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"content": "\u003cfigure id=\"attachment_13979732\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/X8cOfMeB.jpg\" alt=\"four people stand in front of a mural depicting scenes from Gaza and San Francisco, including Palestinians using bullhorns, self-driving cars, journalists being trampled and a tall red and white tower\" width=\"2000\" height=\"1323\" class=\"size-full wp-image-13979732\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/X8cOfMeB.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/X8cOfMeB-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/X8cOfMeB-768x508.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/X8cOfMeB-1536x1016.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Rigo 23’s ‘Terra Nullius,’ which connects San Francisco’s tech industry to the destruction of Gaza, is a powerful highlight of ‘Bay Area Then,’ on view through Jan. 25, 2026 at YBCA. \u003ccite>(Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/ybca\">Yerba Buena Center for the Arts\u003c/a>’ new exhibition \u003ca href=\"https://ybca.org/event/bay-area-then/\">\u003ci>Bay Area Then\u003c/i> \u003c/a>offers a glimpse of San Francisco in the ’90s, before tech and its hyper-driven version of capitalism overtook the city, and when rents were low enough for artists to thrive. Working-class young people could not only afford to live here — they also had the time and energy to run weird, experimental galleries and participate in revolutionary organizing.\u003c/p>\n\u003cp>Smartly curated by Eungie Joo, \u003cem>Bay Area Then\u003c/em> surveys the vibrant cultures that emerged from the AIDS crisis, the LAPD beating of Rodney King and the first Gulf War, connecting the dots from each to today’s political struggles.\u003c/p>\n\u003cp>The show opens with clusters of ephemera: amateur film photos, graffiti zines and photocopied flyers. Whether protesting art censorship or advocating for squatting in abandoned properties, the flyers point to a hopeful radicalism that thrived in an age before ubiquitous AI and mass surveillance. These informal pieces — whose creators probably never thought they’d end up in a museum — lend \u003ci>Bay Area Then\u003c/i> a grassroots feel that’s rare for a white-walled, capital-A art institution.\u003c/p>\n\u003cfigure id=\"attachment_13979708\" class=\"wp-caption aligncenter\" style=\"max-width: 1976px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979708\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/IMG_0540-scaled.jpg\" alt=\"\" width=\"1976\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/IMG_0540-scaled.jpg 1976w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/IMG_0540-160x207.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/IMG_0540-768x995.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/IMG_0540-1186x1536.jpg 1186w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/IMG_0540-1581x2048.jpg 1581w\" sizes=\"auto, (max-width: 1976px) 100vw, 1976px\">\u003cfigcaption class=\"wp-caption-text\">Flyers, photos and other ephemera from the ’90s in ‘Bay Area Then’ at YBCA document artist-run spaces and grassroots political movements. \u003ccite>(Nastia Voynovskaya for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Museums often examine protest movements of the past from a safe distance; rarely do they dare engage with what’s transgressive today. Refreshingly, \u003ci>Bay Area Then\u003c/i> features contemporary works from artists active since the ’90s, including Rigo 23, whose jaw-dropping \u003ci>Terra Nullius\u003c/i> is a centerpiece of the show. The mural depicts Palestinian civilians shouting through bullhorns while drones hover overhead. Juxtaposing San Francisco’s Sutro Tower with the West Bank wall — and self-driving cars with tanks — the piece forces the viewer to confront the reality of \u003ca href=\"https://www.kqed.org/news/11986136/demonstrators-rally-outside-google-conference-call-for-end-to-israel-contracts\">Bay Area tech giants’ military contracts\u003c/a>, which have helped create the infrastructure for Israel’s destruction of Gaza.\u003c/p>\n\u003cp>The inclusion of this piece and others marks a departure for YBCA, which changed leadership this year. In 2024, when \u003ca href=\"https://www.kqed.org/arts/13952460/artists-deface-work-ybca-pro-palestine-protest\">artists from an exhibition titled \u003ci>Bay Area Now\u003c/i> modified their own pieces\u003c/a> with messages like “Ceasefire Now,” the show closed down entirely for a month, prompting accusations of censorship. When the exhibition reopened, it contained tepid disclaimers stating that the work represented the opinions of the artists and not YBCA.\u003c/p>\n\u003cfigure id=\"attachment_13979706\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979706\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Margaret-Kilgallen-Main-Drag-2001-photo-by-Robbie-Sweeny-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1475\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Margaret-Kilgallen-Main-Drag-2001-photo-by-Robbie-Sweeny-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Margaret-Kilgallen-Main-Drag-2001-photo-by-Robbie-Sweeny-2000x1152.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Margaret-Kilgallen-Main-Drag-2001-photo-by-Robbie-Sweeny-160x92.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Margaret-Kilgallen-Main-Drag-2001-photo-by-Robbie-Sweeny-768x442.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Margaret-Kilgallen-Main-Drag-2001-photo-by-Robbie-Sweeny-1536x885.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Margaret-Kilgallen-Main-Drag-2001-photo-by-Robbie-Sweeny-2048x1180.jpg 2048w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Margaret Kilgallen, ‘Main Drag’ (2001). \u003ccite>(Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In \u003ci>Bay Area Then\u003c/i>, the artists are given space to say things with their chests. A large-scale 2023 aerosol piece by graffiti artist \u003ca href=\"https://www.kqed.org/arts/13926619/spie-one-tdk-bay-area-graffiti-history-hip-hop\">Spie One\u003c/a> depicts seeds blossoming into raised fists of resistance on Palestinian soil; it hangs next to a 1997 work by the late graffiti legend \u003ca href=\"https://www.kqed.org/arts/10141391/dream-but-dont-sleep-remembering-mike-dream-francisco\">Mike “Dream” Francisco\u003c/a> that criticizes U.S. colonialism in the Philippines.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Not all the art in the show is explicitly political. A gem of \u003ci>Bay Area Then\u003c/i> is \u003ci>Main Drag\u003c/i>, the last major installation by Mission School icon Margaret Kilgallen, who passed away in 2001. Across two walls, Kilgallen remixes sign-painting techniques with stylized illustrations of working-class people going about their everyday lives.\u003c/p>\n\u003cp>It’s a loving approach, and one that’s felt throughout \u003ci>Bay Area Then\u003c/i>, as artists honor the extraordinary potential of everyday people to create a better world.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://ybca.org/event/bay-area-then/\">Bay Area Then\u003c/a>’ is on view through Jan. 25, 2026, at Yerba Buena Center for the Arts (701 Mission St., San Francisco). The exhibition features Nao Bustamante, Carolyn Castaño, Bill Daniel, Sergio De La Torre and Chris Treggiari, Beatrix Fowler, Mike “Dream” Francisco, Johanna Jackson, Chris Johanson and Ajax Oakford, Arnold Kemp, Margaret Kilgallen, Josh Lazcano, Alicia McCarthy, Barry McGee, Ruby Neri, Manuel Ocampo, Eamon Ore-Giron, Gina Osterloh, Rigo 23, Spie One and others. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13979732\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/X8cOfMeB.jpg\" alt=\"four people stand in front of a mural depicting scenes from Gaza and San Francisco, including Palestinians using bullhorns, self-driving cars, journalists being trampled and a tall red and white tower\" width=\"2000\" height=\"1323\" class=\"size-full wp-image-13979732\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/X8cOfMeB.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/X8cOfMeB-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/X8cOfMeB-768x508.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/X8cOfMeB-1536x1016.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Rigo 23’s ‘Terra Nullius,’ which connects San Francisco’s tech industry to the destruction of Gaza, is a powerful highlight of ‘Bay Area Then,’ on view through Jan. 25, 2026 at YBCA. \u003ccite>(Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/ybca\">Yerba Buena Center for the Arts\u003c/a>’ new exhibition \u003ca href=\"https://ybca.org/event/bay-area-then/\">\u003ci>Bay Area Then\u003c/i> \u003c/a>offers a glimpse of San Francisco in the ’90s, before tech and its hyper-driven version of capitalism overtook the city, and when rents were low enough for artists to thrive. Working-class young people could not only afford to live here — they also had the time and energy to run weird, experimental galleries and participate in revolutionary organizing.\u003c/p>\n\u003cp>Smartly curated by Eungie Joo, \u003cem>Bay Area Then\u003c/em> surveys the vibrant cultures that emerged from the AIDS crisis, the LAPD beating of Rodney King and the first Gulf War, connecting the dots from each to today’s political struggles.\u003c/p>\n\u003cp>The show opens with clusters of ephemera: amateur film photos, graffiti zines and photocopied flyers. Whether protesting art censorship or advocating for squatting in abandoned properties, the flyers point to a hopeful radicalism that thrived in an age before ubiquitous AI and mass surveillance. These informal pieces — whose creators probably never thought they’d end up in a museum — lend \u003ci>Bay Area Then\u003c/i> a grassroots feel that’s rare for a white-walled, capital-A art institution.\u003c/p>\n\u003cfigure id=\"attachment_13979708\" class=\"wp-caption aligncenter\" style=\"max-width: 1976px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979708\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/IMG_0540-scaled.jpg\" alt=\"\" width=\"1976\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/IMG_0540-scaled.jpg 1976w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/IMG_0540-160x207.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/IMG_0540-768x995.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/IMG_0540-1186x1536.jpg 1186w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/IMG_0540-1581x2048.jpg 1581w\" sizes=\"auto, (max-width: 1976px) 100vw, 1976px\">\u003cfigcaption class=\"wp-caption-text\">Flyers, photos and other ephemera from the ’90s in ‘Bay Area Then’ at YBCA document artist-run spaces and grassroots political movements. \u003ccite>(Nastia Voynovskaya for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Museums often examine protest movements of the past from a safe distance; rarely do they dare engage with what’s transgressive today. Refreshingly, \u003ci>Bay Area Then\u003c/i> features contemporary works from artists active since the ’90s, including Rigo 23, whose jaw-dropping \u003ci>Terra Nullius\u003c/i> is a centerpiece of the show. The mural depicts Palestinian civilians shouting through bullhorns while drones hover overhead. Juxtaposing San Francisco’s Sutro Tower with the West Bank wall — and self-driving cars with tanks — the piece forces the viewer to confront the reality of \u003ca href=\"https://www.kqed.org/news/11986136/demonstrators-rally-outside-google-conference-call-for-end-to-israel-contracts\">Bay Area tech giants’ military contracts\u003c/a>, which have helped create the infrastructure for Israel’s destruction of Gaza.