/LOOK & The Birth of the Queer\u003c/i>\u003c/a>, on view through Jan. 26. Included in the exhibition: a mural featuring cover art from issues of \u003ci>OUT/LOOK\u003c/i>, a library with books written by the quarterly’s contributors, and several copies of the original publication. Reflecting on the magazine’s influence today, exhibition curator E.G. Crichton asked contemporary artists and writers to respond to articles and images published in \u003ci>OUT/LOOK\u003c/i>. The result is an empowering and eclectic bridge between the past and present.\u003c/p>\n\u003cp>In \u003ca href=\"http://misterloki.com/contact/\" target=\"_blank\" rel=\"noopener\">Mister Loki\u003c/a>’s contribution to the exhibition, inspired by Will Roscoe’s article “The Zuni Man-Woman” in \u003ci>OUT/LOOK\u003c/i>’s second issue, the Los Angeles-based comic artist graphically explains the traditional role of \u003ca href=\"https://en.wikipedia.org/wiki/Lhamana\" target=\"_blank\" rel=\"noopener\">lhamana\u003c/a> in Zuni culture. The comic argues that gender non-conforming individuals have been celebrated members of various societies for generations.\u003c/p>\n\u003cfigure id=\"attachment_13819487\" class=\"wp-caption aligncenter\" style=\"max-width: 1844px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13819487\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/outlook-zuniedited.jpg\" alt=\"Mister Loki, 'Gender and its Role in Zuni Society,' 2017.\" width=\"1844\" height=\"1367\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/outlook-zuniedited.jpg 1844w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/outlook-zuniedited-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/outlook-zuniedited-800x593.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/outlook-zuniedited-768x569.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/outlook-zuniedited-1020x756.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/outlook-zuniedited-1180x875.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/outlook-zuniedited-960x712.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/outlook-zuniedited-240x178.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/outlook-zuniedited-375x278.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/outlook-zuniedited-520x385.jpg 520w\" sizes=\"(max-width: 1844px) 100vw, 1844px\">\u003cfigcaption class=\"wp-caption-text\">Mister Loki, ‘Gender and its Role in Zuni Society,’ 2017. \u003ccite>(Photo by Dani Burlison; Courtesy of the artist and GLBT History Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"http://juliosalgadoart.com/\" target=\"_blank\" rel=\"noopener\">Julio Salgado\u003c/a>’s piece \u003ci>Drawing My Brown In A Sea of White\u003c/i> responds to an interview with playwright and novelist Han Ong in \u003ci>OUT/LOOK\u003c/i> issue 17. “It resonated with me how as artists of color we must keep telling our own narratives because nobody is going to do it for us,” Salgado says of the Q&A with Ong. His print in \u003ci>The Birth of the Queer\u003c/i> is one in a series where Salgado explores his “immigration status, queerness and brown body.”\u003c/p>\n\u003cfigure id=\"attachment_13819488\" class=\"wp-caption aligncenter\" style=\"max-width: 1454px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13819488\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/outlook-salgado.jpg\" alt=\"Julio Salgado, 'Drawing My Brown In A Sea Of White,' 2017.\" width=\"1454\" height=\"1444\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/outlook-salgado.jpg 1454w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/outlook-salgado-160x159.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/outlook-salgado-800x794.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/outlook-salgado-768x763.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/outlook-salgado-1020x1013.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/outlook-salgado-1180x1172.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/outlook-salgado-960x953.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/outlook-salgado-240x238.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/outlook-salgado-375x372.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/outlook-salgado-520x516.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/outlook-salgado-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/outlook-salgado-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/outlook-salgado-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/outlook-salgado-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/outlook-salgado-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/outlook-salgado-150x150.jpg 150w\" sizes=\"(max-width: 1454px) 100vw, 1454px\">\u003cfigcaption class=\"wp-caption-text\">Julio Salgado, ‘Drawing My Brown In A Sea Of White,’ 2017. \u003ccite>(Photo by Dani Burlison; courtesy of the artist and GLBT History Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Artist \u003ca href=\"http://www.queeroutlook.org/portfolio/weyam/\" target=\"_blank\" rel=\"noopener\">Weyam\u003c/a> imagines a transformed future where the hard work of today’s queer, social justice and environmental movements pays off with \u003ci>OUT/LOOK Cover 2048\u003c/i>, an imagined issue 30 years down the line. Weyam’s 110th issue includes “How Queers Interrupted the Climate Crisis and Restored the Earth,” how Black Lives Matter transformed racial politics in the U.S., and a reflection on the end of toxic masculinity.\u003c/p>\n\u003cfigure id=\"attachment_13819489\" class=\"wp-caption alignright\" style=\"max-width: 616px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13819489\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Outlook_Cover_No3_preview.jpeg\" alt=\"\" width=\"616\" height=\"802\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Outlook_Cover_No3_preview.jpeg 616w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Outlook_Cover_No3_preview-160x208.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Outlook_Cover_No3_preview-240x312.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Outlook_Cover_No3_preview-375x488.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Outlook_Cover_No3_preview-520x677.jpeg 520w\" sizes=\"(max-width: 616px) 100vw, 616px\">\u003cfigcaption class=\"wp-caption-text\">Outlook #3 \u003ccite>(Courtesy of GLBT History Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Perhaps the most moving piece in the exhibit is a video installation, \u003ci>The Presences of Absences\u003c/i> by \u003ca href=\"http://www.queeroutlook.org/portfolio/andrew-r-spieldenner/\" target=\"_blank\" rel=\"noopener\">Andrew Spieldenner\u003c/a> and \u003ca href=\"http://freeandfunky.tumblr.com/\" target=\"_blank\" rel=\"noopener\">Catron Booker\u003c/a>. The four-minute video includes a sound recording tribute to the late Allan Bérubé’s “Caught in the Storm: AIDS and the Meaning of Natural Disaster,” from \u003ci>OUT/LOOK\u003c/i>’s third issue. Bérubé’s essay, written just a year after his partner’s AIDS-related death, explores the fear, anger and guilt of living as a gay man during the AIDS epidemic of the 1980s.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I wish there was some way for you to meet the men I’ve known both platonically and intimately because they were amazing, even the ones I forgot (or whose names I never asked),” Spieldenner says in the video, expressing the fear of being forgotten. “Will you only know me and the surrounding constellation through my writing or the stories people know about me?…Would you even know that I lived?”\u003c/p>\n\u003cp>\u003ci>OUT/LOOK\u003c/i> was remarkable not just for publishing stories of gay and lesbian communities, but perspectives from bisexuals and queer people of color. The magazine printed news and commentary on sexuality, gender roles, race, politics, culture and more for five years; their 17th and final issue came out in the summer of 1992. Awareness of the issues affecting queer communities has transformed in the 30 years since \u003ci>OUT/LOOK\u003c/i>’s coming out — changes certainly connected to the magazine and publications like it.\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>‘OUT/LOOK & The Birth of the Queer’ is on view at the GLBT History Museum through Jan. 26, 2018 with a closing reception Friday, Jan. 26, 7-9pm. For more information \u003ca href=\"http://www.glbthistory.org/museum/outlook/\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.’\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "One Year Later, How Are Artists Dealing With Trump?",
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"headTitle": "One Year Later, How Are Artists Dealing With Trump? | KQED",
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"content": "\u003cp>\u003cem>In advance of the president’s first official year in office on Jan. 20, KQED Arts checks back in with some of the artists profiled in our massive ‘\u003ca href=\"https://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\" target=\"_blank\" rel=\"noopener\">First 100 Days: Art in the Age of Trump\u003c/a>‘ series from 2017. To get a read on the artistic response to this administration one year on, we ask five local creatives what’s changed for them personally, politically and creatively.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13819563\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13819563\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/QuinnNelson-800x450.jpg\" alt=\"Quinn Nelson.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/QuinnNelson-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/QuinnNelson-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/QuinnNelson-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/QuinnNelson-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/QuinnNelson.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/QuinnNelson-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/QuinnNelson-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/QuinnNelson-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/QuinnNelson-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/QuinnNelson-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Quinn Nelson. \u003ccite>(Kelly Whalen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Quinn Nelson\u003c/h2>\n\u003cp>Last year, 14-year-old teenage artist and political cartoonist Quinn Nelson made a lasting impression on thousands of people who picked up copies of the graphic newspaper \u003ci>RESIST!\u003c/i> at women’s marches across the country. Her political cartoon in response to President Trump’s election depicted a furious girl in overalls and pigtails surrounded by the words “I, but young, fill the void with a scream to tell you that I will fight.”\u003c/p>\n\u003cp>All told, 2017 was a big year for Nelson. In addition to being selected for \u003ci>RESIST!\u003c/i> and \u003ca href=\"https://ww2.kqed.org/arts/2017/03/28/meet-the-oakland-14-year-old-cartooning-the-resistance/\" target=\"_blank\" rel=\"noopener\">profiled in a KQED Arts video\u003c/a>, the Oakland Public Library’s TeenZone hosted an \u003ca href=\"http://oaklandlibrary.org/events/main-library/quinn-nelson-art-exhibit-opening-party\" target=\"_blank\" rel=\"noopener\">exhibition of her drawings\u003c/a> in June; it was her very first show.\u003c/p>\n\u003cp>“I never realized how personal my art was until it was thrust out into the public eye,” she says. “It was a little anxiety-provoking, to be perfectly honest. As of now, I have no shows coming up, which is probably a good thing. My schedule is already so busy with school and sports.”\u003c/p>\n\u003cp>https://youtu.be/WUeydpL15Y8\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Now 15 and in high school, Nelson says she’s working on her drawing skills and exploring new styles. “I’m studying portraits of people and trying to get a better understanding of how to draw the human body and face,” she says. “So far, it’s been fun and challenging.”\u003c/p>\n\u003cp>As for politics, she remains pragmatic. “I was never too optimistic about this presidency, although I never found myself being truly pessimistic about it either,” she says. “To quote \u003ci>Star Wars\u003c/i>, ‘Darkness rises, and the light to meet it.’ Modern civilization has been perpetually engaged in moral tug-of-war for centuries. I believe that this is just another one of those instances.”