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"content": "\u003cp>A lot of very hard work is going on at the National Portrait Gallery in Washington, D.C.\u003c/p>\n\u003cp>A muscled guy in an undershirt tightens a big bolt with his wrench; a farm worker bends almost in half, filling his sack with cotton; Rosie the Riveter rolls up her sleeve to tackle her factory job. They’re all part of an exhibition called “\u003ca href=\"http://npg.si.edu/sweat-of-their-face\">The Sweat Of Their Face: Portraying American Workers\u003c/a>.”\u003c/p>\n\u003cp>But not all the laborers are big and burly.\u003c/p>\n\u003cp>A forlorn young girl — she can’t be more than 11 or 12 — stands at a long row of spools of thread mounted on a big piece of complicated machinery. Photographer Lewis Wickes Hine wrote her name and height on the back of the picture: “Sadie Pfeifer, 48 inches high, has worked half a year.” She had a job in 1908 at the Lancaster Cotton Mills in South Carolina. You can almost hear the noise, feel the heat.\u003c/p>\n\u003cp>“And there she is, this little girl, alone, facing an enormous machine,” says Dorothy Moss, who curated this show with David C. Ward. She says Hine was a crusader, and his cause was to abolish child labor. “He would often disguise himself as a Bible vendor or newspaper deliverer, other professions, to get into these mills.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Hine put himself at risk to take these pictures, and, with the camera as witness, reforms and regulations were enacted. This exhibition showcases centuries of American workers. They are, as Moss says,”the people who were building this country, who may be on the sidelines, who are not always the focus of our attention. But because artists often identify as workers, artists felt strongly to bring these peoples’ stories out and to honor them.”\u003c/p>\n\u003cp>In this century, Los Angeles painter Ramiro Gomez honors his parents (his mother is a janitor; his father is a truck driver) by adding workers onto copies of iconic American paintings. In his version of \u003ca href=\"http://www.david-hockney.org/man-taking-shower/\">David Hockney’s \u003cem>Man in Shower in Beverly Hills\u003c/em>\u003c/a>, Gomez deletes the man and inserts a cleaning woman; we can’t see her face — just her hands squeegee-ing the shower tiles. Gomez is making the invisible visible; he and others in the show take workers we never notice, and make us notice.\u003c/p>\n\u003cfigure id=\"attachment_13823494\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/sf80-woman-cleaning-shower-gomez-2014_enl-fc2ec4707c6888d9857b6eae71f6d97fb18274c7-2-800x798.jpg\" alt=\"In his version of a famous David Hockney painting, Ramiro Gomez deletes the man and inserts a cleaning woman. The result is 'Woman Cleaning Shower in Beverly Hills.'\" width=\"800\" height=\"798\" class=\"size-medium wp-image-13823494\">\u003cfigcaption class=\"wp-caption-text\">In his version of a famous David Hockney painting, Ramiro Gomez deletes the man and inserts a cleaning woman. The result is ‘Woman Cleaning Shower in Beverly Hills.’\u003c/figcaption>\u003c/figure>\n\u003cp>A food worker in a Subway sandwich store gets the full treatment from photographer Shauna Frischkorn. She puts him against a black background, and lights his face to look sculptural. The black and green Subway cap sits on his red hair like a crown. It’s like a Renaissance portrait, but with a little smile — a twinkle.\u003c/p>\n\u003cp>“She’s restoring his humanity through the pose and lighting,” Moss says.\u003c/p>\n\u003cp>While the workers aren’t known, some of the artists who portray them are famous. The exhibition includes photographs by Dorothea Lange, Gordon Parks and Ansel Adams, and it has paintings by Winslow Homer and George Bellows.\u003c/p>\n\u003cfigure id=\"attachment_13823499\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/subway-artist-800x524.jpg\" alt=\"Left: 'Kean, Subway Sandwich Artist' by Shauna Frischkorn. Right: 'Pat Lyon 'at the Forgev by John Neagle.\" width=\"800\" height=\"524\" class=\"size-medium wp-image-13823499\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/subway-artist.