\u003c/p>\n\u003cp>The inclusion of this piece and others marks a departure for YBCA, which changed leadership this year. In 2024, when \u003ca href=\"https://www.kqed.org/arts/13952460/artists-deface-work-ybca-pro-palestine-protest\">artists from an exhibition titled \u003ci>Bay Area Now\u003c/i> modified their own pieces\u003c/a> with messages like “Ceasefire Now,” the show closed down entirely for a month, prompting accusations of censorship. When the exhibition reopened, it contained tepid disclaimers stating that the work represented the opinions of the artists and not YBCA.\u003c/p>\n\u003cfigure id=\"attachment_13979706\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979706\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Margaret-Kilgallen-Main-Drag-2001-photo-by-Robbie-Sweeny-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1475\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Margaret-Kilgallen-Main-Drag-2001-photo-by-Robbie-Sweeny-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Margaret-Kilgallen-Main-Drag-2001-photo-by-Robbie-Sweeny-2000x1152.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Margaret-Kilgallen-Main-Drag-2001-photo-by-Robbie-Sweeny-160x92.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Margaret-Kilgallen-Main-Drag-2001-photo-by-Robbie-Sweeny-768x442.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Margaret-Kilgallen-Main-Drag-2001-photo-by-Robbie-Sweeny-1536x885.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Margaret-Kilgallen-Main-Drag-2001-photo-by-Robbie-Sweeny-2048x1180.jpg 2048w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Margaret Kilgallen, ‘Main Drag’ (2001). \u003ccite>(Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In \u003ci>Bay Area Then\u003c/i>, the artists are given space to say things with their chests. A large-scale 2023 aerosol piece by graffiti artist \u003ca href=\"https://www.kqed.org/arts/13926619/spie-one-tdk-bay-area-graffiti-history-hip-hop\">Spie One\u003c/a> depicts seeds blossoming into raised fists of resistance on Palestinian soil; it hangs next to a 1997 work by the late graffiti legend \u003ca href=\"https://www.kqed.org/arts/10141391/dream-but-dont-sleep-remembering-mike-dream-francisco\">Mike “Dream” Francisco\u003c/a> that criticizes U.S. colonialism in the Philippines.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Not all the art in the show is explicitly political. A gem of \u003ci>Bay Area Then\u003c/i> is \u003ci>Main Drag\u003c/i>, the last major installation by Mission School icon Margaret Kilgallen, who passed away in 2001. Across two walls, Kilgallen remixes sign-painting techniques with stylized illustrations of working-class people going about their everyday lives.\u003c/p>\n\u003cp>It’s a loving approach, and one that’s felt throughout \u003ci>Bay Area Then\u003c/i>, as artists honor the extraordinary potential of everyday people to create a better world.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://ybca.org/event/bay-area-then/\">Bay Area Then\u003c/a>’ is on view through Jan. 25, 2026, at Yerba Buena Center for the Arts (701 Mission St., San Francisco). The exhibition features Nao Bustamante, Carolyn Castaño, Bill Daniel, Sergio De La Torre and Chris Treggiari, Beatrix Fowler, Mike “Dream” Francisco, Johanna Jackson, Chris Johanson and Ajax Oakford, Arnold Kemp, Margaret Kilgallen, Josh Lazcano, Alicia McCarthy, Barry McGee, Ruby Neri, Manuel Ocampo, Eamon Ore-Giron, Gina Osterloh, Rigo 23, Spie One and others. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cfigure id=\"attachment_13979679\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Cherisse_Alcantara_BessieCarmichaelSchoolCourtyard.jpg\" alt=\"\" width=\"1600\" height=\"2000\" class=\"size-full wp-image-13979679\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Cherisse_Alcantara_BessieCarmichaelSchoolCourtyard.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Cherisse_Alcantara_BessieCarmichaelSchoolCourtyard-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Cherisse_Alcantara_BessieCarmichaelSchoolCourtyard-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Cherisse_Alcantara_BessieCarmichaelSchoolCourtyard-1229x1536.jpg 1229w\" sizes=\"auto, (max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">Cherisse Alcantara, ‘School Courtyard (Bessie Carmichael School FEC),’ 2025. The work is part of ‘MAKIBAKA: A Living Legacy,’ an exhibition on view through Jan. 4, 2026 at YBCA in San Francisco. \u003ccite>(Courtesy YBCA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At \u003ca href=\"https://www.kqed.org/arts/tag/ybca\">Yerba Buena Center for the Arts\u003c/a>, the flame-bladed sword piercing the sun, the baybayin script on the wall and the bundles of sampaguita blossoms hanging from triangular banderitas across the ceiling are not merely festive decor, but markers of culture, memory and collective resistance.\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://ybca.org/event/makibaka-a-living-legacy/\">MAKIBAKA: A Living Legacy\u003c/a>\u003c/em>, co-curated by SOMA Pilipinas and Trisha Lagaso Goldberg, features artwork by over 20 Bay Area Filipino American artists. The exhibition, Goldberg writes, “honors the generations who held their ground and made the city theirs — through protest, through art, through unrelenting care. … Filipino presence in San Francisco is not symbolic — it is structural, embodied, and alive.”\u003c/p>\n\u003cp>In English, the word makibaka translates to “to fight.” In the 1970s and ’80s, amid president Ferdinand Marcos’ dictatorship in the Philippines, protestors chanted in the streets of Manila: “Makibaka, huwag matakot!” Fight, don’t be afraid.\u003c/p>\n\u003cp>That phrase was a call to courage, action and collective power. Today, it echoes again, across oceans and generations. At YBCA, resistance to oppression and displacement appears in paint, prints, fabric, clay and archival memory.\u003c/p>\n\u003cp>Walking through \u003cem>MAKIBAKA\u003c/em>, installed in the second-floor galleries, feels like flipping a breathing scrapbook; the show is intimate, reflective and fiercely political. Works speak to individual experiences while grounding themselves in shared struggles. \u003c/p>\n\u003cfigure id=\"attachment_13979678\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Hidalgo_TheBlightedAndValuableStreets.jpg\" alt=\"A grid of paper strips, covered in impressions of city street names from the sidewalk, lays on a concrete floor\" width=\"2000\" height=\"1500\" class=\"size-full wp-image-13979678\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Hidalgo_TheBlightedAndValuableStreets.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Hidalgo_TheBlightedAndValuableStreets-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Hidalgo_TheBlightedAndValuableStreets-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Hidalgo_TheBlightedAndValuableStreets-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">England Hidalgo, ‘The Blighted And Valuable Streets Of South Of Market,’ 2021. \u003ccite>(Courtesy YBCA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13885733/sometimes-it-takes-time-erina-alejo-the-third-generation-renter\">Erina Alejo\u003c/a>’s contribution to the show occupies that middle ground. In \u003cem>The Older I Get, The More I Remember\u003c/em>, the walls of a gallery corner are wrapped in dark chalk, layered with scrawled writing and neatly hung archival photographs by Alejo’s former middle school students. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“My vision for [the piece] is my compulsion to ground our present and futures in community archives, kind of like equipping ourselves with a care toolkit,” Alejo wrote to KQED. “So we know how and where to look back to remember and for whom we are fighting for, especially when things get tough.”\u003c/p>\n\u003cp>The installation is a bit like looking at the open windows of an apartment building, a peek into other people’s lives. Many of the images feature youth in SoMa. These aren’t just snapshots of the past, they are affirmations of continued presence: We are still here. \u003c/p>\n\u003cp>[aside postID='arts_13885733']Established in 2016 as San Francisco’s Filipino Cultural Heritage District, \u003ca href=\"https://www.somapilipinas.org/\">SOMA Pilipinas\u003c/a> was created to celebrate and preserve Filipino culture in the neighborhood. Yerba Buena Gardens, a massive redevelopment project that began in the 1960s, displaced nearly 4,000 people, many of them Filipino.\u003c/p>\n\u003cp>With this history as a backdrop, \u003cem>MAKIBAKA\u003c/em> pays homage to the creative ecosystems that have long sustained Filipino American communities in San Francisco. Bindlestiff Studio, KulArts, Manilatown Heritage Foundation and other institutions appear along the exhibition’s timeline as living extensions of the makibaka spirit. These art spaces are community anchors where organizing, storytelling and healing continue to thrive.\u003c/p>\n\u003cp>Other pieces in the show draw on symbolism and materiality to showcase stories of movement and ancestry. \u003ca href=\"https://westonteruya.com/\">Weston Teruya\u003c/a>’s sculptural work \u003cem>Splintered on the Black River\u003c/em> is an ode to Kānāwai Māmalahoe, or the Hawaiian Law of the Splintered Paddle. The piece, a paddle constructed from tar paper, charred wood and salvaged materials, feels ceremonial. It is delicate yet resilient, held together by quiet intention.\u003c/p>\n\u003cfigure id=\"attachment_13979680\" class=\"wp-caption aligncenter\" style=\"max-width: 1736px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Hidalgo_GranOrienteFilipino.jpg\" alt=\"\" width=\"1736\" height=\"2000\" class=\"size-full wp-image-13979680\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Hidalgo_GranOrienteFilipino.jpg 1736w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Hidalgo_GranOrienteFilipino-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Hidalgo_GranOrienteFilipino-768x885.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Hidalgo_GranOrienteFilipino-1333x1536.jpg 1333w\" sizes=\"auto, (max-width: 1736px) 100vw, 1736px\">\u003cfigcaption class=\"wp-caption-text\">England Hidalgo, ‘Gran Oriente Filipino,’ 2020. \u003ccite>(Courtesy YBCA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the top of the lobby’s stairs, \u003ca href=\"https://cherissealcantara.com/home.html\">Cherisse Alcantara\u003c/a>’s paintings bring the focus back to place. Her paintings of parks and community spaces are eclectic and vibrant, depicting environments that shape daily life in SoMa. Alcantara honors the mundane and makes it beautiful, alive with bright color.\u003c/p>\n\u003cp>The show also takes viewers to the center of the movement. A standout installation by the \u003ca href=\"https://www.somcan.org/\">South of Market Community Action Network\u003c/a> (SOMCAN) features decades of protest signs, flyers and photographs from local organizing efforts. The messages remain startlingly urgent: “Stop Deportations,” “Housing is a Human Right,” “Keep Families Together.” These aren’t just artifacts of past struggle. They are reflections of battles still being fought today, just outside of YBCA’s walls.\u003c/p>\n\u003cp>Around the corner from this collection, in a striking blend of historical memory and pop aesthetics, \u003ca href=\"https://johannapoethig.com/\">Johanna Poethig\u003c/a> used movie-poster-style graphics to depict a manghihilot (healer) as a superhero, and displacement as worthy of Hollywood attention. Next to these images, \u003ca href=\"https://www.kimacebo.art/\">Kimberly Acebo Arteche\u003c/a>’s work honors the I-Hotel, spotlighting community elders and Manilatown’s legacy.\u003c/p>\n\u003cp>One of the most grounding works, a piece that offers a quiet yet powerful meditation on legacy, comes from \u003ca href=\"https://www.cristineblanco.com/\">Cristine Blanco\u003c/a>. In \u003cem>Embedded Bricks III\u003c/em>, she molds handmade bricks from clay, each one inscribed with words like “mother tongue,” “trust” and “future generations.” They feel sacred, like building the foundation of a home, brick by brick.\u003c/p>\n\u003cp>This is what \u003cem>MAKIBAKA\u003c/em> does so well: it shows us that art is not separate from struggle. Art can document resistance, but it can also \u003cem>be\u003c/em> resistance. The experience of creating art can heal wounds and connect generations. \u003c/p>\n\u003cp>\u003cem>MAKIBAKA\u003c/em> isn’t just about looking back. It’s about standing tall in the present, locking arms with those who came before and those who will come after. It’s about the power of showing up again and again. Through protest. Through art. Through community.\u003c/p>\n\u003cp>Because to exist — fully, loudly and unapologetically — is already an act of defiance. The movement continues. Brick by brick. Shoulder to shoulder. One step at a time. Makibaka, huwag matakot. \u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://ybca.org/event/makibaka-a-living-legacy/\">MAKIBAKA: A Living Legacy\u003c/a>’ is on view at Yerba Buena Center for the Arts through Jan. 4, 2026. As part of the \u003ca href=\"https://www.pistahan.net/\">32nd annual Pistahan Parade and Festival\u003c/a>, YBCA will offer free admission on Aug. 9 and 10.\u003c/i>\u003c/p>\n\n",