\u003c/p>\n\u003cp>That doesn’t mean she’s done fighting. You might even see her at the Women’s March again this year. “The last one was so inspiring and empowering. I firmly believe that protest is essential to a productive society,” she says. “It would be so boring if everyone had the same opinions.” \u003cem>—Sarah Hotchkiss\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cfigure id=\"attachment_13819562\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13819562\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/MarkHarris.MAIN_.jpg\" alt=\"Mark Harris.\" width=\"1920\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/MarkHarris.MAIN_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/MarkHarris.MAIN_-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/MarkHarris.MAIN_-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/MarkHarris.MAIN_-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/MarkHarris.MAIN_-1020x638.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/MarkHarris.MAIN_-1180x738.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/MarkHarris.MAIN_-960x600.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/MarkHarris.MAIN_-240x150.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/MarkHarris.MAIN_-375x234.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/MarkHarris.MAIN_-520x325.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Mark Harris. \u003ccite>(Courtesy Mark Harris/Facebook)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Mark Harris\u003c/h2>\n\u003cp>San Francisco-based visual artist Mark Harris was already producing politically provocative art when Donald Trump won the White House. So perhaps it’s no surprise to read that Harris, who produced a \u003ca href=\"https://ww2.kqed.org/arts/2017/04/11/mark-harris-creates-postage-stamps-for-a-trumpian-world/\" target=\"_blank\" rel=\"noopener\">series of Trump-related postage stamp art\u003c/a> last year, is still at it. “I’m still exploring racism, gun violence, immigration and police violence. I’ve been delving more into the subtleties of white supremacy, and the role of whiteness and its relation to the social and political power structure in the United States,” Harris tells KQED.\u003c/p>\n\u003cp>That said, Harris insists his morale is high, even higher than it was a year ago, even though “the current administration is no friend of justice, common decency or honor,” he says. (Harris also faced a mini-media frenzy when \u003ca href=\"https://ww2.kqed.org/arts/2017/02/01/black-history-month-art-removed-after-parents-complain/\" target=\"_blank\" rel=\"noopener\">his art was removed from administrative school offices in San Jose\u003c/a> during Black History Month.)\u003c/p>\n\u003cfigure id=\"attachment_13819266\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13819266\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/133190BE-2B0B-4DF4-909A-B2ED8D292A95-800x393.jpg\" alt=\"Matthew 19:v30 (But many that are first shall be last; and the last shall be first.) Mixed media collage on panel by Mark Harris (2017)\" width=\"800\" height=\"393\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/133190BE-2B0B-4DF4-909A-B2ED8D292A95-800x393.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/133190BE-2B0B-4DF4-909A-B2ED8D292A95-160x79.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/133190BE-2B0B-4DF4-909A-B2ED8D292A95-768x377.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/133190BE-2B0B-4DF4-909A-B2ED8D292A95-1020x501.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/133190BE-2B0B-4DF4-909A-B2ED8D292A95-1180x580.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/133190BE-2B0B-4DF4-909A-B2ED8D292A95-960x472.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/133190BE-2B0B-4DF4-909A-B2ED8D292A95-240x118.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/133190BE-2B0B-4DF4-909A-B2ED8D292A95-375x184.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/133190BE-2B0B-4DF4-909A-B2ED8D292A95-520x256.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/133190BE-2B0B-4DF4-909A-B2ED8D292A95.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Matthew 19:v30 (But many that are first shall be last; and the last shall be first.)’ Mixed media collage on panel by Mark Harris (2017). \u003ccite>(Courtesy of Mark Harris)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I think the collective shell-shock has worn off, people are waking up, and realizing there is work to be done to keep this thing from going completely off the rails,” the artist says. “I’m really excited to be contributing to the ‘waking up’ part.”\u003c/p>\n\u003cp>Harris has an upcoming show at Era Art Bar & Lounge in Oakland featuring works from his \u003cem>Economy of Souls\u003c/em> series, which reinterprets the $100 bill (see above), and his \u003cem>PWT’s – Poor White Trumpers\u003c/em> series. The show runs Feb. 2–March 2, with an opening reception Feb. 2 from 6pm-9pm. \u003cem>—Rachael Myrow\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cfigure id=\"attachment_13819559\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13819559\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Iman-Hassen-Aswat.jpg\" alt=\"Iman Hassen of the Aswat Ensemble.\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Iman-Hassen-Aswat.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Iman-Hassen-Aswat-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Iman-Hassen-Aswat-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Iman-Hassen-Aswat-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Iman-Hassen-Aswat-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Iman-Hassen-Aswat-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Iman-Hassen-Aswat-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Iman-Hassen-Aswat-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Iman-Hassen-Aswat-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Iman-Hassen-Aswat-520x293.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Iman Hassen of the Aswat Ensemble. \u003ccite>(Najib 'Joe' Hakim)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Nabila Mango, Aswat Ensemble\u003c/h2>\n\u003cp>Last year, \u003ca href=\"https://ww2.kqed.org/arts/2017/03/13/music-from-seven-muslim-majority-countries-in-notes-against-the-ban/\" target=\"_blank\" rel=\"noopener\">we introduced you to the Aswat Ensemble’s Notes Against the Ban\u003c/a>, a concert protesting the travel ban affecting six majority-Muslim countries, and addressing growing Islamophobia. “The support we received from the various communities was amazing,” says Aswat founder Nabila Mango, citing sold-out crowds at four different performances in 2017. “So this year we are expanding on that by touching on the themes related to dreamers, immigrants and refugees.”\u003c/p>\n\u003cp>That concert, titled \u003ca href=\"https://www.facebook.com/events/1766132620357972/\" target=\"_blank\" rel=\"noopener\">A Musical Refuge: Salute to Dreamer, Immigrant, and Refugee Resistance\u003c/a>, premieres Jan. 27 at the Islamic Cultural Center in Oakland, featuring collaborations with La Pena Community Chorus, San Jose Taiko, and Vukani Mawethu Choir. (It’s sold out, but will be live-streamed.)\u003c/p>\n\u003cp>“This concert is all about solidarity between communities, celebrating diversity, and resisting the forces that attempt to silence us,” says Mango. “A year on, we are more determined than ever. The communities’ support has empowered us to stand up not only for the Arab and Muslim communities, but to stand together with all communities that face oppression and discrimination. There is no mistaking that xenophobia is on the rise and we cannot sit silently by and observe.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://player.vimeo.com/video/215884295?title=0&byline=0&portrait=0\" width=\"640\" height=\"360\" frameborder=\"0\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>In the audience at last year’s Notes Against the Ban premiere was Oakland mayor Libby Schaaf, who invited the ensemble to perform an abbreviated version at her 2017 State of the City address in November. (Just this week, Schaaf made headlines by declaring that she would be willing to go to jail to defend Oakland’s sanctuary policy, which helps protect immigrants from ICE raids and deportation.) In addition to A Musical Refuge, the group will perform Notes Against the Ban once more, in Palo Alto in Februry.\u003c/p>\n\u003cp>Mango says she and her colleagues are hopeful for the future. “By creating a unified resistance to the backwards policies of the current administration,” she says, “we will be able to amplify our voices so that our call for social change and justice will be heard far and wide. We are growing, we are growing stronger, and our voices will be heard.” \u003cem>—Gabe Meline\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cfigure id=\"attachment_13084205\" class=\"wp-caption aligncenter\" style=\"max-width: 1897px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13084205\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/POTUS-and-me-e1492730665715.jpg\" alt=\"Oakland artist Jon Proby poses with his painting ‘POTUS and me’.\" width=\"1897\" height=\"1069\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/POTUS-and-me-e1492730665715.jpg 1897w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/POTUS-and-me-e1492730665715-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/POTUS-and-me-e1492730665715-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/POTUS-and-me-e1492730665715-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/POTUS-and-me-e1492730665715-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/POTUS-and-me-e1492730665715-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/POTUS-and-me-e1492730665715-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/POTUS-and-me-e1492730665715-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/POTUS-and-me-e1492730665715-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/POTUS-and-me-e1492730665715-520x293.jpg 520w\" sizes=\"(max-width: 1897px) 100vw, 1897px\">\u003cfigcaption class=\"wp-caption-text\">Oakland artist Jon Proby poses with his painting ‘POTUS.’ \u003ccite>(Courtesy of Jon Proby)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Jon Proby\u003c/h2>\n\u003cp>In some ways, it’s been a great year for Jon Proby. An ardent supporter of Donald Trump, the 38-year-old California native continues to make outspoken political work from his home base of Oakland.\u003c/p>\n\u003cp>One recent piece of which he’s particularly proud is \u003cem>Modern Warfare\u003c/em>, a painting which illustrates what Proby sees as the political and spiritual conflict going on in the United States. Portraits of Vladimir Putin, Rodrigo Duterte, Trump and other hardline political figures face off on the stormy canvas against the likes of Angela Merkel and Pope Francis — “people who have negative things to say about Trump,” Proby says.\u003c/p>\n\u003cfigure id=\"attachment_13819564\" class=\"wp-caption aligncenter\" style=\"max-width: 1873px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13819564\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Modern-Warfare-Acrylic-on-C.jpg\" alt=\"'Modern Warfare,' acrylic on canvas, by Jon Proby.\" width=\"1873\" height=\"1292\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Modern-Warfare-Acrylic-on-C.jpg 1873w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Modern-Warfare-Acrylic-on-C-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Modern-Warfare-Acrylic-on-C-800x552.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Modern-Warfare-Acrylic-on-C-768x530.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Modern-Warfare-Acrylic-on-C-1020x704.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Modern-Warfare-Acrylic-on-C-1180x814.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Modern-Warfare-Acrylic-on-C-960x662.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Modern-Warfare-Acrylic-on-C-240x166.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Modern-Warfare-Acrylic-on-C-375x259.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Modern-Warfare-Acrylic-on-C-520x359.jpg 520w\" sizes=\"(max-width: 1873px) 100vw, 1873px\">\u003cfigcaption class=\"wp-caption-text\">‘Modern Warfare,’ acrylic on canvas, by Jon Proby. \u003ccite>(Courtesy Jon Proby)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We \u003ca href=\"https://ww2.kqed.org/arts/2017/04/25/pro-trump-artist-jon-proby-takes-a-stand-in-oakland/\" target=\"_blank\" rel=\"noopener\">profiled Proby last year\u003c/a> when he participated in a pro-Trump art show in New York. And though he’s not currently able to make a full-time living as an artist — he works construction to pay the rent — Proby does make money through commissions and selling prints.