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/subway-artist-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/subway-artist-768x503.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/subway-artist-240x157.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/subway-artist-375x246.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/subway-artist-520x341.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Left: ‘Kean, Subway Sandwich Artist’ by Shauna Frischkorn. Right: ‘Pat Lyon ‘at the Forgev by John Neagle. \u003ccite>(Shauna Frischkorn; Pennsylvania Academy of the Fine Arts, Philadelphia/Courtesy of the National Portrait Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Other artists are less familiar. John Neagle was fashionable in his day, less so now. Still, his 1829 portrait of Pat Lyon is a marvel. It shows a big, beefy guy in a leather apron — a blacksmith at his anvil. The muscles strain in his right arm. In real life, Pat Lyon was falsely accused of theft and jailed for three years — then he became a wealthy businessman. Yet the painter shows him sweating at his anvil, at Lyon’s request.\u003c/p>\n\u003cp>“He said he wanted to be shown as a working man because the working people of this country are the most honest people of the country,” Moss says.\u003c/p>\n\u003cp>For an image of someone actually enjoying their work, Moss points to Dawoud Bey’s 1976 photo \u003cem>Mr. Moore’s Bar-B-Que, 125th Street\u003c/em>. The owner beams from behind his Harlem lunch counter. He’s looked up from talking with a customer who’s waiting for her food. (She’s smoking, and better flick off the long cigarette ash pretty soon.) Mr. Moore’s apron is stained, probably with barbecue sauce, and he looks welcoming and proud.\u003c/p>\n\u003cfigure id=\"attachment_13823496\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/mooresbbq_custom-efac2fb9c3da488e836434203a8637663ddf5164-2-800x531.jpg\" alt=\"Dawoud Bey's 'Mr. Moore's Bar-B-Que, 125th Street' shows someone actually enjoying their work.\" width=\"800\" height=\"531\" class=\"size-medium wp-image-13823496\">\u003cfigcaption class=\"wp-caption-text\">Dawoud Bey’s ‘Mr. Moore’s Bar-B-Que, 125th Street’ shows someone actually enjoying their work.\u003c/figcaption>\u003c/figure>\n\u003cp>“It looks like a wonderful place to spend an afternoon,” Moss says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Workers of the world — well, the United States, anyway — unite at this Portrait Gallery exhibition. “The Sweat Of Their Face” reminds visitors of the range of vital work we do — and the ways we feel about it. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=From+Sandwich+Shops+To+Cotton+Mills%2C+Art+That+Honors+The+American+Worker&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Hine put himself at risk to take these pictures, and, with the camera as witness, reforms and regulations were enacted. This exhibition showcases centuries of American workers. They are, as Moss says,”the people who were building this country, who may be on the sidelines, who are not always the focus of our attention. But because artists often identify as workers, artists felt strongly to bring these peoples’ stories out and to honor them.”\u003c/p>\n\u003cp>In this century, Los Angeles painter Ramiro Gomez honors his parents (his mother is a janitor; his father is a truck driver) by adding workers onto copies of iconic American paintings. In his version of \u003ca href=\"http://www.david-hockney.org/man-taking-shower/\">David Hockney’s \u003cem>Man in Shower in Beverly Hills\u003c/em>\u003c/a>, Gomez deletes the man and inserts a cleaning woman; we can’t see her face — just her hands squeegee-ing the shower tiles. Gomez is making the invisible visible; he and others in the show take workers we never notice, and make us notice.\u003c/p>\n\u003cfigure id=\"attachment_13823494\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/sf80-woman-cleaning-shower-gomez-2014_enl-fc2ec4707c6888d9857b6eae71f6d97fb18274c7-2-800x798.jpg\" alt=\"In his version of a famous David Hockney painting, Ramiro Gomez deletes the man and inserts a cleaning woman. The result is 'Woman Cleaning Shower in Beverly Hills.'