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"excerpt": "At YBCA, the SOMA Pilipinas co-curated ‘MAKIBAKA: A Living Legacy‘ features artists and community groups.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13979679\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Cherisse_Alcantara_BessieCarmichaelSchoolCourtyard.jpg\" alt=\"\" width=\"1600\" height=\"2000\" class=\"size-full wp-image-13979679\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Cherisse_Alcantara_BessieCarmichaelSchoolCourtyard.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Cherisse_Alcantara_BessieCarmichaelSchoolCourtyard-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Cherisse_Alcantara_BessieCarmichaelSchoolCourtyard-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Cherisse_Alcantara_BessieCarmichaelSchoolCourtyard-1229x1536.jpg 1229w\" sizes=\"auto, (max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">Cherisse Alcantara, ‘School Courtyard (Bessie Carmichael School FEC),’ 2025. The work is part of ‘MAKIBAKA: A Living Legacy,’ an exhibition on view through Jan. 4, 2026 at YBCA in San Francisco. \u003ccite>(Courtesy YBCA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At \u003ca href=\"https://www.kqed.org/arts/tag/ybca\">Yerba Buena Center for the Arts\u003c/a>, the flame-bladed sword piercing the sun, the baybayin script on the wall and the bundles of sampaguita blossoms hanging from triangular banderitas across the ceiling are not merely festive decor, but markers of culture, memory and collective resistance.\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://ybca.org/event/makibaka-a-living-legacy/\">MAKIBAKA: A Living Legacy\u003c/a>\u003c/em>, co-curated by SOMA Pilipinas and Trisha Lagaso Goldberg, features artwork by over 20 Bay Area Filipino American artists. The exhibition, Goldberg writes, “honors the generations who held their ground and made the city theirs — through protest, through art, through unrelenting care. … Filipino presence in San Francisco is not symbolic — it is structural, embodied, and alive.”\u003c/p>\n\u003cp>In English, the word makibaka translates to “to fight.” In the 1970s and ’80s, amid president Ferdinand Marcos’ dictatorship in the Philippines, protestors chanted in the streets of Manila: “Makibaka, huwag matakot!” Fight, don’t be afraid.\u003c/p>\n\u003cp>That phrase was a call to courage, action and collective power. Today, it echoes again, across oceans and generations. At YBCA, resistance to oppression and displacement appears in paint, prints, fabric, clay and archival memory.\u003c/p>\n\u003cp>Walking through \u003cem>MAKIBAKA\u003c/em>, installed in the second-floor galleries, feels like flipping a breathing scrapbook; the show is intimate, reflective and fiercely political. Works speak to individual experiences while grounding themselves in shared struggles. \u003c/p>\n\u003cfigure id=\"attachment_13979678\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Hidalgo_TheBlightedAndValuableStreets.jpg\" alt=\"A grid of paper strips, covered in impressions of city street names from the sidewalk, lays on a concrete floor\" width=\"2000\" height=\"1500\" class=\"size-full wp-image-13979678\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Hidalgo_TheBlightedAndValuableStreets.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Hidalgo_TheBlightedAndValuableStreets-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Hidalgo_TheBlightedAndValuableStreets-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Hidalgo_TheBlightedAndValuableStreets-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">England Hidalgo, ‘The Blighted And Valuable Streets Of South Of Market,’ 2021. \u003ccite>(Courtesy YBCA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13885733/sometimes-it-takes-time-erina-alejo-the-third-generation-renter\">Erina Alejo\u003c/a>’s contribution to the show occupies that middle ground. In \u003cem>The Older I Get, The More I Remember\u003c/em>, the walls of a gallery corner are wrapped in dark chalk, layered with scrawled writing and neatly hung archival photographs by Alejo’s former middle school students. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“My vision for [the piece] is my compulsion to ground our present and futures in community archives, kind of like equipping ourselves with a care toolkit,” Alejo wrote to KQED. “So we know how and where to look back to remember and for whom we are fighting for, especially when things get tough.”\u003c/p>\n\u003cp>The installation is a bit like looking at the open windows of an apartment building, a peek into other people’s lives. Many of the images feature youth in SoMa. These aren’t just snapshots of the past, they are affirmations of continued presence: We are still here. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Established in 2016 as San Francisco’s Filipino Cultural Heritage District, \u003ca href=\"https://www.somapilipinas.org/\">SOMA Pilipinas\u003c/a> was created to celebrate and preserve Filipino culture in the neighborhood. Yerba Buena Gardens, a massive redevelopment project that began in the 1960s, displaced nearly 4,000 people, many of them Filipino.\u003c/p>\n\u003cp>With this history as a backdrop, \u003cem>MAKIBAKA\u003c/em> pays homage to the creative ecosystems that have long sustained Filipino American communities in San Francisco. Bindlestiff Studio, KulArts, Manilatown Heritage Foundation and other institutions appear along the exhibition’s timeline as living extensions of the makibaka spirit. These art spaces are community anchors where organizing, storytelling and healing continue to thrive.\u003c/p>\n\u003cp>Other pieces in the show draw on symbolism and materiality to showcase stories of movement and ancestry. \u003ca href=\"https://westonteruya.com/\">Weston Teruya\u003c/a>’s sculptural work \u003cem>Splintered on the Black River\u003c/em> is an ode to Kānāwai Māmalahoe, or the Hawaiian Law of the Splintered Paddle. The piece, a paddle constructed from tar paper, charred wood and salvaged materials, feels ceremonial. It is delicate yet resilient, held together by quiet intention.\u003c/p>\n\u003cfigure id=\"attachment_13979680\" class=\"wp-caption aligncenter\" style=\"max-width: 1736px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Hidalgo_GranOrienteFilipino.jpg\" alt=\"\" width=\"1736\" height=\"2000\" class=\"size-full wp-image-13979680\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Hidalgo_GranOrienteFilipino.jpg 1736w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Hidalgo_GranOrienteFilipino-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Hidalgo_GranOrienteFilipino-768x885.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Hidalgo_GranOrienteFilipino-1333x1536.jpg 1333w\" sizes=\"auto, (max-width: 1736px) 100vw, 1736px\">\u003cfigcaption class=\"wp-caption-text\">England Hidalgo, ‘Gran Oriente Filipino,’ 2020. \u003ccite>(Courtesy YBCA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the top of the lobby’s stairs, \u003ca href=\"https://cherissealcantara.com/home.html\">Cherisse Alcantara\u003c/a>’s paintings bring the focus back to place. Her paintings of parks and community spaces are eclectic and vibrant, depicting environments that shape daily life in SoMa. Alcantara honors the mundane and makes it beautiful, alive with bright color.\u003c/p>\n\u003cp>The show also takes viewers to the center of the movement. A standout installation by the \u003ca href=\"https://www.somcan.org/\">South of Market Community Action Network\u003c/a> (SOMCAN) features decades of protest signs, flyers and photographs from local organizing efforts. The messages remain startlingly urgent: “Stop Deportations,” “Housing is a Human Right,” “Keep Families Together.” These aren’t just artifacts of past struggle. They are reflections of battles still being fought today, just outside of YBCA’s walls.\u003c/p>\n\u003cp>Around the corner from this collection, in a striking blend of historical memory and pop aesthetics, \u003ca href=\"https://johannapoethig.com/\">Johanna Poethig\u003c/a> used movie-poster-style graphics to depict a manghihilot (healer) as a superhero, and displacement as worthy of Hollywood attention. Next to these images, \u003ca href=\"https://www.kimacebo.art/\">Kimberly Acebo Arteche\u003c/a>’s work honors the I-Hotel, spotlighting community elders and Manilatown’s legacy.\u003c/p>\n\u003cp>One of the most grounding works, a piece that offers a quiet yet powerful meditation on legacy, comes from \u003ca href=\"https://www.cristineblanco.com/\">Cristine Blanco\u003c/a>. In \u003cem>Embedded Bricks III\u003c/em>, she molds handmade bricks from clay, each one inscribed with words like “mother tongue,” “trust” and “future generations.” They feel sacred, like building the foundation of a home, brick by brick.\u003c/p>\n\u003cp>This is what \u003cem>MAKIBAKA\u003c/em> does so well: it shows us that art is not separate from struggle. Art can document resistance, but it can also \u003cem>be\u003c/em> resistance. The experience of creating art can heal wounds and connect generations. \u003c/p>\n\u003cp>\u003cem>MAKIBAKA\u003c/em> isn’t just about looking back. It’s about standing tall in the present, locking arms with those who came before and those who will come after. It’s about the power of showing up again and again. Through protest. Through art. Through community.\u003c/p>\n\u003cp>Because to exist — fully, loudly and unapologetically — is already an act of defiance. The movement continues. Brick by brick. Shoulder to shoulder. One step at a time. Makibaka, huwag matakot. \u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://ybca.org/event/makibaka-a-living-legacy/\">MAKIBAKA: A Living Legacy\u003c/a>’ is on view at Yerba Buena Center for the Arts through Jan. 4, 2026. As part of the \u003ca href=\"https://www.pistahan.net/\">32nd annual Pistahan Parade and Festival\u003c/a>, YBCA will offer free admission on Aug. 9 and 10.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The \u003ca href=\"https://www.eamesinstitute.org/\">Eames Institute of Infinite Curiosity\u003c/a>, a Petaluma and Richmond-based nonprofit dedicated to the legacy of midcentury designers Charles and Ray Eames, announced it will open a museum in one of the Bay Area’s most distinctive pieces of architecture. That’s right, I’m talking about the former Birkenstock campus in Novato, the jagged-roofed warehouse and office just west of Highway 101.