\u003c/p>\n\u003cp>Yet in other ways, the past year hasn’t been easy. Proby relies heavily on social media to market and sell his work, and says he’s “undergone heavy censorship” on social platforms. The artist says Twitter shut down his account after the 2016 presidential election (“I had to start from scratch and I’ve never recovered from that”), and Facebook has repeatedly banned his account for 30-day stretches.\u003c/p>\n\u003cp>Proby says that though his sales are likely to take a hit, he’s planning to move his operations to Gab, the social media platform popular with Trump supporters which touts itself as “a social network that champions free speech, individual liberty, and the free flow of information online.”\u003c/p>\n\u003cp>He’s also had it with California. Proby says he’s nearly ready to move to Texas, where he feels the political climate is more friendly. “I feel like I’m in the wrong place here in California,” he says. “The Bay Area especially is backwards and resisting the changes Trump is bringing to this country.” \u003cem>—Chloe Veltman\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cfigure id=\"attachment_13819558\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13819558 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/ChuckSpeery.SHaunRoberts.jpg\" alt=\"Chuck Speery teaches a workshop with a group of students from UC Berkeley and École Polytechnique in late 2017.\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ChuckSpeery.SHaunRoberts.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ChuckSpeery.SHaunRoberts-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ChuckSpeery.SHaunRoberts-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ChuckSpeery.SHaunRoberts-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ChuckSpeery.SHaunRoberts-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ChuckSpeery.SHaunRoberts-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ChuckSpeery.SHaunRoberts-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ChuckSpeery.SHaunRoberts-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ChuckSpeery.SHaunRoberts-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ChuckSpeery.SHaunRoberts-520x293.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Chuck Sperry teaches a workshop with a group of students from UC Berkeley and École Polytechnique in late 2017. \u003ccite>(Shaun Roberts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Chuck Sperry\u003c/h2>\n\u003cp>As KQED Arts reported last year, rock poster artist Chuck Sperry turned his attention in 2017 toward politics, designing posters for both the \u003ca href=\"https://www.chucksperry.net/resist-poster-for-womens-march-2017/\" target=\"_blank\" rel=\"noopener\">Women’s March\u003c/a> and the \u003ca href=\"https://ww2.kqed.org/arts/2017/04/21/rock-poster-artist-chuck-sperry-turns-focus-to-science-march/\" target=\"_blank\" rel=\"noopener\">March for Science\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13819557\" class=\"wp-caption alignright\" style=\"max-width: 722px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13819557 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/ChuckSPeery.2018.jpg\" alt=\"'Women Rising,' poster for the Women's March 2018, Chuck Sperry.\" width=\"722\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ChuckSPeery.2018.jpg 722w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ChuckSPeery.2018-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ChuckSPeery.2018-240x319.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ChuckSPeery.2018-375x499.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ChuckSPeery.2018-520x691.jpg 520w\" sizes=\"(max-width: 722px) 100vw, 722px\">\u003cfigcaption class=\"wp-caption-text\">‘Women Rising,’ poster for the Women’s March 2018, Chuck Sperry. \u003ccite>(Courtesy Chuck Speery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When we caught up with him this year, he’d just delivered 4,500 posters to Las Vegas and Washington, D.C. for their respective Women’s Marches on Jan. 20. This year, he plans to be in Oakland and San Francisco distributing his posters by hand and protesting the current administration, which he calls “anti-democratic, autocratic even. We need to take back control of Congress.\u003cbr>\nMy efforts are aimed at preserving our democracy, which is a very basic American core issue.”\u003c/p>\n\u003cp>For his part, Sperry vows to continue to create art for marches and other resistance activities until the current administration is removed from power. And he knows he’s not alone.\u003c/p>\n\u003cp>“I have been encouraged by the commitment of people who have spoken out strongly and in no uncertain terms against the ignorance, corruption and bigotry of the government in power,” he says. “The party in power has so debased its own values that there will be a reckoning from the common-sense American voter. We need to keep on the offensive, be seen on the streets, and heard in the media.” \u003cem>—Rachael Myrow\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"excerpt": "We check in with five artists from our 'First 100 Days: Art in the Age of Trump' series to learn what's changed for them personally, politically and creatively.",
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"title": "One Year Later, How Are Artists Dealing With Trump? | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>In advance of the president’s first official year in office on Jan. 20, KQED Arts checks back in with some of the artists profiled in our massive ‘\u003ca href=\"https://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\" target=\"_blank\" rel=\"noopener\">First 100 Days: Art in the Age of Trump\u003c/a>‘ series from 2017. To get a read on the artistic response to this administration one year on, we ask five local creatives what’s changed for them personally, politically and creatively.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13819563\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13819563\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/QuinnNelson-800x450.jpg\" alt=\"Quinn Nelson.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/QuinnNelson-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/QuinnNelson-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/QuinnNelson-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/QuinnNelson-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/QuinnNelson.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/QuinnNelson-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/QuinnNelson-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/QuinnNelson-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/QuinnNelson-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/QuinnNelson-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Quinn Nelson. \u003ccite>(Kelly Whalen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Quinn Nelson\u003c/h2>\n\u003cp>Last year, 14-year-old teenage artist and political cartoonist Quinn Nelson made a lasting impression on thousands of people who picked up copies of the graphic newspaper \u003ci>RESIST!\u003c/i> at women’s marches across the country. Her political cartoon in response to President Trump’s election depicted a furious girl in overalls and pigtails surrounded by the words “I, but young, fill the void with a scream to tell you that I will fight.”\u003c/p>\n\u003cp>All told, 2017 was a big year for Nelson. In addition to being selected for \u003ci>RESIST!\u003c/i> and \u003ca href=\"https://ww2.kqed.org/arts/2017/03/28/meet-the-oakland-14-year-old-cartooning-the-resistance/\" target=\"_blank\" rel=\"noopener\">profiled in a KQED Arts video\u003c/a>, the Oakland Public Library’s TeenZone hosted an \u003ca href=\"http://oaklandlibrary.org/events/main-library/quinn-nelson-art-exhibit-opening-party\" target=\"_blank\" rel=\"noopener\">exhibition of her drawings\u003c/a> in June; it was her very first show.\u003c/p>\n\u003cp>“I never realized how personal my art was until it was thrust out into the public eye,” she says. “It was a little anxiety-provoking, to be perfectly honest. As of now, I have no shows coming up, which is probably a good thing. My schedule is already so busy with school and sports.”\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/WUeydpL15Y8'\n title='//www.youtube.com/embed/WUeydpL15Y8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Now 15 and in high school, Nelson says she’s working on her drawing skills and exploring new styles. “I’m studying portraits of people and trying to get a better understanding of how to draw the human body and face,” she says. “So far, it’s been fun and challenging.”\u003c/p>\n\u003cp>As for politics, she remains pragmatic. “I was never too optimistic about this presidency, although I never found myself being truly pessimistic about it either,” she says. “To quote \u003ci>Star Wars\u003c/i>, ‘Darkness rises, and the light to meet it.’ Modern civilization has been perpetually engaged in moral tug-of-war for centuries. I believe that this is just another one of those instances.”\u003c/p>\n\u003cp>That doesn’t mean she’s done fighting. You might even see her at the Women’s March again this year. “The last one was so inspiring and empowering. I firmly believe that protest is essential to a productive society,” she says. “It would be so boring if everyone had the same opinions.” \u003cem>—Sarah Hotchkiss\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cfigure id=\"attachment_13819562\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13819562\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/MarkHarris.MAIN_.jpg\" alt=\"Mark Harris.\" width=\"1920\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/MarkHarris.MAIN_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/MarkHarris.MAIN_-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/MarkHarris.MAIN_-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/MarkHarris.MAIN_-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/MarkHarris.MAIN_-1020x638.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/MarkHarris.MAIN_-1180x738.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/MarkHarris.MAIN_-960x600.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/MarkHarris.MAIN_-240x150.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/MarkHarris.MAIN_-375x234.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/MarkHarris.MAIN_-520x325.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Mark Harris. \u003ccite>(Courtesy Mark Harris/Facebook)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Mark Harris\u003c/h2>\n\u003cp>San Francisco-based visual artist Mark Harris was already producing politically provocative art when Donald Trump won the White House. So perhaps it’s no surprise to read that Harris, who produced a \u003ca href=\"https://ww2.kqed.org/arts/2017/04/11/mark-harris-creates-postage-stamps-for-a-trumpian-world/\" target=\"_blank\" rel=\"noopener\">series of Trump-related postage stamp art\u003c/a> last year, is still at it. “I’m still exploring racism, gun violence, immigration and police violence. I’ve been delving more into the subtleties of white supremacy, and the role of whiteness and its relation to the social and political power structure in the United States,” Harris tells KQED.\u003c/p>\n\u003cp>That said, Harris insists his morale is high, even higher than it was a year ago, even though “the current administration is no friend of justice, common decency or honor,” he says. (Harris also faced a mini-media frenzy when \u003ca href=\"https://ww2.kqed.org/arts/2017/02/01/black-history-month-art-removed-after-parents-complain/\" target=\"_blank\" rel=\"noopener\">his art was removed from administrative school offices in San Jose\u003c/a> during Black History Month.)\u003c/p>\n\u003cfigure id=\"attachment_13819266\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13819266\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/133190BE-2B0B-4DF4-909A-B2ED8D292A95-800x393.jpg\" alt=\"Matthew 19:v30 (But many that are first shall be last; and the last shall be first.) Mixed media collage on panel by Mark Harris (2017)\" width=\"800\" height=\"393\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/133190BE-2B0B-4DF4-909A-B2ED8D292A95-800x393.