\" width=\"800\" height=\"798\" class=\"size-medium wp-image-13823494\">\u003cfigcaption class=\"wp-caption-text\">In his version of a famous David Hockney painting, Ramiro Gomez deletes the man and inserts a cleaning woman. The result is ‘Woman Cleaning Shower in Beverly Hills.’\u003c/figcaption>\u003c/figure>\n\u003cp>A food worker in a Subway sandwich store gets the full treatment from photographer Shauna Frischkorn. She puts him against a black background, and lights his face to look sculptural. The black and green Subway cap sits on his red hair like a crown. It’s like a Renaissance portrait, but with a little smile — a twinkle.\u003c/p>\n\u003cp>“She’s restoring his humanity through the pose and lighting,” Moss says.\u003c/p>\n\u003cp>While the workers aren’t known, some of the artists who portray them are famous. The exhibition includes photographs by Dorothea Lange, Gordon Parks and Ansel Adams, and it has paintings by Winslow Homer and George Bellows.\u003c/p>\n\u003cfigure id=\"attachment_13823499\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/subway-artist-800x524.jpg\" alt=\"Left: 'Kean, Subway Sandwich Artist' by Shauna Frischkorn. Right: 'Pat Lyon 'at the Forgev by John Neagle.\" width=\"800\" height=\"524\" class=\"size-medium wp-image-13823499\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/subway-artist.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/subway-artist-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/subway-artist-768x503.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/subway-artist-240x157.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/subway-artist-375x246.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/subway-artist-520x341.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Left: ‘Kean, Subway Sandwich Artist’ by Shauna Frischkorn. Right: ‘Pat Lyon ‘at the Forgev by John Neagle. \u003ccite>(Shauna Frischkorn; Pennsylvania Academy of the Fine Arts, Philadelphia/Courtesy of the National Portrait Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Other artists are less familiar. John Neagle was fashionable in his day, less so now. Still, his 1829 portrait of Pat Lyon is a marvel. It shows a big, beefy guy in a leather apron — a blacksmith at his anvil. The muscles strain in his right arm. In real life, Pat Lyon was falsely accused of theft and jailed for three years — then he became a wealthy businessman. Yet the painter shows him sweating at his anvil, at Lyon’s request.\u003c/p>\n\u003cp>“He said he wanted to be shown as a working man because the working people of this country are the most honest people of the country,” Moss says.\u003c/p>\n\u003cp>For an image of someone actually enjoying their work, Moss points to Dawoud Bey’s 1976 photo \u003cem>Mr. Moore’s Bar-B-Que, 125th Street\u003c/em>. The owner beams from behind his Harlem lunch counter. He’s looked up from talking with a customer who’s waiting for her food. (She’s smoking, and better flick off the long cigarette ash pretty soon.) Mr. Moore’s apron is stained, probably with barbecue sauce, and he looks welcoming and proud.\u003c/p>\n\u003cfigure id=\"attachment_13823496\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/mooresbbq_custom-efac2fb9c3da488e836434203a8637663ddf5164-2-800x531.jpg\" alt=\"Dawoud Bey's 'Mr. Moore's Bar-B-Que, 125th Street' shows someone actually enjoying their work.\" width=\"800\" height=\"531\" class=\"size-medium wp-image-13823496\">\u003cfigcaption class=\"wp-caption-text\">Dawoud Bey’s ‘Mr. Moore’s Bar-B-Que, 125th Street’ shows someone actually enjoying their work.\u003c/figcaption>\u003c/figure>\n\u003cp>“It looks like a wonderful place to spend an afternoon,” Moss says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Workers of the world — well, the United States, anyway — unite at this Portrait Gallery exhibition. “The Sweat Of Their Face” reminds visitors of the range of vital work we do — and the ways we feel about it. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=From+Sandwich+Shops+To+Cotton+Mills%2C+Art+That+Honors+The+American+Worker&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>A semitrailer driver ignored warning signs and drove over Peru’s famous Nazca Lines on Saturday, causing significant damage to the UNESCO World Heritage site.\u003c/p>\n\u003cp>The driver, identified as 40-year-old \u003ca href=\"https://twitter.com/FiscaliaPeru/status/958496177774739456?ref_src=twsrc%5Etfw&ref_url=https%3A%2F%2Fperu21.pe%2Fperu%2Flineas-nazca-chofer-camion-destruyo-patrimonio-liberado-393916\" target=\"_blank\" rel=\"noopener\">Jainer Jesús Flores Vigo\u003c/a>, was detained and released, \u003ca href=\"https://peru21.pe/peru/lineas-nazca-chofer-camion-destruyo-patrimonio-liberado-393916\" target=\"_blank\" rel=\"noopener\">according\u003c/a> to newspaper \u003cem>Peru21.\u003c/em>\u003c/p>\n\u003cp>https://twitter.com/MinCulturaPe/status/958120324029173760\u003c/p>\n\u003cp>The lines were scratched into the ground approximately 2,000 years ago and depict animals, plants, imaginary creatures and geometric figures miles long. Nazca’s lines and geoglyphs stretch across an area of about 280 square miles.\u003c/p>\n\u003cp>A magistrate concluded that there wasn’t sufficient evidence to indicate the driver acted with intent, \u003cem>Peru21 \u003c/em>reports. Peru’s public minister \u003ca href=\"https://peru21.pe/peru/lineas-nazca-chofer-camion-destruyo-patrimonio-liberado-393916\">announced\u003c/a> that Nazca’s prosecutor’s office was appealing the judge’s decision. The ministry had sought nine months of preventive detention and a $1,550 fine while the investigation continues, according to the newspaper.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The rig left “deep scars” across a 50 meter by 100 meter (104 feet by 328 feet) area, \u003ca href=\"http://www.cultura.gob.pe/es/comunicacion/noticia/comunicado-ministerio-de-cultura-denuncia-penalmente-chofer-de-camion-que\" target=\"_blank\" rel=\"noopener\">the Culture Ministry said\u003c/a>, affecting the surface of the ancient site and damaging three of the geoglyphs. \u003c/p>\n\u003cp>Argentine newspaper \u003cem>Clarín\u003c/em> \u003ca href=\"https://www.clarin.com/sociedad/desvio-camino-paso-camion-historicas-lineas-nazca-piden-meses-prision-preventiva_0_H1GYPvRrf.html\" target=\"_blank\" rel=\"noopener\">reports\u003c/a> that the driver said he didn’t know the area because he had never traveled there before and that he left the road because of a mechanical problem. The newspaper speculated that the driver actually drove off the Pan-American Highway to avoid paying a toll.\u003c/p>\n\u003cp>UNESCO \u003ca href=\"http://whc.unesco.org/en/list/700\" target=\"_blank\" rel=\"noopener\">says \u003c/a>the Nazca site is “the most outstanding group of geoglyphs anywhere in the world and are unmatched in its extent, magnitude, quantity, size, diversity and ancient tradition to any similar work in the world.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>This isn’t the first time people have damaged the site. In 2014, Greenpeace activists left footprints as they planted a message there in advance of U.N. climate talks in Lima. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Truck+Driver+Plows+Over+Peru%27s+2%2C000-Year-Old+Nazca+Lines%2C+Leaving+%27Deep+Scars%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The rig left “deep scars” across a 50 meter by 100 meter (104 feet by 328 feet) area, \u003ca href=\"http://www.cultura.gob.pe/es/comunicacion/noticia/comunicado-ministerio-de-cultura-denuncia-penalmente-chofer-de-camion-que\" target=\"_blank\" rel=\"noopener\">the Culture Ministry said\u003c/a>, affecting the surface of the ancient site and damaging three of the geoglyphs. \u003c/p>\n\u003cp>Argentine newspaper \u003cem>Clarín\u003c/em> \u003ca href=\"https://www.clarin.com/sociedad/desvio-camino-paso-camion-historicas-lineas-nazca-piden-meses-prision-preventiva_0_H1GYPvRrf.html\" target=\"_blank\" rel=\"noopener\">reports\u003c/a> that the driver said he didn’t know the area because he had never traveled there before and that he left the road because of a mechanical problem. The newspaper speculated that the driver actually drove off the Pan-American Highway to avoid paying a toll.