\u003c/p>\n\u003cp>The as-yet unnamed museum, which the institute hopes to open by 2030, will house the Eames Collection, along with large-scale art exhibitions, workshops, educational programming and more. The Eameses, who moved fluidly between the fields of furniture, architecture, graphic design and fine art, were two of the most influential designers of the 20th century. (Have you coveted \u003ca href=\"https://www.eamesoffice.com/product/eames-lounge-chair-and-ottoman/\">this chair\u003c/a>? Charles and Ray Eames designed it.)\u003c/p>\n\u003cp>Eames Institute CEO John Cary said they’ve had their eye on the 88.5-acre Birkenstock campus for quite a while, but it wasn’t on the market until earlier this year. Birkenstock ceased operations at the distribution site in 2019; the property has been vacant since 2020.\u003c/p>\n\u003cp>“When it finally appeared for sale, we were ready and we were excited about it,” Cary tells KQED. “We got to work real fast.” The deal closed yesterday.\u003c/p>\n\u003cfigure id=\"attachment_13979444\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Novato-McG-Hill_33_1_2000.jpg\" alt=\"photo of boxes on conveyor belts in large factory\" width=\"2000\" height=\"1445\" class=\"size-full wp-image-13979444\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Novato-McG-Hill_33_1_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Novato-McG-Hill_33_1_2000-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Novato-McG-Hill_33_1_2000-768x555.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Novato-McG-Hill_33_1_2000-1536x1110.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A view inside the Novato warehouse in its McGraw-Hill days. \u003ccite>(Courtesy of Eames Institute)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The campus was originally designed for the educational publishers McGraw-Hill in the early 1960s by John Savage Bolles, the modernist architect also responsible for Candlestick Park and the IBM Campus in San José. In the early ’70s, Bolles was part of the team that designed San Francisco’s Embarcadero Plaza.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“One of the big reasons that we’re so interested in that site is its adaptive reuse,” Cary says. “We’re really focused on those existing two buildings and improving them.” The Swiss architecture firm Herzog & de Meuron (responsible for the de Young Museum) will reimagine the campus as a public space.\u003c/p>\n\u003cp>This is key: though the Birkenstock campus is a significant North Bay landmark, only those on official textbook or shoe business have previously had access to the site. “We want buses just lined up in the parking lot outside — or better yet, they take the SMART train or some other mode of transportation,” Cary says.\u003c/p>\n\u003cp>The Eames Institute has been remarkably active since it announced itself publicly in 2022. Its first base of operations was a \u003ca href=\"https://www.eamesinstitute.org/ranch/\">family ranch in Petaluma\u003c/a>, once home to Lucia Eames, daughter of Charles. That property is now undergoing a multi-year renovation.\u003c/p>\n\u003cfigure id=\"attachment_13979441\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Arrival-Court_2000.jpg\" alt=\"people walking around well planted open plaza with vaulted roofline above\" width=\"2000\" height=\"1250\" class=\"size-full wp-image-13979441\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Arrival-Court_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Arrival-Court_2000-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Arrival-Court_2000-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Arrival-Court_2000-1536x960.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A rendering of Herzog & de Meuron’s plans for the arrival court of the refurbished Birkenstock campus. \u003ccite>(Courtesy of Herzog & de Meuron)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The institute purchased \u003ca href=\"https://stoutbooks.com/\">William Stout Architectural Books\u003c/a> from its founder and namesake in 2022, safeguarding the beloved art and design bookstore in San Francisco’s Jackson Square. Last month, the institute purchased the Zurich-based Lars Müller Publishers.\u003c/p>\n\u003cp>In 2024, operations shifted to Richmond, where the Eames archive is now housed and \u003ca href=\"https://www.eamesinstitute.org/visit/\">open to small tour groups\u003c/a>. The Eames Institute looks after over 40,000 objects that came directly from the Eameses and their Venice, California office, including furniture prototypes, ephemera, tools and personal items. While the Library of Congress holds a large amount of 2D material from the Eameses, Cary says, “The family held back a lot of its most significant things — what they call the family jewels — that we ended up being able to acquire.”\u003c/p>\n\u003cp>Online and in-person shows curated from the collection are usually accompanied by a publication. \u003ci>The Last Decade of Furniture Design by Ray and Charles Eames (1968–1978)\u003c/i>, a playfully arranged exhibition of chairs, loungers and objects, is currently on view at the base of the \u003ca href=\"https://transamericapyramid.com/pyramid-arts\">Transamerica Pyramid\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Ultimately, the Novato museum will display not just the Eames archives, but other prominent design artifacts. Cary emphases that they are and will be a collecting institution. “We’ve got a whole lot of work ahead of us,” he says. “We haven’t yet defined exactly what that is or what that will be, but that’ll be part of the next several years as we’re developing this project.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The \u003ca href=\"https://www.eamesinstitute.org/\">Eames Institute of Infinite Curiosity\u003c/a>, a Petaluma and Richmond-based nonprofit dedicated to the legacy of midcentury designers Charles and Ray Eames, announced it will open a museum in one of the Bay Area’s most distinctive pieces of architecture. That’s right, I’m talking about the former Birkenstock campus in Novato, the jagged-roofed warehouse and office just west of Highway 101.\u003c/p>\n\u003cp>The as-yet unnamed museum, which the institute hopes to open by 2030, will house the Eames Collection, along with large-scale art exhibitions, workshops, educational programming and more. The Eameses, who moved fluidly between the fields of furniture, architecture, graphic design and fine art, were two of the most influential designers of the 20th century. (Have you coveted \u003ca href=\"https://www.eamesoffice.com/product/eames-lounge-chair-and-ottoman/\">this chair\u003c/a>? Charles and Ray Eames designed it.)\u003c/p>\n\u003cp>Eames Institute CEO John Cary said they’ve had their eye on the 88.5-acre Birkenstock campus for quite a while, but it wasn’t on the market until earlier this year. Birkenstock ceased operations at the distribution site in 2019; the property has been vacant since 2020.\u003c/p>\n\u003cp>“When it finally appeared for sale, we were ready and we were excited about it,” Cary tells KQED. “We got to work real fast.” The deal closed yesterday.\u003c/p>\n\u003cfigure id=\"attachment_13979444\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Novato-McG-Hill_33_1_2000.jpg\" alt=\"photo of boxes on conveyor belts in large factory\" width=\"2000\" height=\"1445\" class=\"size-full wp-image-13979444\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Novato-McG-Hill_33_1_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Novato-McG-Hill_33_1_2000-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Novato-McG-Hill_33_1_2000-768x555.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Novato-McG-Hill_33_1_2000-1536x1110.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A view inside the Novato warehouse in its McGraw-Hill days. \u003ccite>(Courtesy of Eames Institute)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The campus was originally designed for the educational publishers McGraw-Hill in the early 1960s by John Savage Bolles, the modernist architect also responsible for Candlestick Park and the IBM Campus in San José. In the early ’70s, Bolles was part of the team that designed San Francisco’s Embarcadero Plaza.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“One of the big reasons that we’re so interested in that site is its adaptive reuse,” Cary says. “We’re really focused on those existing two buildings and improving them.” The Swiss architecture firm Herzog & de Meuron (responsible for the de Young Museum) will reimagine the campus as a public space.\u003c/p>\n\u003cp>This is key: though the Birkenstock campus is a significant North Bay landmark, only those on official textbook or shoe business have previously had access to the site. “We want buses just lined up in the parking lot outside — or better yet, they take the SMART train or some other mode of transportation,” Cary says.\u003c/p>\n\u003cp>The Eames Institute has been remarkably active since it announced itself publicly in 2022. Its first base of operations was a \u003ca href=\"https://www.eamesinstitute.org/ranch/\">family ranch in Petaluma\u003c/a>, once home to Lucia Eames, daughter of Charles. That property is now undergoing a multi-year renovation.\u003c/p>\n\u003cfigure id=\"attachment_13979441\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Arrival-Court_2000.jpg\" alt=\"people walking around well planted open plaza with vaulted roofline above\" width=\"2000\" height=\"1250\" class=\"size-full wp-image-13979441\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Arrival-Court_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Arrival-Court_2000-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Arrival-Court_2000-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Arrival-Court_2000-1536x960.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A rendering of Herzog & de Meuron’s plans for the arrival court of the refurbished Birkenstock campus. \u003ccite>(Courtesy of Herzog & de Meuron)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The institute purchased \u003ca href=\"https://stoutbooks.com/\">William Stout Architectural Books\u003c/a> from its founder and namesake in 2022, safeguarding the beloved art and design bookstore in San Francisco’s Jackson Square. Last month, the institute purchased the Zurich-based Lars Müller Publishers.\u003c/p>\n\u003cp>In 2024, operations shifted to Richmond, where the Eames archive is now housed and \u003ca href=\"https://www.eamesinstitute.org/visit/\">open to small tour groups\u003c/a>. The Eames Institute looks after over 40,000 objects that came directly from the Eameses and their Venice, California office, including furniture prototypes, ephemera, tools and personal items. While the Library of Congress holds a large amount of 2D material from the Eameses, Cary says, “The family held back a lot of its most significant things — what they call the family jewels — that we ended up being able to acquire.”\u003c/p>\n\u003cp>Online and in-person shows curated from the collection are usually accompanied by a publication. \u003ci>The Last Decade of Furniture Design by Ray and Charles Eames (1968–1978)\u003c/i>, a playfully arranged exhibition of chairs, loungers and objects, is currently on view at the base of the \u003ca href=\"https://transamericapyramid.com/pyramid-arts\">Transamerica Pyramid\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Ultimately, the Novato museum will display not just the Eames archives, but other prominent design artifacts. Cary emphases that they are and will be a collecting institution. “We’ve got a whole lot of work ahead of us,” he says. “We haven’t yet defined exactly what that is or what that will be, but that’ll be part of the next several years as we’re developing this project.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "marin-museum-contemporary-art-the-sky-below-sci-fi",