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/133190BE-2B0B-4DF4-909A-B2ED8D292A95-160x79.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/133190BE-2B0B-4DF4-909A-B2ED8D292A95-768x377.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/133190BE-2B0B-4DF4-909A-B2ED8D292A95-1020x501.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/133190BE-2B0B-4DF4-909A-B2ED8D292A95-1180x580.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/133190BE-2B0B-4DF4-909A-B2ED8D292A95-960x472.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/133190BE-2B0B-4DF4-909A-B2ED8D292A95-240x118.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/133190BE-2B0B-4DF4-909A-B2ED8D292A95-375x184.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/133190BE-2B0B-4DF4-909A-B2ED8D292A95-520x256.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/133190BE-2B0B-4DF4-909A-B2ED8D292A95.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Matthew 19:v30 (But many that are first shall be last; and the last shall be first.)’ Mixed media collage on panel by Mark Harris (2017). \u003ccite>(Courtesy of Mark Harris)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I think the collective shell-shock has worn off, people are waking up, and realizing there is work to be done to keep this thing from going completely off the rails,” the artist says. “I’m really excited to be contributing to the ‘waking up’ part.”\u003c/p>\n\u003cp>Harris has an upcoming show at Era Art Bar & Lounge in Oakland featuring works from his \u003cem>Economy of Souls\u003c/em> series, which reinterprets the $100 bill (see above), and his \u003cem>PWT’s – Poor White Trumpers\u003c/em> series. The show runs Feb. 2–March 2, with an opening reception Feb. 2 from 6pm-9pm. \u003cem>—Rachael Myrow\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cfigure id=\"attachment_13819559\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13819559\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Iman-Hassen-Aswat.jpg\" alt=\"Iman Hassen of the Aswat Ensemble.\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Iman-Hassen-Aswat.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Iman-Hassen-Aswat-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Iman-Hassen-Aswat-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Iman-Hassen-Aswat-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Iman-Hassen-Aswat-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Iman-Hassen-Aswat-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Iman-Hassen-Aswat-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Iman-Hassen-Aswat-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Iman-Hassen-Aswat-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Iman-Hassen-Aswat-520x293.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Iman Hassen of the Aswat Ensemble. \u003ccite>(Najib 'Joe' Hakim)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Nabila Mango, Aswat Ensemble\u003c/h2>\n\u003cp>Last year, \u003ca href=\"https://ww2.kqed.org/arts/2017/03/13/music-from-seven-muslim-majority-countries-in-notes-against-the-ban/\" target=\"_blank\" rel=\"noopener\">we introduced you to the Aswat Ensemble’s Notes Against the Ban\u003c/a>, a concert protesting the travel ban affecting six majority-Muslim countries, and addressing growing Islamophobia. “The support we received from the various communities was amazing,” says Aswat founder Nabila Mango, citing sold-out crowds at four different performances in 2017. “So this year we are expanding on that by touching on the themes related to dreamers, immigrants and refugees.”\u003c/p>\n\u003cp>That concert, titled \u003ca href=\"https://www.facebook.com/events/1766132620357972/\" target=\"_blank\" rel=\"noopener\">A Musical Refuge: Salute to Dreamer, Immigrant, and Refugee Resistance\u003c/a>, premieres Jan. 27 at the Islamic Cultural Center in Oakland, featuring collaborations with La Pena Community Chorus, San Jose Taiko, and Vukani Mawethu Choir. (It’s sold out, but will be live-streamed.)\u003c/p>\n\u003cp>“This concert is all about solidarity between communities, celebrating diversity, and resisting the forces that attempt to silence us,” says Mango. “A year on, we are more determined than ever. The communities’ support has empowered us to stand up not only for the Arab and Muslim communities, but to stand together with all communities that face oppression and discrimination. There is no mistaking that xenophobia is on the rise and we cannot sit silently by and observe.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://player.vimeo.com/video/215884295?title=0&byline=0&portrait=0\" width=\"640\" height=\"360\" frameborder=\"0\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>In the audience at last year’s Notes Against the Ban premiere was Oakland mayor Libby Schaaf, who invited the ensemble to perform an abbreviated version at her 2017 State of the City address in November. (Just this week, Schaaf made headlines by declaring that she would be willing to go to jail to defend Oakland’s sanctuary policy, which helps protect immigrants from ICE raids and deportation.) In addition to A Musical Refuge, the group will perform Notes Against the Ban once more, in Palo Alto in Februry.\u003c/p>\n\u003cp>Mango says she and her colleagues are hopeful for the future. “By creating a unified resistance to the backwards policies of the current administration,” she says, “we will be able to amplify our voices so that our call for social change and justice will be heard far and wide. We are growing, we are growing stronger, and our voices will be heard.” \u003cem>—Gabe Meline\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cfigure id=\"attachment_13084205\" class=\"wp-caption aligncenter\" style=\"max-width: 1897px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13084205\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/POTUS-and-me-e1492730665715.jpg\" alt=\"Oakland artist Jon Proby poses with his painting ‘POTUS and me’.\" width=\"1897\" height=\"1069\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/POTUS-and-me-e1492730665715.jpg 1897w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/POTUS-and-me-e1492730665715-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/POTUS-and-me-e1492730665715-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/POTUS-and-me-e1492730665715-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/POTUS-and-me-e1492730665715-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/POTUS-and-me-e1492730665715-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/POTUS-and-me-e1492730665715-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/POTUS-and-me-e1492730665715-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/POTUS-and-me-e1492730665715-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/POTUS-and-me-e1492730665715-520x293.jpg 520w\" sizes=\"(max-width: 1897px) 100vw, 1897px\">\u003cfigcaption class=\"wp-caption-text\">Oakland artist Jon Proby poses with his painting ‘POTUS.’ \u003ccite>(Courtesy of Jon Proby)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Jon Proby\u003c/h2>\n\u003cp>In some ways, it’s been a great year for Jon Proby. An ardent supporter of Donald Trump, the 38-year-old California native continues to make outspoken political work from his home base of Oakland.\u003c/p>\n\u003cp>One recent piece of which he’s particularly proud is \u003cem>Modern Warfare\u003c/em>, a painting which illustrates what Proby sees as the political and spiritual conflict going on in the United States. Portraits of Vladimir Putin, Rodrigo Duterte, Trump and other hardline political figures face off on the stormy canvas against the likes of Angela Merkel and Pope Francis — “people who have negative things to say about Trump,” Proby says.\u003c/p>\n\u003cfigure id=\"attachment_13819564\" class=\"wp-caption aligncenter\" style=\"max-width: 1873px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13819564\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Modern-Warfare-Acrylic-on-C.jpg\" alt=\"'Modern Warfare,' acrylic on canvas, by Jon Proby.\" width=\"1873\" height=\"1292\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Modern-Warfare-Acrylic-on-C.jpg 1873w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Modern-Warfare-Acrylic-on-C-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Modern-Warfare-Acrylic-on-C-800x552.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Modern-Warfare-Acrylic-on-C-768x530.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Modern-Warfare-Acrylic-on-C-1020x704.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Modern-Warfare-Acrylic-on-C-1180x814.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Modern-Warfare-Acrylic-on-C-960x662.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Modern-Warfare-Acrylic-on-C-240x166.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Modern-Warfare-Acrylic-on-C-375x259.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Modern-Warfare-Acrylic-on-C-520x359.jpg 520w\" sizes=\"(max-width: 1873px) 100vw, 1873px\">\u003cfigcaption class=\"wp-caption-text\">‘Modern Warfare,’ acrylic on canvas, by Jon Proby. \u003ccite>(Courtesy Jon Proby)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We \u003ca href=\"https://ww2.kqed.org/arts/2017/04/25/pro-trump-artist-jon-proby-takes-a-stand-in-oakland/\" target=\"_blank\" rel=\"noopener\">profiled Proby last year\u003c/a> when he participated in a pro-Trump art show in New York. And though he’s not currently able to make a full-time living as an artist — he works construction to pay the rent — Proby does make money through commissions and selling prints.\u003c/p>\n\u003cp>Yet in other ways, the past year hasn’t been easy. Proby relies heavily on social media to market and sell his work, and says he’s “undergone heavy censorship” on social platforms. The artist says Twitter shut down his account after the 2016 presidential election (“I had to start from scratch and I’ve never recovered from that”), and Facebook has repeatedly banned his account for 30-day stretches.\u003c/p>\n\u003cp>Proby says that though his sales are likely to take a hit, he’s planning to move his operations to Gab, the social media platform popular with Trump supporters which touts itself as “a social network that champions free speech, individual liberty, and the free flow of information online.”\u003c/p>\n\u003cp>He’s also had it with California. Proby says he’s nearly ready to move to Texas, where he feels the political climate is more friendly. “I feel like I’m in the wrong place here in California,” he says. “The Bay Area especially is backwards and resisting the changes Trump is bringing to this country.” \u003cem>—Chloe Veltman\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cfigure id=\"attachment_13819558\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13819558 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/ChuckSpeery.SHaunRoberts.jpg\" alt=\"Chuck Speery teaches a workshop with a group of students from UC Berkeley and École Polytechnique in late 2017.\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ChuckSpeery.SHaunRoberts.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ChuckSpeery.SHaunRoberts-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ChuckSpeery.SHaunRoberts-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ChuckSpeery.SHaunRoberts-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ChuckSpeery.SHaunRoberts-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ChuckSpeery.SHaunRoberts-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ChuckSpeery.SHaunRoberts-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ChuckSpeery.SHaunRoberts-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ChuckSpeery.SHaunRoberts-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ChuckSpeery.SHaunRoberts-520x293.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Chuck Sperry teaches a workshop with a group of students from UC Berkeley and École Polytechnique in late 2017. \u003ccite>(Shaun Roberts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Chuck Sperry\u003c/h2>\n\u003cp>As KQED Arts reported last year, rock poster artist Chuck Sperry turned his attention in 2017 toward politics, designing posters for both the \u003ca href=\"https://www.chucksperry.net/resist-poster-for-womens-march-2017/\" target=\"_blank\" rel=\"noopener\">Women’s March\u003c/a> and the \u003ca href=\"https://ww2.kqed.org/arts/2017/04/21/rock-poster-artist-chuck-sperry-turns-focus-to-science-march/\" target=\"_blank\" rel=\"noopener\">March for Science\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13819557\" class=\"wp-caption alignright\" style=\"max-width: 722px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13819557 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/ChuckSPeery.2018.jpg\" alt=\"'Women Rising,' poster for the Women's March 2018, Chuck Sperry.