\u003c/p>\n\u003cp>UNESCO \u003ca href=\"http://whc.unesco.org/en/list/700\" target=\"_blank\" rel=\"noopener\">says \u003c/a>the Nazca site is “the most outstanding group of geoglyphs anywhere in the world and are unmatched in its extent, magnitude, quantity, size, diversity and ancient tradition to any similar work in the world.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>This isn’t the first time people have damaged the site. In 2014, Greenpeace activists left footprints as they planted a message there in advance of U.N. climate talks in Lima. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Truck+Driver+Plows+Over+Peru%27s+2%2C000-Year-Old+Nazca+Lines%2C+Leaving+%27Deep+Scars%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "New Art Space Cloaca Projects Fills a Small Room with Big Ideas",
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"content": "\u003cp>One of San Francisco’s newest visual art spaces is also one of the trickiest to say out loud with confidence. (Runners-up in this category include \u003ca href=\"http://kadist.org/san-francisco/\" target=\"_blank\" rel=\"noopener\">KADIST\u003c/a> and \u003ca href=\"http://www.bassandreiner.com/\" target=\"_blank\" rel=\"noopener\">Bass & Reiner\u003c/a>.)\u003c/p>\n\u003cp>\u003ca href=\"https://cloacaprojects.com/\" target=\"_blank\" rel=\"noopener\">CLOACA PROJECTS\u003c/a>, the voice on the internet dictionary tells me, is pronounced \u003ca href=\"https://www.youtube.com/watch?v=kvvq0CAgsdI\" target=\"_blank\" rel=\"noopener\">cloh-AY-kuh\u003c/a>. Politely put, it’s named after the orifice that serves certain animals as an “all-purpose hole” for their digestive, reproductive and urinary tracts.\u003c/p>\n\u003cp>Cool, right? It’s not often you get a biology lesson with your art viewing. Pronunciation and etymology confirmed, you can now stride purposefully through the Bayview warehouse of \u003ca href=\"http://www.huntprojects.org/\" target=\"_blank\" rel=\"noopener\">Hunt Projects\u003c/a> (a studio and fabrication space) and into the back patio space that houses CLOACA PROJECTS, fittingly described as facilitating the “reproduction and evacuation of art.”\u003c/p>\n\u003cp>This Saturday, Feb. 3, Los Angeles and Berlin-based artist \u003ca href=\"http://www.sonjagerdes.com/\" target=\"_blank\" rel=\"noopener\">Sonja Gerdes\u003c/a> opens an exhibition at CLOACA elaborately titled \u003ci>Pie of Trouble. Stays Trouble. Let’s Hang. Breathe. Oxygenenergizer. Becoming With. Breath Amorph Genderless. Animal Creature Plant Breath Soul. Air For Free. Do spiders breathe? The Multiple Amorphous Us. Crown Chakra – Sahasrara Rising. Nova.\u003c/i>\u003c/p>\n\u003cp>The show draws from Gerdes’ ongoing body of work called \u003ca href=\"http://www.oxygenenergizer.com/\" target=\"_blank\" rel=\"noopener\">Oxygenenergizer (OE)\u003c/a>, a conceptual science fiction project about the accessibility of air. Within OE, Gerdes imagines a future in which machines create energy from oxygen. The project manifests as “sculpture, performances, writings, spirit channeling and social activation.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Past examples of Gerdes’ work hint at ultramarine blue frameworks draped in black ropey masses, the artist appearing periodically to activate all of the above. To find out just what form \u003ci>Pie of Trouble\u003c/i> takes in this latest iteration, you’ll have to show 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>‘Pie of Trouble…’ is on view at CLOACA PROJECTS in San Francisco (1460 Davidson Ave) Feb. 3–April 7, 2018 on Saturdays, 12–5pm. For more information, \u003ca href=\"https://cloacaprojects.com/sonja-gerdes-pie-trouble-stays-trouble-lets-hang-breathe-oxygenenergizer-becoming-breath-amorph-genderless-animal-creature-plant-breath-soul-air-free-spiders-breathe/\" 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>One of San Francisco’s newest visual art spaces is also one of the trickiest to say out loud with confidence. (Runners-up in this category include \u003ca href=\"http://kadist.org/san-francisco/\" target=\"_blank\" rel=\"noopener\">KADIST\u003c/a> and \u003ca href=\"http://www.bassandreiner.com/\" target=\"_blank\" rel=\"noopener\">Bass & Reiner\u003c/a>.)