"title": "In ‘The Sky Below,’ Artists Depict Futures Worth Sticking Around For",
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"content": "\u003cp>If some of the world’s richest men had their way, we’d think \u003ca href=\"https://www.kqed.org/arts/13969865/future-hunters-movie-sci-fi-predictions-2025\">the future\u003c/a> was all shiny silver surfaces and rockets blasting off to space. It’s a difficult vision to buck, especially when so much media bolsters it: movies keep putting ordinary men into space suits and tasking them with saving our dying planet. (Starring Ryan Gosling, \u003ca href=\"https://youtu.be/m08TxIsFTRI?feature=shared\">out next March\u003c/a>!)\u003c/p>\n\u003cp>[aside postID='arts_13951772']But there’s another mode of science fiction, one that has distinctly West Coast roots. This strain of speculation looks inward and down — to the earth — for a more promising future. It’s this approach, put forth by sci-fi authors like Ursula K. Le Guin and Octavia Butler, that ties together the works in \u003ci>\u003ca href=\"https://www.marinmoca.org/see-and-experience\">The Sky Below\u003c/a>\u003c/i>, a group show curated by Heidi Rabben for the Marin Museum of Contemporary Art.\u003c/p>\n\u003cp>In a former office building on San Rafael’s Fifth Avenue, the museum occupies one high-ceilinged main space and four former offices, two of which are turned over to single-artist displays for this show. Walls are painted lavender and royal blue, and a pedestal supporting a small \u003ca href=\"https://www.kqed.org/arts/13954510/sf-ballet-dos-mujeres-maria-guzman-capron-scenic-artists\">Maria A. Guzmán Capron\u003c/a> sculpture is a glowing goldenrod. \u003c/p>\n\u003cfigure id=\"attachment_13979114\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/01-Detail-from-Finite-Horizon-Astria-Suparak-Installation-32%E2%80%B2-x-11%E2%80%B2-2023.-To-Your-Eternity-Biennial-Today-Art-Museum-Beijing.-Photo-credit_-Today-Art-Museum_2000.jpg\" alt=\"video screen against wall with two cityscapes against orange sky\" width=\"2000\" height=\"1334\" class=\"size-full wp-image-13979114\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/01-Detail-from-Finite-Horizon-Astria-Suparak-Installation-32′-x-11′-2023.-To-Your-Eternity-Biennial-Today-Art-Museum-Beijing.-Photo-credit_-Today-Art-Museum_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/01-Detail-from-Finite-Horizon-Astria-Suparak-Installation-32′-x-11′-2023.-To-Your-Eternity-Biennial-Today-Art-Museum-Beijing.-Photo-credit_-Today-Art-Museum_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/01-Detail-from-Finite-Horizon-Astria-Suparak-Installation-32′-x-11′-2023.-To-Your-Eternity-Biennial-Today-Art-Museum-Beijing.-Photo-credit_-Today-Art-Museum_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/01-Detail-from-Finite-Horizon-Astria-Suparak-Installation-32′-x-11′-2023.-To-Your-Eternity-Biennial-Today-Art-Museum-Beijing.-Photo-credit_-Today-Art-Museum_2000-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Astria Suparak, ‘Finite Horizon’ (detail), 2023 at the Today Art Museum in Beijing, China. \u003ccite>(Today Art Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The speculative futures depicted here are colorful, in more ways than one. \u003ca href=\"https://www.kqed.org/arts/13893493/astria-suparaks-virtually-asian-analyzes-sci-fi-to-argue-for-less-racist-futures\">Astria Suparak\u003c/a>’s video \u003ci>On the Neon Horizon\u003c/i> continues the artist’s investigation into mainstream white filmmakers’ depictions of “Asian futures, without Asians.” Here, we get an eight-minute supercut of Asian languages and cultures flattened into dangerous, crowded and miasmic backgrounds, again and again. Clips from the 1930s to the 2010s show this is neither a new, nor a diminishing trend.\u003c/p>\n\u003cp>Other artists invent their own narratives, whole cloth. Actually, cloth is a recurring material in \u003ci>The Sky Below\u003c/i>. Capron’s two other pieces in the show are hand-dyed and screen-printed textile works, hanging like declaratory banners on either side of the museum’s entrance. Multi-faced and multi-limbed bodies entwine in colorful patchworks of tie-dye. Whatever future they’re ushering in, it looks uncontainably optimistic. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Opposite these works, \u003ca href=\"https://www.soleedarrell.com/\">Soleé Darrell\u003c/a>’s \u003ci>Portal\u003c/i> is a looser, draped arrangement of sumptuously painted velvet, rope and trims, splayed across that lavender wall like a rainbow-hued pelt. \u003c/p>\n\u003cfigure id=\"attachment_13979115\" class=\"wp-caption aligncenter\" style=\"max-width: 1819px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/relrobinson_juliagoodman_combo.jpg\" alt=\"vertical quilted textile with image of black hole; two suspended paper relief works in gradients of blue to black\" width=\"1819\" height=\"1278\" class=\"size-full wp-image-13979115\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/relrobinson_juliagoodman_combo.jpg 1819w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/relrobinson_juliagoodman_combo-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/relrobinson_juliagoodman_combo-768x540.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/relrobinson_juliagoodman_combo-1536x1079.jpg 1536w\" sizes=\"auto, (max-width: 1819px) 100vw, 1819px\">\u003cfigcaption class=\"wp-caption-text\">L: rel robinson, ‘Black Hole,’ 2024; R: Julia Goodman, ‘Two (Promise),’ 2021. \u003ccite>(Courtesy the artists; photo on right by Henrik Kam )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In a former office, \u003ca href=\"https://relrobinson.info/\">rel robinson\u003c/a>’s installation is a bit more muted, palette-wise; curtains of found fabrics in white, light pink and cream hang over the walls. Their soft folds form the background for two quilted textile pieces, each containing even more layering — of photographs, AI renderings, language and stitching — that speak to the complex web of images and influences that shape contemporary femininity. \u003c/p>\n\u003cp>Even a work that doesn’t initially read as a textile is, in fact, made from repurposed bedsheets, T-shirts and other fabric remnants. \u003ca href=\"https://www.jagoodman.com/\">Julia Goodman\u003c/a>’s two handmade paper reliefs show the pattern of the brick wall they were formed against. Bits of brick and dirt still cling to their surfaces. Hanging side by side like door-shaped portals, they cast green and orange glows against the wall behind.\u003c/p>\n\u003cp>The exhibition’s three other artists look both forward and back to craft their work. On the museum’s largest wall (the blue one), six large-scale paintings by \u003ca href=\"https://www.kqed.org/arts/13969590/sf-ballet-curtain-artist-ranu-mukherjee-cool-britannia\">Ranu Mukherjee\u003c/a> depict disorienting scenes of humans, animals and plant life. In their confusion, these are lush, vibrant versions of the surrealist artist René Magritte’s 1965 painting \u003ci>\u003ca href=\"https://www.nga.gov/artworks/66422-blank-signature\">The Blank Signature\u003c/a>\u003c/i>.\u003c/p>\n\u003cfigure id=\"attachment_13979116\" class=\"wp-caption aligncenter\" style=\"max-width: 1962px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/06_Ranu_a-place-to-find-the-light_2000.jpg\" alt=\"painting with tree trunks, rugs and animals on brown background\" width=\"1962\" height=\"1318\" class=\"size-full wp-image-13979116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/06_Ranu_a-place-to-find-the-light_2000.jpg 1962w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/06_Ranu_a-place-to-find-the-light_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/06_Ranu_a-place-to-find-the-light_2000-768x516.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/06_Ranu_a-place-to-find-the-light_2000-1536x1032.jpg 1536w\" sizes=\"auto, (max-width: 1962px) 100vw, 1962px\">\u003cfigcaption class=\"wp-caption-text\">Ranu Mukherjee, ‘a place to find the light,’ 2023. \u003ccite>(Courtesy the artist and Gallery Wendi Norris)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>The Sky Below\u003c/i>, unlike so many future-minded shows, only has three video pieces in it. \u003ca href=\"https://www.kqed.org/arts/13808739/at-city-limits-sofia-cordova-imagines-life-after-humanity\">Sofía Córdova\u003c/a> uses the medium to mine the Indigenous and 20th-century cultural history of San José. \u003ci>If No Clouds, Then Stars, and Then the Cosmos\u003c/i> combines references to Lick Observatory, the organizing of the \u003ca href=\"https://hightechgays.com/\">High Tech Gays\u003c/a>, the Delano grape strike and the 1985 killing of a Black teenager, \u003ca href=\"https://www.queersiliconvalley.org/melvin-truss-story/\">Melvin Truss\u003c/a>, by a San José police officer. The video essay, which is an ongoing project, looks at the history of the land, the technology that has shaped it, and the people who have been touched, often violently, by that technology.\u003c/p>\n\u003cp>[aside postID='news_11941785']Possibly the most far-out (and spacey) of all the works in the show is \u003ca href=\"https://genevievequick.com/home.html\">Genevieve Quick\u003c/a>’s video \u003ci>Cel Bell\u003c/i>, which imagines a telecom network that connects ancestors to an increasingly intergalactic Asian diaspora. “Your ancestors would like to know what your life is like,” the video proclaims, linking the history of San Francisco’s \u003ca href=\"https://www.kqed.org/arts/13960573/chinese-telephone-exchange-san-francisco-chinatown-history\">Chinese Telephone Exchange\u003c/a> to Quick’s imagined “Celadonians” — futuristic beings from Planet Celadon.\u003c/p>\n\u003cp>In addition to swirls of color, satisfying textures and deeply researched narrative threads, \u003ci>The Sky Below\u003c/i> boasts a reading room, complete with a vending machine from the Oakland bookstore \u003ca href=\"https://sistahscifi.com/\">Sistah Scifi\u003c/a>. Each artist has recommended at least one work of science or speculative fiction, and Rabben and Mukherjee will both lead reading group meetings in August. \u003c/p>\n\u003cp>The futures imagined in this show — rooted in beauty, craft, handmade materials, care for land and people — are far more appealing (to me, at least) than the sterile, space-bound one I grew up believing in. It may take longer to see such visions enter our mainstream media, but until then, there’s a heck of a reading list to start with. \u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://www.marinmoca.org/see-and-experience\">The Sky Below\u003c/a>’ is on view at the Marin Museum of Contemporary Art (1210 Fifth Ave., San Rafael) is on view through Sept. 21, 2025.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If some of the world’s richest men had their way, we’d think \u003ca href=\"https://www.kqed.org/arts/13969865/future-hunters-movie-sci-fi-predictions-2025\">the future\u003c/a> was all shiny silver surfaces and rockets blasting off to space. It’s a difficult vision to buck, especially when so much media bolsters it: movies keep putting ordinary men into space suits and tasking them with saving our dying planet. (Starring Ryan Gosling, \u003ca href=\"https://youtu.be/m08TxIsFTRI?feature=shared\">out next March\u003c/a>!)