\" width=\"722\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ChuckSPeery.2018.jpg 722w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ChuckSPeery.2018-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ChuckSPeery.2018-240x319.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ChuckSPeery.2018-375x499.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ChuckSPeery.2018-520x691.jpg 520w\" sizes=\"(max-width: 722px) 100vw, 722px\">\u003cfigcaption class=\"wp-caption-text\">‘Women Rising,’ poster for the Women’s March 2018, Chuck Sperry. \u003ccite>(Courtesy Chuck Speery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When we caught up with him this year, he’d just delivered 4,500 posters to Las Vegas and Washington, D.C. for their respective Women’s Marches on Jan. 20. This year, he plans to be in Oakland and San Francisco distributing his posters by hand and protesting the current administration, which he calls “anti-democratic, autocratic even. We need to take back control of Congress.\u003cbr>\nMy efforts are aimed at preserving our democracy, which is a very basic American core issue.”\u003c/p>\n\u003cp>For his part, Sperry vows to continue to create art for marches and other resistance activities until the current administration is removed from power. And he knows he’s not alone.\u003c/p>\n\u003cp>“I have been encouraged by the commitment of people who have spoken out strongly and in no uncertain terms against the ignorance, corruption and bigotry of the government in power,” he says. “The party in power has so debased its own values that there will be a reckoning from the common-sense American voter. We need to keep on the offensive, be seen on the streets, and heard in the media.” \u003cem>—Rachael Myrow\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Want to Be Part of a Giant JR Mural in San Francisco? Here's How",
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"content": "\u003cp>Photographer and street artist JR, known for his large-scale black-and-white images of ordinary people (and his exceedingly charming film with Agnés Varda, \u003ci>\u003ca href=\"https://ww2.kqed.org/arts/2017/10/27/faces-places-a-new-wave-filmmaker-and-a-mural-artist-tear-through-france/\" rel=\"noopener\" target=\"_blank\">Faces Places\u003c/a>\u003c/i>), recently arrived in San Francisco for a new project simply titled \u003ci>The San Francisco Mural\u003c/i>. Every day through Feb. 11, the project’s 53-foot truck will park in a different part of the city (sorry East, North and South Bay), photographing people inside a gigantic mobile studio. \u003c/p>\n\u003cp>Consult \u003ca href=\"http://www.thesanfranciscomural.net/\" rel=\"noopener\" target=\"_blank\">the project’s website\u003c/a> for a full schedule of all 24 locations, including stops in Civic Center, Bayview, the Mission and Western Addition.\u003c/p>\n\u003cp>https://www.google.com/maps/d/u/0/viewer?mid=1ND8qYIm_QSxJMiMbwRQx-6UwqhkFzYvH&ll=37.757080051858814%2C-122.44717965000001&z=13\u003c/p>\n\u003cp>This is the second chapter in a series the artist began last year in the Parisian suburb of Clichy-Montfermeil — a location familiar to the world as the place where two young men died by electrocution in 2005, setting off \u003ca href=\"https://en.wikipedia.org/wiki/2005_French_riots\" rel=\"noopener\" target=\"_blank\">three weeks of rioting throughout France\u003c/a>. Photographing residents of the healing yet still-isolated suburb against a green screen, JR created a composite image of 750 individuals that grants each subject the exact same treatment, regardless of governmental position or social class. \u003c/p>\n\u003cp>Identifying San Francisco as a city with both a long tradition of murals and incredible economic disparity, JR’s democratic form of image-making hopes to “capture the nuances of the city at this moment in time.” \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.instagram.com/p/BYto6YrjovS/?taken-by=jr\u003c/p>\n\u003cp>The artist has a knack for taking sites with complicated political, economic and social histories and turning the focus away from partisanship and toward those affected by it. \u003c/p>\n\u003cp>Last year, \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/09/08/549491208/as-boy-peers-curiously-over-border-wall-his-artist-asks-what-is-he-thinking\" rel=\"noopener\" target=\"_blank\">JR mounted a timely installation\u003c/a> at the U.S./Mexico border with an enormous portrait of a one-year-old boy, playfully positioned to look as if he was peering over the border wall. The piece went up on scaffolding in Tecate, Mexico just days after the Trump administration announced its plans to end DACA. \u003c/p>\n\u003cp>In San Francisco, the mural project’s website makes special note of the high number of people experiencing homelessness here. Will JR succeed in fostering a productive conversation about the city’s most disenfranchised through portraiture? We’ll have to wait and see.\u003c/p>\n\u003cfigure id=\"attachment_13819446\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/JR_Cover-800x450.jpg\" alt=\"French photographer JR poses in front of his mural of the inhabitants of the Clichy-Montfermeil suburb.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13819446\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/JR_Cover-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/JR_Cover-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/JR_Cover-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/JR_Cover-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/JR_Cover.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/JR_Cover-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/JR_Cover-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/JR_Cover-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/JR_Cover-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/JR_Cover-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">French photographer JR poses in front of his mural of the inhabitants of the Clichy-Montfermeil suburb. \u003ccite>(MARTIN BUREAU/AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As for where this monumental mural will eventually materialize, JR and team are still talking to various museums and organizations in San Francisco. But if you want to see your face among many, look for the giant truck with the eyes on its side in the neighborhood of your choice.\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>You can participate in ‘The San Francisco Mural’ through Feb. 11. For more information, \u003ca href=\"http://www.thesanfranciscomural.net/\" rel=\"noopener\" target=\"_blank\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The artist has a knack for taking sites with complicated political, economic and social histories and turning the focus away from partisanship and toward those affected by it. \u003c/p>\n\u003cp>Last year, \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/09/08/549491208/as-boy-peers-curiously-over-border-wall-his-artist-asks-what-is-he-thinking\" rel=\"noopener\" target=\"_blank\">JR mounted a timely installation\u003c/a> at the U.S./Mexico border with an enormous portrait of a one-year-old boy, playfully positioned to look as if he was peering over the border wall. The piece went up on scaffolding in Tecate, Mexico just days after the Trump administration announced its plans to end DACA. \u003c/p>\n\u003cp>In San Francisco, the mural project’s website makes special note of the high number of people experiencing homelessness here. Will JR succeed in fostering a productive conversation about the city’s most disenfranchised through portraiture? We’ll have to wait and see.\u003c/p>\n\u003cfigure id=\"attachment_13819446\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/JR_Cover-800x450.jpg\" alt=\"French photographer JR poses in front of his mural of the inhabitants of the Clichy-Montfermeil suburb.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13819446\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/JR_Cover-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/JR_Cover-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/JR_Cover-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/JR_Cover-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/JR_Cover.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/JR_Cover-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/JR_Cover-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/JR_Cover-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/JR_Cover-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/JR_Cover-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">French photographer JR poses in front of his mural of the inhabitants of the Clichy-Montfermeil suburb. \u003ccite>(MARTIN BUREAU/AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As for where this monumental mural will eventually materialize, JR and team are still talking to various museums and organizations in San Francisco. But if you want to see your face among many, look for the giant truck with the eyes on its side in the neighborhood of your choice.\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>You can participate in ‘The San Francisco Mural’ through Feb. 11. For more information, \u003ca href=\"http://www.thesanfranciscomural.net/\" rel=\"noopener\" target=\"_blank\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>When an app asks you, “Is your portrait in a museum?” and you’re a person of color, it’s likely the answer is complicated.\u003c/p>\n\u003cp>\u003ca href=\"https://www.google.com/culturalinstitute/about/\" target=\"_blank\" rel=\"noopener noreferrer\">Google Arts and Culture\u003c/a> — Google Cultural Institute’s eager nod to art world institutions — released a wildly popular feature on their \u003ca href=\"https://t.co/DUuzxlMKCd\" target=\"_blank\" rel=\"noopener noreferrer\">app\u003c/a> this month that allows users to find their art doppelgänger.\u003c/p>\n\u003cp>Once you snap a selfie on the app, your “faceprint” is charted through a series of measurements (the distance between your eyes, the width of your nose, and fullness of your lips). Your image then goes through a matching process with over \u003ca href=\"https://www.inverse.com/article/40177-google-arts-and-culture-technology\" target=\"_blank\" rel=\"noopener noreferrer\">70,000 works of art\u003c/a> in Google’s database. The artwork candidates hail from powerhouses like the Louvre, J. Paul Getty Museum and Rijksmuseum on down to a handful of smaller art foundations and contemporary galleries.\u003c/p>\n\u003cp>If you’re looking for a complete list of artwork titles and origins, you’re out of luck. Intentional or not, Google has remained somewhat tight-lipped about the artwork they’ve cataloged.\u003c/p>\n\u003cp>Nevertheless, its source material is not exactly diverse. When I conducted a search of the 100 most recent posts tagged \u003ca href=\"https://www.instagram.com/explore/tags/googleartsandculture/\" target=\"_blank\" rel=\"noopener noreferrer\">#googleartsandculture\u003c/a> on Instagram, I found that 91 percent of the artwork was created by male artists, and 63 percent was created by European and American artists before the 20th century.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As NPR \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/01/15/578151195/google-app-goes-viral-making-an-art-out-of-matching-faces-to-paintings\" target=\"_blank\" rel=\"noopener noreferrer\">notes\u003c/a>, the app is particularly problematic for people of color, as a good percentage of the artwork it draws from is both Western and depicting white subjects.\u003c/p>\n\u003cp>https://twitter.com/nydiahartono/status/951558504573104128\u003c/p>\n\u003cp>Then again, the mainstream art world is no stranger to being called overwhelmingly \u003ca href=\"http://www.blouinartinfo.com/news/story/840695/diversify-or-die-why-the-art-world-needs-to-keep-up-with-our\" target=\"_blank\" rel=\"noopener noreferrer\">rich\u003c/a>, \u003ca href=\"https://news.artnet.com/art-world/new-york-galleries-study-979049\" target=\"_blank\" rel=\"noopener noreferrer\">white\u003c/a> and \u003ca href=\"https://ww2.kqed.org/arts/2017/11/30/sf-gallery-tally-gender-parity-bay-area-art-galleries\" target=\"_blank\" rel=\"noopener noreferrer\">male\u003c/a>.