\u003c/p>\n\u003cp>\u003ca href=\"https://cloacaprojects.com/\" target=\"_blank\" rel=\"noopener\">CLOACA PROJECTS\u003c/a>, the voice on the internet dictionary tells me, is pronounced \u003ca href=\"https://www.youtube.com/watch?v=kvvq0CAgsdI\" target=\"_blank\" rel=\"noopener\">cloh-AY-kuh\u003c/a>. Politely put, it’s named after the orifice that serves certain animals as an “all-purpose hole” for their digestive, reproductive and urinary tracts.\u003c/p>\n\u003cp>Cool, right? It’s not often you get a biology lesson with your art viewing. Pronunciation and etymology confirmed, you can now stride purposefully through the Bayview warehouse of \u003ca href=\"http://www.huntprojects.org/\" target=\"_blank\" rel=\"noopener\">Hunt Projects\u003c/a> (a studio and fabrication space) and into the back patio space that houses CLOACA PROJECTS, fittingly described as facilitating the “reproduction and evacuation of art.”\u003c/p>\n\u003cp>This Saturday, Feb. 3, Los Angeles and Berlin-based artist \u003ca href=\"http://www.sonjagerdes.com/\" target=\"_blank\" rel=\"noopener\">Sonja Gerdes\u003c/a> opens an exhibition at CLOACA elaborately titled \u003ci>Pie of Trouble. Stays Trouble. Let’s Hang. Breathe. Oxygenenergizer. Becoming With. Breath Amorph Genderless. Animal Creature Plant Breath Soul. Air For Free. Do spiders breathe? The Multiple Amorphous Us. Crown Chakra – Sahasrara Rising. Nova.\u003c/i>\u003c/p>\n\u003cp>The show draws from Gerdes’ ongoing body of work called \u003ca href=\"http://www.oxygenenergizer.com/\" target=\"_blank\" rel=\"noopener\">Oxygenenergizer (OE)\u003c/a>, a conceptual science fiction project about the accessibility of air. Within OE, Gerdes imagines a future in which machines create energy from oxygen. The project manifests as “sculpture, performances, writings, spirit channeling and social activation.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Past examples of Gerdes’ work hint at ultramarine blue frameworks draped in black ropey masses, the artist appearing periodically to activate all of the above. To find out just what form \u003ci>Pie of Trouble\u003c/i> takes in this latest iteration, you’ll have to show 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>‘Pie of Trouble…’ is on view at CLOACA PROJECTS in San Francisco (1460 Davidson Ave) Feb. 3–April 7, 2018 on Saturdays, 12–5pm. For more information, \u003ca href=\"https://cloacaprojects.com/sonja-gerdes-pie-trouble-stays-trouble-lets-hang-breathe-oxygenenergizer-becoming-breath-amorph-genderless-animal-creature-plant-breath-soul-air-free-spiders-breathe/\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"headTitle": "‘The Third Muslim’ Builds an Archive of Resistance to Stereotypes | KQED",
"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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"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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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
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"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"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": {
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"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"perspectives": {
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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.",
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
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},
"pri-the-world": {
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"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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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"link": "/radio/program/reveal",
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"rss": "http://feeds.revealradio.org/revealpodcast"
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