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But there’s another mode of science fiction, one that has distinctly West Coast roots. This strain of speculation looks inward and down — to the earth — for a more promising future. It’s this approach, put forth by sci-fi authors like Ursula K. Le Guin and Octavia Butler, that ties together the works in \u003ci>\u003ca href=\"https://www.marinmoca.org/see-and-experience\">The Sky Below\u003c/a>\u003c/i>, a group show curated by Heidi Rabben for the Marin Museum of Contemporary Art.\u003c/p>\n\u003cp>In a former office building on San Rafael’s Fifth Avenue, the museum occupies one high-ceilinged main space and four former offices, two of which are turned over to single-artist displays for this show. Walls are painted lavender and royal blue, and a pedestal supporting a small \u003ca href=\"https://www.kqed.org/arts/13954510/sf-ballet-dos-mujeres-maria-guzman-capron-scenic-artists\">Maria A. Guzmán Capron\u003c/a> sculpture is a glowing goldenrod. \u003c/p>\n\u003cfigure id=\"attachment_13979114\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/01-Detail-from-Finite-Horizon-Astria-Suparak-Installation-32%E2%80%B2-x-11%E2%80%B2-2023.-To-Your-Eternity-Biennial-Today-Art-Museum-Beijing.-Photo-credit_-Today-Art-Museum_2000.jpg\" alt=\"video screen against wall with two cityscapes against orange sky\" width=\"2000\" height=\"1334\" class=\"size-full wp-image-13979114\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/01-Detail-from-Finite-Horizon-Astria-Suparak-Installation-32′-x-11′-2023.-To-Your-Eternity-Biennial-Today-Art-Museum-Beijing.-Photo-credit_-Today-Art-Museum_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/01-Detail-from-Finite-Horizon-Astria-Suparak-Installation-32′-x-11′-2023.-To-Your-Eternity-Biennial-Today-Art-Museum-Beijing.-Photo-credit_-Today-Art-Museum_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/01-Detail-from-Finite-Horizon-Astria-Suparak-Installation-32′-x-11′-2023.-To-Your-Eternity-Biennial-Today-Art-Museum-Beijing.-Photo-credit_-Today-Art-Museum_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/01-Detail-from-Finite-Horizon-Astria-Suparak-Installation-32′-x-11′-2023.-To-Your-Eternity-Biennial-Today-Art-Museum-Beijing.-Photo-credit_-Today-Art-Museum_2000-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Astria Suparak, ‘Finite Horizon’ (detail), 2023 at the Today Art Museum in Beijing, China. \u003ccite>(Today Art Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The speculative futures depicted here are colorful, in more ways than one. \u003ca href=\"https://www.kqed.org/arts/13893493/astria-suparaks-virtually-asian-analyzes-sci-fi-to-argue-for-less-racist-futures\">Astria Suparak\u003c/a>’s video \u003ci>On the Neon Horizon\u003c/i> continues the artist’s investigation into mainstream white filmmakers’ depictions of “Asian futures, without Asians.” Here, we get an eight-minute supercut of Asian languages and cultures flattened into dangerous, crowded and miasmic backgrounds, again and again. Clips from the 1930s to the 2010s show this is neither a new, nor a diminishing trend.\u003c/p>\n\u003cp>Other artists invent their own narratives, whole cloth. Actually, cloth is a recurring material in \u003ci>The Sky Below\u003c/i>. Capron’s two other pieces in the show are hand-dyed and screen-printed textile works, hanging like declaratory banners on either side of the museum’s entrance. Multi-faced and multi-limbed bodies entwine in colorful patchworks of tie-dye. Whatever future they’re ushering in, it looks uncontainably optimistic. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Opposite these works, \u003ca href=\"https://www.soleedarrell.com/\">Soleé Darrell\u003c/a>’s \u003ci>Portal\u003c/i> is a looser, draped arrangement of sumptuously painted velvet, rope and trims, splayed across that lavender wall like a rainbow-hued pelt. \u003c/p>\n\u003cfigure id=\"attachment_13979115\" class=\"wp-caption aligncenter\" style=\"max-width: 1819px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/relrobinson_juliagoodman_combo.jpg\" alt=\"vertical quilted textile with image of black hole; two suspended paper relief works in gradients of blue to black\" width=\"1819\" height=\"1278\" class=\"size-full wp-image-13979115\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/relrobinson_juliagoodman_combo.jpg 1819w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/relrobinson_juliagoodman_combo-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/relrobinson_juliagoodman_combo-768x540.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/relrobinson_juliagoodman_combo-1536x1079.jpg 1536w\" sizes=\"auto, (max-width: 1819px) 100vw, 1819px\">\u003cfigcaption class=\"wp-caption-text\">L: rel robinson, ‘Black Hole,’ 2024; R: Julia Goodman, ‘Two (Promise),’ 2021. \u003ccite>(Courtesy the artists; photo on right by Henrik Kam )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In a former office, \u003ca href=\"https://relrobinson.info/\">rel robinson\u003c/a>’s installation is a bit more muted, palette-wise; curtains of found fabrics in white, light pink and cream hang over the walls. Their soft folds form the background for two quilted textile pieces, each containing even more layering — of photographs, AI renderings, language and stitching — that speak to the complex web of images and influences that shape contemporary femininity. \u003c/p>\n\u003cp>Even a work that doesn’t initially read as a textile is, in fact, made from repurposed bedsheets, T-shirts and other fabric remnants. \u003ca href=\"https://www.jagoodman.com/\">Julia Goodman\u003c/a>’s two handmade paper reliefs show the pattern of the brick wall they were formed against. Bits of brick and dirt still cling to their surfaces. Hanging side by side like door-shaped portals, they cast green and orange glows against the wall behind.\u003c/p>\n\u003cp>The exhibition’s three other artists look both forward and back to craft their work. On the museum’s largest wall (the blue one), six large-scale paintings by \u003ca href=\"https://www.kqed.org/arts/13969590/sf-ballet-curtain-artist-ranu-mukherjee-cool-britannia\">Ranu Mukherjee\u003c/a> depict disorienting scenes of humans, animals and plant life. In their confusion, these are lush, vibrant versions of the surrealist artist René Magritte’s 1965 painting \u003ci>\u003ca href=\"https://www.nga.gov/artworks/66422-blank-signature\">The Blank Signature\u003c/a>\u003c/i>.\u003c/p>\n\u003cfigure id=\"attachment_13979116\" class=\"wp-caption aligncenter\" style=\"max-width: 1962px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/06_Ranu_a-place-to-find-the-light_2000.jpg\" alt=\"painting with tree trunks, rugs and animals on brown background\" width=\"1962\" height=\"1318\" class=\"size-full wp-image-13979116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/06_Ranu_a-place-to-find-the-light_2000.jpg 1962w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/06_Ranu_a-place-to-find-the-light_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/06_Ranu_a-place-to-find-the-light_2000-768x516.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/06_Ranu_a-place-to-find-the-light_2000-1536x1032.jpg 1536w\" sizes=\"auto, (max-width: 1962px) 100vw, 1962px\">\u003cfigcaption class=\"wp-caption-text\">Ranu Mukherjee, ‘a place to find the light,’ 2023. \u003ccite>(Courtesy the artist and Gallery Wendi Norris)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>The Sky Below\u003c/i>, unlike so many future-minded shows, only has three video pieces in it. \u003ca href=\"https://www.kqed.org/arts/13808739/at-city-limits-sofia-cordova-imagines-life-after-humanity\">Sofía Córdova\u003c/a> uses the medium to mine the Indigenous and 20th-century cultural history of San José. \u003ci>If No Clouds, Then Stars, and Then the Cosmos\u003c/i> combines references to Lick Observatory, the organizing of the \u003ca href=\"https://hightechgays.com/\">High Tech Gays\u003c/a>, the Delano grape strike and the 1985 killing of a Black teenager, \u003ca href=\"https://www.queersiliconvalley.org/melvin-truss-story/\">Melvin Truss\u003c/a>, by a San José police officer. The video essay, which is an ongoing project, looks at the history of the land, the technology that has shaped it, and the people who have been touched, often violently, by that technology.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Possibly the most far-out (and spacey) of all the works in the show is \u003ca href=\"https://genevievequick.com/home.html\">Genevieve Quick\u003c/a>’s video \u003ci>Cel Bell\u003c/i>, which imagines a telecom network that connects ancestors to an increasingly intergalactic Asian diaspora. “Your ancestors would like to know what your life is like,” the video proclaims, linking the history of San Francisco’s \u003ca href=\"https://www.kqed.org/arts/13960573/chinese-telephone-exchange-san-francisco-chinatown-history\">Chinese Telephone Exchange\u003c/a> to Quick’s imagined “Celadonians” — futuristic beings from Planet Celadon.\u003c/p>\n\u003cp>In addition to swirls of color, satisfying textures and deeply researched narrative threads, \u003ci>The Sky Below\u003c/i> boasts a reading room, complete with a vending machine from the Oakland bookstore \u003ca href=\"https://sistahscifi.com/\">Sistah Scifi\u003c/a>. Each artist has recommended at least one work of science or speculative fiction, and Rabben and Mukherjee will both lead reading group meetings in August. \u003c/p>\n\u003cp>The futures imagined in this show — rooted in beauty, craft, handmade materials, care for land and people — are far more appealing (to me, at least) than the sterile, space-bound one I grew up believing in. It may take longer to see such visions enter our mainstream media, but until then, there’s a heck of a reading list to start with. \u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://www.marinmoca.org/see-and-experience\">The Sky Below\u003c/a>’ is on view at the Marin Museum of Contemporary Art (1210 Fifth Ave., San Rafael) is on view through Sept. 21, 2025.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The Fine Arts Museums of San Francisco, which oversees the \u003ca href=\"https://www.kqed.org/arts/tag/de-young-museum\">de Young Museum\u003c/a> and the \u003ca href=\"https://www.kqed.org/arts/tag/legion-of-honor\">Legion of Honor\u003c/a>, announced on Friday \u003ca href=\"https://www.famsf.org/press-room/fine-arts-museums-of-san-francisco-community-statement-regarding-staff-reduction\">the layoffs of 12 staff members\u003c/a>. \u003c/p>\n\u003cp>“As with many of our local and global cultural institutions, we are navigating the ongoing effects of softening tourism and changing post-pandemic visitation patterns,” wrote Chief Marketing Officer Brooke Golden in an email.\u003c/p>\n\u003cp>A statement from FAMSF Director and CEO Thomas Campbell similarly noted decreased attendance from pre-pandemic levels — down from over 1.5 million visitors in 2018 to 1.2 million visitors in the 2024 fiscal year. \u003c/p>\n\u003cp>[aside postID='news_12039221']The layoffs represent 5% of the FAMSF staff. The museums receive 20% of their funding from the city of San Francisco. In the mayor’s \u003ca href=\"https://media.api.sf.gov/documents/70_CSF_Proposed_Budget_Book_June_2024_Final_REV1_0525v2_UMl4gFg.pdf\">June 1 budget proposal\u003c/a>, the museums are set to receive $24.2 million in the 2025–26 fiscal year and $25.2 million in the 2026–27 fiscal year. These are small increases (1.9% and 4.1%, respectively) which provide a modicum of relief after \u003ca href=\"https://www.sfchronicle.com/entertainment/article/sf-fine-arts-museums-budget-cuts-20201845.php\">museum officials feared 15% in funding cuts\u003c/a> earlier this year.\u003c/p>\n\u003cp>Campbell added that the museum tried alternate methods to reduce costs, including reduced budgets, resource reallocation and programming changes, but “we concluded that a workforce reduction was necessary not only to close a projected budgetary gap but also to ensure our long term financial stability.