\u003c/p>\n\u003cp>https://twitter.com/ryankubo/status/953292632481918976\u003c/p>\n\u003cp>https://twitter.com/inuyashas_/status/952956037245612034\u003c/p>\n\u003cp>And what of the facial recognition software? Even if there’s nothing inherently biased in its faceprinting technology, the lack of representation in Google’s artwork database seems to either whitewash or lump one race into a loose set of facial characteristics.\u003c/p>\n\u003cp>https://www.instagram.com/p/BeCk1llhddZ/\u003c/p>\n\u003cp>https://twitter.com/liluzi_girth/status/951913732782854149\u003c/p>\n\u003cp>This isn’t the first time Google’s facial recognition software has failed people of color. In 2015, two Google Photos users discovered, to their horror, that their selfies were tagged in a new album titled ‘\u003ca href=\"https://www.forbes.com/sites/mzhang/2015/07/01/google-photos-tags-two-african-americans-as-gorillas-through-facial-recognition-software/\" target=\"_blank\" rel=\"noopener noreferrer\">Gorillas\u003c/a>.’\u003c/p>\n\u003cp>https://twitter.com/jackyalcine/status/615329515909156865\u003c/p>\n\u003cp>Beyond faulty AI, the pool of art that’s available to Google has a lot to say about how it sees its users and which art it values.\u003c/p>\n\u003cfigure id=\"attachment_13819317\" class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13819317\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/D_Berry-800x799.jpg\" alt=\"\" width=\"500\" height=\"499\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/D_Berry-800x799.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/D_Berry-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/D_Berry-768x767.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/D_Berry.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/D_Berry-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/D_Berry-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/D_Berry-520x519.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/D_Berry-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/D_Berry-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/D_Berry-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/D_Berry-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/D_Berry-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/D_Berry-150x150.jpg 150w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">(Dorothy Berry / Facebook)\u003c/figcaption>\u003c/figure>\n\u003cblockquote>\u003cp>\u003cb>“I get the same 5 images of black women that look nothing like me and it is definitely based on nose width.”\u003c/b>\u003c/p>\u003c/blockquote>\n\u003cfigure id=\"attachment_13819316\" class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13819316\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/D_Berry_2-800x790.jpg\" alt=\"\" width=\"500\" height=\"494\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/D_Berry_2-800x790.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/D_Berry_2-160x158.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/D_Berry_2-768x758.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/D_Berry_2.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/D_Berry_2-240x237.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/D_Berry_2-375x370.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/D_Berry_2-520x514.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/D_Berry_2-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/D_Berry_2-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/D_Berry_2-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/D_Berry_2-96x96.jpg 96w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">(Dorothy Berry / Facebook)\u003c/figcaption>\u003c/figure>\n\u003cblockquote>\u003cp>\u003cb>“I got this one when I was frustrated.” \u003c/b>\u003c/p>\u003c/blockquote>\n\u003cp>Many of the pieces that do depict people of color are filtered through both a European and male gaze. In the examples in the second row below, Alfred Jacob Miller’s 19th-century depictions of Native Americans existed to introduce the white art-consuming audience of the day to \u003ca href=\"http://www.alfredjacobmiller.com/explore/art-of-alfred-jacob-miller/\" target=\"_blank\" rel=\"noopener noreferrer\">Westward expansion\u003c/a> and colonial exploits. In 2018, when so many contemporary artists work hard to correct such representations, what does it mean for people of color to be re-categorized through a colonial lens?\u003c/p>\n\u003cp>https://twitter.com/LinaBlanco/status/952381900508680192\u003c/p>\n\u003cp>If Google Arts and Culture truly wants to match its users with artwork, they should make a concerted effort to include collections with more diverse source material; portraiture and artwork that transcends race, gender and medium. (If Google merely wants to collect faces for its database, well, it’s \u003ca href=\"https://www.washingtonpost.com/news/the-switch/wp/2018/01/16/google-app-that-matches-your-face-to-artwork-is-wildly-popular-its-also-raising-privacy-concerns/?utm_term=.9b3df887d46f\" target=\"_blank\" rel=\"noopener noreferrer\">doing a great job\u003c/a>.)\u003c/p>\n\u003cp>https://twitter.com/peterpcullen/status/952711641912799234\u003c/p>\n\u003cp>Thankfully, recent \u003ca href=\"https://www.theatlantic.com/education/archive/2016/02/rewriting-art-history/435426/\" target=\"_blank\" rel=\"noopener noreferrer\">art movements\u003c/a> are underway to radically uproot and shatter Eurocentric biases in art history. More and more, well-known \u003ca href=\"https://ww2.kqed.org/arts/2017/09/25/de-youngs-revelations-unveils-a-hidden-history-of-black-artistic-resistance/\" target=\"_blank\" rel=\"noopener noreferrer\">institutions\u003c/a> recognize art made by and for people of color as more than token — or, god-forbid, “exotic” — collections.\u003c/p>\n\u003cp>Let’s hope Google can keep up.\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>\u003cem>Have you used \u003ca href=\"https://www.google.com/culturalinstitute/beta/camera/selfie\" target=\"_blank\" rel=\"noopener noreferrer\">Google Art and Culture\u003c/a> app’s new selfie feature? We’d like to hear your thoughts. Share your selfie with us on \u003ca href=\"https://www.instagram.com/kqed_arts\" target=\"_blank\" rel=\"noopener noreferrer\">Instagram\u003c/a>, \u003ca href=\"https://twitter.com/KQEDarts\" target=\"_blank\" rel=\"noopener noreferrer\">Twitter\u003c/a>, or \u003ca href=\"https://www.facebook.com/kqedarts/\" target=\"_blank\" rel=\"noopener noreferrer\">Facebook\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When an app asks you, “Is your portrait in a museum?” and you’re a person of color, it’s likely the answer is complicated.\u003c/p>\n\u003cp>\u003ca href=\"https://www.google.com/culturalinstitute/about/\" target=\"_blank\" rel=\"noopener noreferrer\">Google Arts and Culture\u003c/a> — Google Cultural Institute’s eager nod to art world institutions — released a wildly popular feature on their \u003ca href=\"https://t.co/DUuzxlMKCd\" target=\"_blank\" rel=\"noopener noreferrer\">app\u003c/a> this month that allows users to find their art doppelgänger.\u003c/p>\n\u003cp>Once you snap a selfie on the app, your “faceprint” is charted through a series of measurements (the distance between your eyes, the width of your nose, and fullness of your lips). Your image then goes through a matching process with over \u003ca href=\"https://www.inverse.com/article/40177-google-arts-and-culture-technology\" target=\"_blank\" rel=\"noopener noreferrer\">70,000 works of art\u003c/a> in Google’s database. The artwork candidates hail from powerhouses like the Louvre, J. Paul Getty Museum and Rijksmuseum on down to a handful of smaller art foundations and contemporary galleries.\u003c/p>\n\u003cp>If you’re looking for a complete list of artwork titles and origins, you’re out of luck. Intentional or not, Google has remained somewhat tight-lipped about the artwork they’ve cataloged.\u003c/p>\n\u003cp>Nevertheless, its source material is not exactly diverse. When I conducted a search of the 100 most recent posts tagged \u003ca href=\"https://www.instagram.com/explore/tags/googleartsandculture/\" target=\"_blank\" rel=\"noopener noreferrer\">#googleartsandculture\u003c/a> on Instagram, I found that 91 percent of the artwork was created by male artists, and 63 percent was created by European and American artists before the 20th century.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Beyond faulty AI, the pool of art that’s available to Google has a lot to say about how it sees its users and which art it values.\u003c/p>\n\u003cfigure id=\"attachment_13819317\" class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13819317\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/D_Berry-800x799.jpg\" alt=\"\" width=\"500\" height=\"499\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/D_Berry-800x799.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/D_Berry-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/D_Berry-768x767.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/D_Berry.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/D_Berry-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/D_Berry-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/D_Berry-520x519.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/D_Berry-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/D_Berry-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/D_Berry-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/D_Berry-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/D_Berry-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/D_Berry-150x150.jpg 150w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">(Dorothy Berry / Facebook)\u003c/figcaption>\u003c/figure>\n\u003cblockquote>\u003cp>\u003cb>“I get the same 5 images of black women that look nothing like me and it is definitely based on nose width.”\u003c/b>\u003c/p>\u003c/blockquote>\n\u003cfigure id=\"attachment_13819316\" class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13819316\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/D_Berry_2-800x790.jpg\" alt=\"\" width=\"500\" height=\"494\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/D_Berry_2-800x790.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/D_Berry_2-160x158.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/D_Berry_2-768x758.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/D_Berry_2.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/D_Berry_2-240x237.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/D_Berry_2-375x370.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/D_Berry_2-520x514.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/D_Berry_2-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/D_Berry_2-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/D_Berry_2-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/D_Berry_2-96x96.jpg 96w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">(Dorothy Berry / Facebook)\u003c/figcaption>\u003c/figure>\n\u003cblockquote>\u003cp>\u003cb>“I got this one when I was frustrated.” \u003c/b>\u003c/p>\u003c/blockquote>\n\u003cp>Many of the pieces that do depict people of color are filtered through both a European and male gaze. In the examples in the second row below, Alfred Jacob Miller’s 19th-century depictions of Native Americans existed to introduce the white art-consuming audience of the day to \u003ca href=\"http://www.alfredjacobmiller.com/explore/art-of-alfred-jacob-miller/\" target=\"_blank\" rel=\"noopener noreferrer\">Westward expansion\u003c/a> and colonial exploits. In 2018, when so many contemporary artists work hard to correct such representations, what does it mean for people of color to be re-categorized through a colonial lens?\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>If Google Arts and Culture truly wants to match its users with artwork, they should make a concerted effort to include collections with more diverse source material; portraiture and artwork that transcends race, gender and medium. (If Google merely wants to collect faces for its database, well, it’s \u003ca href=\"https://www.washingtonpost.com/news/the-switch/wp/2018/01/16/google-app-that-matches-your-face-to-artwork-is-wildly-popular-its-also-raising-privacy-concerns/?utm_term=.9b3df887d46f\" target=\"_blank\" rel=\"noopener noreferrer\">doing a great job\u003c/a>.)\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Thankfully, recent \u003ca href=\"https://www.theatlantic.com/education/archive/2016/02/rewriting-art-history/435426/\" target=\"_blank\" rel=\"noopener noreferrer\">art movements\u003c/a> are underway to radically uproot and shatter Eurocentric biases in art history. More and more, well-known \u003ca href=\"https://ww2.kqed.org/arts/2017/09/25/de-youngs-revelations-unveils-a-hidden-history-of-black-artistic-resistance/\" target=\"_blank\" rel=\"noopener noreferrer\">institutions\u003c/a> recognize art made by and for people of color as more than token — or, god-forbid, “exotic” — collections.\u003c/p>\n\u003cp>Let’s hope Google can keep up.\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>\u003cem>Have you used \u003ca href=\"https://www.google.com/culturalinstitute/beta/camera/selfie\" target=\"_blank\" rel=\"noopener noreferrer\">Google Art and Culture\u003c/a> app’s new selfie feature? We’d like to hear your thoughts. Share your selfie with us on \u003ca href=\"https://www.instagram.com/kqed_arts\" target=\"_blank\" rel=\"noopener noreferrer\">Instagram\u003c/a>, \u003ca href=\"https://twitter.com/KQEDarts\" target=\"_blank\" rel=\"noopener noreferrer\">Twitter\u003c/a>, or \u003ca href=\"https://www.facebook.com/kqedarts/\" target=\"_blank\" rel=\"noopener noreferrer\">Facebook\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Community Forms Around Art and Tech in Bay Area Living Rooms",