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The announcement follows the San Francisco Museum of Modern Art’s \u003ca href=\"https://www.kqed.org/news/12039221/sfmoma-lays-off-29-employees-citing-low-attendance-financial-strain\">May 7 layoffs\u003c/a> of 29 staff members (approximately 7.5% of the workforce) and the elimination of 13 open positions. Like Campbell, SFMOMA Director Christopher Bedford pointed to less tourism and a general shift away from social gathering. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Fine Arts Museums of San Francisco, which oversees the \u003ca href=\"https://www.kqed.org/arts/tag/de-young-museum\">de Young Museum\u003c/a> and the \u003ca href=\"https://www.kqed.org/arts/tag/legion-of-honor\">Legion of Honor\u003c/a>, announced on Friday \u003ca href=\"https://www.famsf.org/press-room/fine-arts-museums-of-san-francisco-community-statement-regarding-staff-reduction\">the layoffs of 12 staff members\u003c/a>. \u003c/p>\n\u003cp>“As with many of our local and global cultural institutions, we are navigating the ongoing effects of softening tourism and changing post-pandemic visitation patterns,” wrote Chief Marketing Officer Brooke Golden in an email.\u003c/p>\n\u003cp>A statement from FAMSF Director and CEO Thomas Campbell similarly noted decreased attendance from pre-pandemic levels — down from over 1.5 million visitors in 2018 to 1.2 million visitors in the 2024 fiscal year. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The layoffs represent 5% of the FAMSF staff. The museums receive 20% of their funding from the city of San Francisco. In the mayor’s \u003ca href=\"https://media.api.sf.gov/documents/70_CSF_Proposed_Budget_Book_June_2024_Final_REV1_0525v2_UMl4gFg.pdf\">June 1 budget proposal\u003c/a>, the museums are set to receive $24.2 million in the 2025–26 fiscal year and $25.2 million in the 2026–27 fiscal year. These are small increases (1.9% and 4.1%, respectively) which provide a modicum of relief after \u003ca href=\"https://www.sfchronicle.com/entertainment/article/sf-fine-arts-museums-budget-cuts-20201845.php\">museum officials feared 15% in funding cuts\u003c/a> earlier this year.\u003c/p>\n\u003cp>Campbell added that the museum tried alternate methods to reduce costs, including reduced budgets, resource reallocation and programming changes, but “we concluded that a workforce reduction was necessary not only to close a projected budgetary gap but also to ensure our long term financial stability.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The announcement follows the San Francisco Museum of Modern Art’s \u003ca href=\"https://www.kqed.org/news/12039221/sfmoma-lays-off-29-employees-citing-low-attendance-financial-strain\">May 7 layoffs\u003c/a> of 29 staff members (approximately 7.5% of the workforce) and the elimination of 13 open positions. Like Campbell, SFMOMA Director Christopher Bedford pointed to less tourism and a general shift away from social gathering. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘Black Spaces’ at the Oakland Museum Meditates on Displacement and Reclamation",
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"headTitle": "‘Black Spaces’ at the Oakland Museum Meditates on Displacement and Reclamation | KQED",
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"content": "\u003cfigure id=\"attachment_13978945\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/10_Michelle-Vignes_Kenny-Playing-Sax-at-the-De-Luxe-Inn-in-Oakland_1983_Collection-of-the-Oakland-Museum-of-California-Dorothea-Lange-Award-Purchase.jpg\" alt=\"A Black man with his eyes closed plays a saxophone in a dark nightclub while another man sits in a booth nearby, smiling\" width=\"2000\" height=\"1506\" class=\"size-full wp-image-13978945\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/10_Michelle-Vignes_Kenny-Playing-Sax-at-the-De-Luxe-Inn-in-Oakland_1983_Collection-of-the-Oakland-Museum-of-California-Dorothea-Lange-Award-Purchase.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/10_Michelle-Vignes_Kenny-Playing-Sax-at-the-De-Luxe-Inn-in-Oakland_1983_Collection-of-the-Oakland-Museum-of-California-Dorothea-Lange-Award-Purchase-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/10_Michelle-Vignes_Kenny-Playing-Sax-at-the-De-Luxe-Inn-in-Oakland_1983_Collection-of-the-Oakland-Museum-of-California-Dorothea-Lange-Award-Purchase-768x578.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/10_Michelle-Vignes_Kenny-Playing-Sax-at-the-De-Luxe-Inn-in-Oakland_1983_Collection-of-the-Oakland-Museum-of-California-Dorothea-Lange-Award-Purchase-1536x1157.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Michelle Vignes, ‘Kenny Playing Sax at the De Luxe Inn in Oakland,’ 1983. \u003ccite>(Michelle Vignes / Bancroft Library, UC Berkeley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>You don’t have to dig deep to find a story of Black \u003ca href=\"https://www.kqed.org/news/tag/displacement\">displacement\u003c/a> in the Bay Area.\u003c/p>\n\u003cp>Walking through the Lower Haight, I’m reminded of my grandparents being denied an apartment in the 1950s when the landlord flatly stated, “We don’t rent to Blacks.” Meeting a friend recently outside Oracle Park for a Giants game, I couldn’t help but think about how even Willie Mays — a Hall of Fame outfielder and one of the greatest baseball players of all time — was \u003ca href=\"https://www.sfchronicle.com/chronicle_vault/article/Chronicle-Covers-When-Willie-Mays-was-denied-10518685.php\">nearly blocked from buying a home\u003c/a> in San Francisco’s exclusive Sherwood Forest neighborhood in the late 1950s. (Neighbors objected, forcing the mayor to intervene so Mays could close the deal — at $5,000 above the price quoted to white buyers.) \u003c/p>\n\u003cp>Today, Mays has a statue anchoring a plaza named in his honor. Yet the contradiction lingers: celebrated in bronze while the system that excluded him remains largely intact.\u003c/p>\n\u003cp>My family’s story and Willie Mays’ struggle aren’t isolated incidents. They’re threads in a pattern of exclusion stretching back decades in the Bay Area, determining which communities were able to plant roots and which would be systematically uprooted.\u003c/p>\n\u003cfigure id=\"attachment_13978946\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/4_Marion-Coleman_Country-Club-Nights_Circa-2015_Courtesy-Hayward-Area-Historical-Society-scaled.jpg\" alt=\"\" width=\"2560\" height=\"2327\" class=\"size-full wp-image-13978946\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/4_Marion-Coleman_Country-Club-Nights_Circa-2015_Courtesy-Hayward-Area-Historical-Society-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/4_Marion-Coleman_Country-Club-Nights_Circa-2015_Courtesy-Hayward-Area-Historical-Society-2000x1818.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/4_Marion-Coleman_Country-Club-Nights_Circa-2015_Courtesy-Hayward-Area-Historical-Society-160x145.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/4_Marion-Coleman_Country-Club-Nights_Circa-2015_Courtesy-Hayward-Area-Historical-Society-768x698.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/4_Marion-Coleman_Country-Club-Nights_Circa-2015_Courtesy-Hayward-Area-Historical-Society-1536x1396.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/4_Marion-Coleman_Country-Club-Nights_Circa-2015_Courtesy-Hayward-Area-Historical-Society-2048x1861.jpg 2048w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Marion Coleman, ‘Country Club Nights,’ 2014. \u003ccite>(Courtesy of the Hayward Area Historical Society)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That tension — between visibility and erasure, celebration and systemic harm — is what makes \u003ca href=\"https://museumca.org/on-view/black-spaces-reclaim-remain/\">\u003ci>Black Spaces: Reclaim & Remain\u003c/i>\u003c/a> so vital. On view at the \u003ca href=\"https://museumca.org\">Oakland Museum of California \u003c/a>through March 2026, the exhibition does more than document Black displacement; it honors the spaces we built anyway, and the ones we’re still reclaiming.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Curated by OMCA Associate Curator Dania Talley, the exhibit centers on two East Bay communities: West Oakland and the lesser-known \u003ca href=\"https://www.kqed.org/news/11922175/remembering-russell-city-a-thriving-east-bay-town-razed-by-racist-government\">Russell City\u003c/a>, once a vibrant Black and Latino farming town.\u003c/p>\n\u003cp>Museum Director Lori Fogarty first learned about Russell City in 2021, while receiving a national award in Washington, D.C. She’d brought along Carolyn “C.J.” Johnson, CEO of the Black Cultural Zone, as part of OMCA’s delegation. Over dinner, Johnson shared how her family had migrated from Oklahoma and Louisiana to West Oakland, before being displaced to Russell City — one of many families who made a home there before the town was ultimately \u003ca href=\"https://www.kqed.org/news/11897843/decades-after-cultural-genocide-residents-of-a-bulldozed-community-get-apology-from-hayward\">bulldozed in the 1960s to make way for an industrial park\u003c/a>. Fogarty had worked at OMCA for nearly two decades without ever hearing the story. “That had to change,” she said.\u003c/p>\n\u003cfigure id=\"attachment_13978948\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/8_Keith-Dennison_Untitled-A-tank-prepares-to-attack-first-house-in-new-post-office-site-clearance-plan_1960_Collection-of-the-Oakland-Museum-of-California-The-Oakland-Tribune-Collection-scaled.jpg\" alt=\"\" width=\"2560\" height=\"2082\" class=\"size-full wp-image-13978948\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/8_Keith-Dennison_Untitled-A-tank-prepares-to-attack-first-house-in-new-post-office-site-clearance-plan_1960_Collection-of-the-Oakland-Museum-of-California-The-Oakland-Tribune-Collection-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/8_Keith-Dennison_Untitled-A-tank-prepares-to-attack-first-house-in-new-post-office-site-clearance-plan_1960_Collection-of-the-Oakland-Museum-of-California-The-Oakland-Tribune-Collection-2000x1627.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/8_Keith-Dennison_Untitled-A-tank-prepares-to-attack-first-house-in-new-post-office-site-clearance-plan_1960_Collection-of-the-Oakland-Museum-of-California-The-Oakland-Tribune-Collection-160x130.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/8_Keith-Dennison_Untitled-A-tank-prepares-to-attack-first-house-in-new-post-office-site-clearance-plan_1960_Collection-of-the-Oakland-Museum-of-California-The-Oakland-Tribune-Collection-768x625.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/8_Keith-Dennison_Untitled-A-tank-prepares-to-attack-first-house-in-new-post-office-site-clearance-plan_1960_Collection-of-the-Oakland-Museum-of-California-The-Oakland-Tribune-Collection-1536x1249.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/8_Keith-Dennison_Untitled-A-tank-prepares-to-attack-first-house-in-new-post-office-site-clearance-plan_1960_Collection-of-the-Oakland-Museum-of-California-The-Oakland-Tribune-Collection-2048x1666.jpg 2048w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Keith Dennison, ‘Untitled [Sherman tank prepares to destroy homes for post office site],’ 1960. \u003ccite>(Oakland Museum of California / Oakland Tribune Collection)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The exhibit unfolds in three thematic zones: \u003ci>Homeplace\u003c/i>, which explores domestic life under discrimination; \u003ci>Social Fabric\u003c/i>, which celebrates community institutions; and \u003ci>Dispossession and Repair\u003c/i>, which confronts destructive policies and lifts up grassroots resistance.