"headTitle": "Community Forms Around Art and Tech in Bay Area Living Rooms | KQED",
"content": "\u003cp>When artist Liat Berdugo moved to the Bay Area after finishing her MFA at Rhode Island School of Design, she sought out a community engaged in her interests: arts and technology. She tried Meetup gatherings, but, she found, “It was a lot of dudes talking about how many projectors they could get mapped onto one sculpture.” Disappointed by the lack of critical discourse, in 2013 she co-founded \u003ca href=\"http://www.livingroomlightexchange.com/\" target=\"_blank\" rel=\"noopener\">Living Room Light Exchange\u003c/a> (LRLE), a new media art salon, with fellow artist Elia Vargas.\u003c/p>\n\u003cp>Since then, on the third Tuesday of every month, the duo host presentations and discussions of new media art in the living rooms of Bay Area residents, mainly in Oakland and San Francisco. Past speakers range from the interactive installation artist and Stanford professor \u003ca href=\"http://camilleutterback.com/\" target=\"_blank\" rel=\"noopener\">Camille Utterback\u003c/a> and \u003ca href=\"https://archive.org/\" target=\"_blank\" rel=\"noopener\">Internet Archive\u003c/a> founder and entrepreneur \u003ca href=\"http://brewster.kahle.org/\" target=\"_blank\" rel=\"noopener\">Brewster Kahle\u003c/a> to \u003ca href=\"http://www.kathleenquillian.com/\" target=\"_blank\" rel=\"noopener\">Kathleen Quillian\u003c/a> and \u003ca href=\"https://about.me/gilbertguerrero\" target=\"_blank\" rel=\"noopener\">Gilbert Guerrero\u003c/a>, curators behind \u003ca href=\"http://www.shapeshifterscinema.com/\" target=\"_blank\" rel=\"noopener\">Shapeshifters Cinema\u003c/a>, an expanded cinema series held monthly at the Temescal Art Center.\u003c/p>\n\u003cfigure id=\"attachment_13819134\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13819134\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/liat_and_elia_1200.jpg\" alt=\"Elia Vargas and Liat Berdugo.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/liat_and_elia_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/liat_and_elia_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/liat_and_elia_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/liat_and_elia_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/liat_and_elia_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/liat_and_elia_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/liat_and_elia_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/liat_and_elia_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/liat_and_elia_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/liat_and_elia_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Elia Vargas and Liat Berdugo. \u003ccite>(Photo by Marcela Pardo Ariza for Southern Exposure)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The format of a LRLE doesn’t vary: three speakers, each allotted 15 minutes, present on their work, with time reserved for questions and further conversation at the end at the night. Over the years, the event has grown its audience size and inspired offshoots in Tel Aviv, Paris, and New York.\u003c/p>\n\u003cp>Berdugo, a new media artist and assistant professor in the University of San Francisco’s design program explains, “We were interested in what can tech do when it meets with art that is more renegade.” She wanted a broader curatorial perspective beyond what she called at a recent Exchange, “blinky-blink art.”\u003c/p>\n\u003cp>Vargas, a PhD student in film and digital media at UC Santa Cruz, noted the history of punk and DIY spaces in Oakland. “House shows have been going on in Oakland for over 30 years. There’s a rich tradition of that here. I wondered why that doesn’t carry over into the domain of new media art?”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The answer might lie with Silicon Valley itself. “I think the Bay Area is so saturated in a representation of what technology is that people take the perspective that it’s a problem and react against it,” Berdugo says. “You get entrenched in your communities here in a way you may not in a large city like New York.” By bringing together speakers working across disparate subject matter in the intimacy of strangers’ living spaces, she and Vargas foster thoughtful discussion at a distance from the tech industry.\u003c/p>\n\u003cfigure id=\"attachment_13819135\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13819135\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/prelinger_1200.jpg\" alt=\"Rick Prelinger presenting at a Living Room Light Exchange in San Francisco.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/prelinger_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/prelinger_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/prelinger_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/prelinger_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/prelinger_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/prelinger_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/prelinger_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/prelinger_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/prelinger_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/prelinger_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Rick Prelinger presenting at a Living Room Light Exchange in San Francisco. \u003ccite>(Photo by Minoosh Zomorodinia)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The next LRLE on Tuesday, Jan. 16, will see more cross-disciplinary dialogue with presentations from artist \u003ca href=\"https://ww2.kqed.org/arts/2017/07/28/women-to-watch-indira-allegra/\" target=\"_blank\" rel=\"noopener\">Indira Allegra\u003c/a>, digital media historian \u003ca href=\"https://jacobgaboury.com/\" target=\"_blank\" rel=\"noopener\">Jacob Gaboury\u003c/a>, and artist/designer \u003ca href=\"http://helentseng.com/\" target=\"_blank\" rel=\"noopener\">Helen Shewolfe Tseng\u003c/a>.\u003c/p>\n\u003cp>LRLE’s devoted community also allows for serendipitous interactions among the speakers, attendees, and hosts. Last winter, at the loft of artist (and previous presenter) Kadet Kuhne, the host’s friend Aaron Clayton-Dunn played piano between presentations from satellite imagery specialist \u003ca href=\"https://www.mapbox.com/about/team/charlie-loyd/\" target=\"_blank\" rel=\"noopener\">Charlie Loyd\u003c/a>, game scholar \u003ca href=\"http://film.ucsc.edu/faculty/soraya_murray\" target=\"_blank\" rel=\"noopener\">Soraya Murray\u003c/a>, and artist \u003ca href=\"http://rachelbeth.net/\" target=\"_blank\" rel=\"noopener\">Rachel Beth Egenhoefer\u003c/a>.\u003c/p>\n\u003cp>In LRLE’s first season, Lily Alexander curated a selection of artists’ work in her home. This month, host Yanika Schneider serves food from her own catering company, \u003ca href=\"https://www.facebook.com/periodictablepopup/\" target=\"_blank\" rel=\"noopener\">Periodic Table\u003c/a>. Previous presenters and guests have struck up collaborations and curatorial projects, and more than a few professors have found just the right guest lecturer for their class.\u003c/p>\n\u003cfigure id=\"attachment_13819136\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13819136\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/woman-performing_1200.jpg\" alt=\"Composer and media artist Pamela Z presenting in Oakland.\" width=\"1200\" height=\"900\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/woman-performing_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/woman-performing_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/woman-performing_1200-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/woman-performing_1200-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/woman-performing_1200-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/woman-performing_1200-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/woman-performing_1200-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/woman-performing_1200-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/woman-performing_1200-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/woman-performing_1200-520x390.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Composer and media artist Pamela Z presenting in Oakland. \u003ccite>(Photo by Elia Vargas)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As the event grows in popularity, Berdugo and Vargas are more committed than ever to presenting work from thinkers, writers, and curators from a variety of backgrounds. “Our goal is to bolster work that people are making, especially toward intersectionality and diversity, so that our vision of what new media art is can be represented,” says Vargas.\u003c/p>\n\u003cp>They’ve also made a point of paying their speakers as much as they are able. \u003ca href=\"https://grayarea.org/\" target=\"_blank\" rel=\"noopener\">Gray Area Foundation for the Arts\u003c/a> is the LRLE’s fiscal sponsor. In seasons past, they received an Alternative Exposure grant from Southern Exposure and funds from The Clorox Family Foundation to put out two publications; we can expect a third in 2018.\u003c/p>\n\u003cp>“We take very seriously that we’re culpable of [treating] artists’ labor as free labor. We’re trying to deal with this and hold ourselves accountable,” says Vargas. But questions of scale remain. In December, LRLE made their first year-end ask for donations, which they may consider doing again.\u003c/p>\n\u003cp>In the meantime, they received a Zellerbach grant for $1000, which they plan to split among all 29 speakers from the September-through-May season, working out to a $32 per person. Acknowledging the token amount, Vargas adds “We thought we’d pay them in Bitcoin or Sacajawea coins as a playful recognition of these shortcomings.” Despite the struggle to pay people for their time, there’s no denying the community formed during the four years of programming isn’t going anywhere.\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>\u003cem>The next Living Room Light Exchange takes place on Tuesday, Jan. 16 with presentations by artist \u003ca href=\"http://indiraallegra.com/home.html\" target=\"_blank\" rel=\"noopener\">Indira Allegra\u003c/a>, digital media historian \u003ca href=\"https://jacobgaboury.com/\" target=\"_blank\" rel=\"noopener\">Jacob Gaboury\u003c/a>, and artist/designer \u003ca href=\"http://helentseng.com/\" target=\"_blank\" rel=\"noopener\">Helen Shewolfe Tseng\u003c/a>. For more information, \u003ca href=\"http://www.livingroomlightexchange.com/\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When artist Liat Berdugo moved to the Bay Area after finishing her MFA at Rhode Island School of Design, she sought out a community engaged in her interests: arts and technology. She tried Meetup gatherings, but, she found, “It was a lot of dudes talking about how many projectors they could get mapped onto one sculpture.” Disappointed by the lack of critical discourse, in 2013 she co-founded \u003ca href=\"http://www.livingroomlightexchange.com/\" target=\"_blank\" rel=\"noopener\">Living Room Light Exchange\u003c/a> (LRLE), a new media art salon, with fellow artist Elia Vargas.\u003c/p>\n\u003cp>Since then, on the third Tuesday of every month, the duo host presentations and discussions of new media art in the living rooms of Bay Area residents, mainly in Oakland and San Francisco. Past speakers range from the interactive installation artist and Stanford professor \u003ca href=\"http://camilleutterback.com/\" target=\"_blank\" rel=\"noopener\">Camille Utterback\u003c/a> and \u003ca href=\"https://archive.org/\" target=\"_blank\" rel=\"noopener\">Internet Archive\u003c/a> founder and entrepreneur \u003ca href=\"http://brewster.kahle.org/\" target=\"_blank\" rel=\"noopener\">Brewster Kahle\u003c/a> to \u003ca href=\"http://www.kathleenquillian.com/\" target=\"_blank\" rel=\"noopener\">Kathleen Quillian\u003c/a> and \u003ca href=\"https://about.me/gilbertguerrero\" target=\"_blank\" rel=\"noopener\">Gilbert Guerrero\u003c/a>, curators behind \u003ca href=\"http://www.shapeshifterscinema.com/\" target=\"_blank\" rel=\"noopener\">Shapeshifters Cinema\u003c/a>, an expanded cinema series held monthly at the Temescal Art Center.\u003c/p>\n\u003cfigure id=\"attachment_13819134\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13819134\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/liat_and_elia_1200.jpg\" alt=\"Elia Vargas and Liat Berdugo.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/liat_and_elia_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/liat_and_elia_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/liat_and_elia_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/liat_and_elia_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/liat_and_elia_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/liat_and_elia_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/liat_and_elia_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/liat_and_elia_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/liat_and_elia_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/liat_and_elia_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Elia Vargas and Liat Berdugo. \u003ccite>(Photo by Marcela Pardo Ariza for Southern Exposure)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The format of a LRLE doesn’t vary: three speakers, each allotted 15 minutes, present on their work, with time reserved for questions and further conversation at the end at the night. Over the years, the event has grown its audience size and inspired offshoots in Tel Aviv, Paris, and New York.\u003c/p>\n\u003cp>Berdugo, a new media artist and assistant professor in the University of San Francisco’s design program explains, “We were interested in what can tech do when it meets with art that is more renegade.” She wanted a broader curatorial perspective beyond what she called at a recent Exchange, “blinky-blink art.”\u003c/p>\n\u003cp>Vargas, a PhD student in film and digital media at UC Santa Cruz, noted the history of punk and DIY spaces in Oakland. “House shows have been going on in Oakland for over 30 years. There’s a rich tradition of that here. I wondered why that doesn’t carry over into the domain of new media art?”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The answer might lie with Silicon Valley itself. “I think the Bay Area is so saturated in a representation of what technology is that people take the perspective that it’s a problem and react against it,” Berdugo says. “You get entrenched in your communities here in a way you may not in a large city like New York.” By bringing together speakers working across disparate subject matter in the intimacy of strangers’ living spaces, she and Vargas foster thoughtful discussion at a distance from the tech industry.\u003c/p>\n\u003cfigure id=\"attachment_13819135\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13819135\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/prelinger_1200.jpg\" alt=\"Rick Prelinger presenting at a Living Room Light Exchange in San Francisco.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/prelinger_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/prelinger_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/prelinger_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/prelinger_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/prelinger_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/prelinger_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/prelinger_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/prelinger_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/prelinger_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/prelinger_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Rick Prelinger presenting at a Living Room Light Exchange in San Francisco. \u003ccite>(Photo by Minoosh Zomorodinia)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The next LRLE on Tuesday, Jan. 16, will see more cross-disciplinary dialogue with presentations from artist \u003ca href=\"https://ww2.kqed.org/arts/2017/07/28/women-to-watch-indira-allegra/\" target=\"_blank\" rel=\"noopener\">Indira Allegra\u003c/a>, digital media historian \u003ca href=\"https://jacobgaboury.com/\" target=\"_blank\" rel=\"noopener\">Jacob Gaboury\u003c/a>, and artist/designer \u003ca href=\"http://helentseng.com/\" target=\"_blank\" rel=\"noopener\">Helen Shewolfe Tseng\u003c/a>.\u003c/p>\n\u003cp>LRLE’s devoted community also allows for serendipitous interactions among the speakers, attendees, and hosts. Last winter, at the loft of artist (and previous presenter) Kadet Kuhne, the host’s friend Aaron Clayton-Dunn played piano between presentations from satellite imagery specialist \u003ca href=\"https://www.mapbox.com/about/team/charlie-loyd/\" target=\"_blank\" rel=\"noopener\">Charlie Loyd\u003c/a>, game scholar \u003ca href=\"http://film.ucsc.edu/faculty/soraya_murray\" target=\"_blank\" rel=\"noopener\">Soraya Murray\u003c/a>, and artist \u003ca href=\"http://rachelbeth.net/\" target=\"_blank\" rel=\"noopener\">Rachel Beth Egenhoefer\u003c/a>.\u003c/p>\n\u003cp>In LRLE’s first season, Lily Alexander curated a selection of artists’ work in her home. This month, host Yanika Schneider serves food from her own catering company, \u003ca href=\"https://www.facebook.com/periodictablepopup/\" target=\"_blank\" rel=\"noopener\">Periodic Table\u003c/a>. Previous presenters and guests have struck up collaborations and curatorial projects, and more than a few professors have found just the right guest lecturer for their class.\u003c/p>\n\u003cfigure id=\"attachment_13819136\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13819136\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/woman-performing_1200.jpg\" alt=\"Composer and media artist Pamela Z presenting in Oakland.\" width=\"1200\" height=\"900\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/woman-performing_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/woman-performing_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/woman-performing_1200-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/woman-performing_1200-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/woman-performing_1200-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/woman-performing_1200-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/woman-performing_1200-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/woman-performing_1200-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/woman-performing_1200-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/woman-performing_1200-520x390.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Composer and media artist Pamela Z presenting in Oakland. \u003ccite>(Photo by Elia Vargas)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As the event grows in popularity, Berdugo and Vargas are more committed than ever to presenting work from thinkers, writers, and curators from a variety of backgrounds. “Our goal is to bolster work that people are making, especially toward intersectionality and diversity, so that our vision of what new media art is can be represented,” says Vargas.\u003c/p>\n\u003cp>They’ve also made a point of paying their speakers as much as they are able. \u003ca href=\"https://grayarea.org/\" target=\"_blank\" rel=\"noopener\">Gray Area Foundation for the Arts\u003c/a> is the LRLE’s fiscal sponsor. In seasons past, they received an Alternative Exposure grant from Southern Exposure and funds from The Clorox Family Foundation to put out two publications; we can expect a third in 2018.\u003c/p>\n\u003cp>“We take very seriously that we’re culpable of [treating] artists’ labor as free labor. We’re trying to deal with this and hold ourselves accountable,” says Vargas. But questions of scale remain. In December, LRLE made their first year-end ask for donations, which they may consider doing again.\u003c/p>\n\u003cp>In the meantime, they received a Zellerbach grant for $1000, which they plan to split among all 29 speakers from the September-through-May season, working out to a $32 per person. Acknowledging the token amount, Vargas adds “We thought we’d pay them in Bitcoin or Sacajawea coins as a playful recognition of these shortcomings.” Despite the struggle to pay people for their time, there’s no denying the community formed during the four years of programming isn’t going anywhere.\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>\u003cem>The next Living Room Light Exchange takes place on Tuesday, Jan. 16 with presentations by artist \u003ca href=\"http://indiraallegra.com/home.html\" target=\"_blank\" rel=\"noopener\">Indira Allegra\u003c/a>, digital media historian \u003ca href=\"https://jacobgaboury.com/\" target=\"_blank\" rel=\"noopener\">Jacob Gaboury\u003c/a>, and artist/designer \u003ca href=\"http://helentseng.com/\" target=\"_blank\" rel=\"noopener\">Helen Shewolfe Tseng\u003c/a>. For more information, \u003ca href=\"http://www.livingroomlightexchange.com/\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"order": 9
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"id": "fresh-air",
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"airtime": "SUN 7:30pm-8pm",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"order": 15
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"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"order": 18
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"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
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"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
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"source": "American Public Media"
},
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"masters-of-scale": {
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"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
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"meta": {
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"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"morning-edition": {
"id": "morning-edition",
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"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"order": 11
},
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"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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},
"link": "/radio/program/on-the-media",
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},
"pbs-newshour": {
"id": "pbs-newshour",
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"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
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"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
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},
"perspectives": {
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"order": 14
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"planet-money": {
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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},
"link": "/radio/program/planet-money",
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"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
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},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"order": 5
},
"link": "/podcasts/politicalbreakdown",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
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