\u003c/p>\n\u003cp>In \u003ci>Homeplace\u003c/i>, artifacts like church fans, diplomas, and a suitcase belonging to Otis Williams, who moved from Louisiana to work in the Marin City shipyards, illustrate personal narratives of migration and “the individual carving out space under systems of exclusion,” as Talley explained at a press preview for the exhibit.\u003c/p>\n\u003cp>[aside postID='news_11897843']In \u003cem>Social Fabric\u003c/em>, visitors encounter churches, jazz venues, and Black-owned businesses that sustained thriving communities. A special highlight is the Oak Center Neighborhood Association, formed in 1963 to fight the city’s redevelopment plans targeting West Oakland. The group ultimately saved over 300 historic Victorian homes from demolition in the mid-1960s, persuading officials to invest in rehabilitation instead. The Oak Center neighborhood remains a symbol of grassroots resistance and \u003ca href=\"https://www.oakcenter.org/\">the power of residents to protect\u003c/a> what they’ve built.\u003c/p>\n\u003cp>\u003ci>Dispossession and Repair\u003c/i> examines the impact of the Housing Act of 1949 and redlining, while spotlighting resistance through maps, oral histories, and community records.\u003c/p>\n\u003cfigure id=\"attachment_13978949\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/12_Adrian-Burrell_film-still-from-Electric-Slide_2025_Courtesy-of-the-artist-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1433\" class=\"size-full wp-image-13978949\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/12_Adrian-Burrell_film-still-from-Electric-Slide_2025_Courtesy-of-the-artist-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/12_Adrian-Burrell_film-still-from-Electric-Slide_2025_Courtesy-of-the-artist-2000x1119.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/12_Adrian-Burrell_film-still-from-Electric-Slide_2025_Courtesy-of-the-artist-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/12_Adrian-Burrell_film-still-from-Electric-Slide_2025_Courtesy-of-the-artist-768x430.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/12_Adrian-Burrell_film-still-from-Electric-Slide_2025_Courtesy-of-the-artist-1536x860.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/12_Adrian-Burrell_film-still-from-Electric-Slide_2025_Courtesy-of-the-artist-2048x1146.jpg 2048w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Adrian Burrell, still from ‘Electric Slide,’ 2025. \u003ccite>(Adrian Burrell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Three commissioned installations deepen the exhibit’s impact. One of the most arresting is by Adrian Burrell, a third-generation Oaklander, who created a towering bottle tree sculpture anchored by a steel base and adorned with glass bottles — an African American folk tradition meant to ward off evil spirits. Tucked within the branches are small video monitors playing intimate home footage: his grandmother’s block parties in Ghost Town, the somber ritual of her funeral, and tender scenes of family life that pulse with joy, grief, and resilience.\u003c/p>\n\u003cp>“This is about rehearsal,” Burrell explained. “Black folks have always practiced for catastrophe. What we’re doing now is just the latest act.”\u003c/p>\n\u003cp>At the Archive of Urban Futures, created by Dr. Brandi T. Summers, visitors can browse zines, maps, and multimedia documents tracing the erasure, commodification and reclamation of Black history in Oakland. “We still call Oakland home, even if we can’t afford to live here anymore,” Summers said. “This space is about holding on to that memory and building from it.”\u003c/p>\n\u003cfigure id=\"attachment_13978947\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/3_Map-of-West-Oakland-1968_Courtesy-of-Segregation-by-Design-scaled.jpg\" alt=\"\" width=\"2560\" height=\"2048\" class=\"size-full wp-image-13978947\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/3_Map-of-West-Oakland-1968_Courtesy-of-Segregation-by-Design-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/3_Map-of-West-Oakland-1968_Courtesy-of-Segregation-by-Design-2000x1600.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/3_Map-of-West-Oakland-1968_Courtesy-of-Segregation-by-Design-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/3_Map-of-West-Oakland-1968_Courtesy-of-Segregation-by-Design-768x614.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/3_Map-of-West-Oakland-1968_Courtesy-of-Segregation-by-Design-1536x1229.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/3_Map-of-West-Oakland-1968_Courtesy-of-Segregation-by-Design-2048x1639.jpg 2048w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Adam P. Susaneck, ‘Oakland: Freeways and Urban Renewal,’ 1968. \u003ccite>(Adam P. Susaneck / Segregation by Design)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A full-scale replica of 2928 Magnolia St. — occupied by \u003ca href=\"https://www.kqed.org/news/11842392/how-moms-4-housing-changed-laws-and-inspired-a-movement\">Moms 4 Housing\u003c/a> in 2019 — serves as both memorial and model for housing justice. Moms 4 Housing co-founder Dominique Walker shared that her son took his first steps in the house, underscoring the importance of having a place to stay. Councilmember Carroll Fife added, “The system that created homelessness is the same one that made Russell City disappear. We have to keep resisting and telling these stories.”\u003c/p>\n\u003cp>During the preview, gallery owner \u003ca href=\"https://www.kqed.org/arts/13955879/jonathan-carver-moore-gallery-residency-market-street\">Jonathan Carver Moore\u003c/a>, who moved to the Bay from D.C. nine years ago, said the exhibit reshaped how he sees these cities. “I never realized how Black San Francisco and Oakland once were. Seeing those photos, the bulldozers, the kids on top of them — it reminded me this was ours.”\u003c/p>\n\u003cp>Comedian and TV host \u003ca href=\"https://www.kqed.org/arts/tag/w-kamau-bell\">W. Kamau Bell\u003c/a> called the exhibition a necessary mirror. “This is exactly what the Oakland Museum of California does best — centering the voices, aesthetics, and needs of Oakland,” he said. “If there was ever a time to focus on reclaiming Black spaces, it’s now. And not just Black spaces, American spaces. This exhibit reminds us how.”\u003c/p>\n\u003cfigure id=\"attachment_13978950\" class=\"wp-caption aligncenter\" style=\"max-width: 1656px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/14.Krista-Pearl-McAtee-Recipes-for-Remembrance-2025.-Digital-collage.-Courtesy-of-the-artist-and-Archive-of-Urban-Futures-scaled.jpg\" alt=\"\" width=\"1656\" height=\"2560\" class=\"size-full wp-image-13978950\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/14.Krista-Pearl-McAtee-Recipes-for-Remembrance-2025.-Digital-collage.-Courtesy-of-the-artist-and-Archive-of-Urban-Futures-scaled.jpg 1656w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/14.Krista-Pearl-McAtee-Recipes-for-Remembrance-2025.-Digital-collage.-Courtesy-of-the-artist-and-Archive-of-Urban-Futures-2000x3092.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/14.Krista-Pearl-McAtee-Recipes-for-Remembrance-2025.-Digital-collage.-Courtesy-of-the-artist-and-Archive-of-Urban-Futures-160x247.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/14.Krista-Pearl-McAtee-Recipes-for-Remembrance-2025.-Digital-collage.-Courtesy-of-the-artist-and-Archive-of-Urban-Futures-768x1187.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/14.Krista-Pearl-McAtee-Recipes-for-Remembrance-2025.-Digital-collage.-Courtesy-of-the-artist-and-Archive-of-Urban-Futures-994x1536.jpg 994w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/14.Krista-Pearl-McAtee-Recipes-for-Remembrance-2025.-Digital-collage.-Courtesy-of-the-artist-and-Archive-of-Urban-Futures-1325x2048.jpg 1325w\" sizes=\"auto, (max-width: 1656px) 100vw, 1656px\">\u003cfigcaption class=\"wp-caption-text\">Krista Pearl McAtee, ‘Recipes for Remembrance,’ 2025. \u003ccite>(Krista Pearl McAtee / Archive of Urban Futures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A statement painted on the gallery wall sums up its emotional core: “Black does not ask permission; it seeps, stretches, and stains. Black is the architecture of the uncontainable.”\u003c/p>\n\u003cp>This is not just a history exhibition. It’s a living memory project, a communal vision board, a space to mourn what was lost and to celebrate what still pulses beneath city streets. If you’ve ever walked past an empty lot and felt a story rise up in your chest—or wondered where the jazz clubs went, or why that corner store became a boutique—this show is for you. And if you haven’t, then it’s definitely for you.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"http://museumca.org/on-view/black-spaces-reclaim-remain\">Black Spaces: Reclaim & Remain\u003c/a>’ is on view through March 1, 2026, at the Oakland Museum of California (\u003ci>1000 Oak Street, Oakland). \u003ca href=\"https://museumca.org/on-view/black-spaces-reclaim-remain/\">Details here\u003c/a>.\u003c/i>\u003c/i>\u003c/p>\n\n",
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"excerpt": "Russell City, West Oakland and other sites of erasure and resilience inspire this probing show at OMCA.",
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"title": "Review: ‘Black Spaces’ at the Oakland Museum Explores Displacement and Reclamation | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13978945\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/10_Michelle-Vignes_Kenny-Playing-Sax-at-the-De-Luxe-Inn-in-Oakland_1983_Collection-of-the-Oakland-Museum-of-California-Dorothea-Lange-Award-Purchase.jpg\" alt=\"A Black man with his eyes closed plays a saxophone in a dark nightclub while another man sits in a booth nearby, smiling\" width=\"2000\" height=\"1506\" class=\"size-full wp-image-13978945\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/10_Michelle-Vignes_Kenny-Playing-Sax-at-the-De-Luxe-Inn-in-Oakland_1983_Collection-of-the-Oakland-Museum-of-California-Dorothea-Lange-Award-Purchase.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/10_Michelle-Vignes_Kenny-Playing-Sax-at-the-De-Luxe-Inn-in-Oakland_1983_Collection-of-the-Oakland-Museum-of-California-Dorothea-Lange-Award-Purchase-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/10_Michelle-Vignes_Kenny-Playing-Sax-at-the-De-Luxe-Inn-in-Oakland_1983_Collection-of-the-Oakland-Museum-of-California-Dorothea-Lange-Award-Purchase-768x578.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/10_Michelle-Vignes_Kenny-Playing-Sax-at-the-De-Luxe-Inn-in-Oakland_1983_Collection-of-the-Oakland-Museum-of-California-Dorothea-Lange-Award-Purchase-1536x1157.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Michelle Vignes, ‘Kenny Playing Sax at the De Luxe Inn in Oakland,’ 1983. \u003ccite>(Michelle Vignes / Bancroft Library, UC Berkeley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>You don’t have to dig deep to find a story of Black \u003ca href=\"https://www.kqed.org/news/tag/displacement\">displacement\u003c/a> in the Bay Area.\u003c/p>\n\u003cp>Walking through the Lower Haight, I’m reminded of my grandparents being denied an apartment in the 1950s when the landlord flatly stated, “We don’t rent to Blacks.” Meeting a friend recently outside Oracle Park for a Giants game, I couldn’t help but think about how even Willie Mays — a Hall of Fame outfielder and one of the greatest baseball players of all time — was \u003ca href=\"https://www.sfchronicle.com/chronicle_vault/article/Chronicle-Covers-When-Willie-Mays-was-denied-10518685.php\">nearly blocked from buying a home\u003c/a> in San Francisco’s exclusive Sherwood Forest neighborhood in the late 1950s. (Neighbors objected, forcing the mayor to intervene so Mays could close the deal — at $5,000 above the price quoted to white buyers.) \u003c/p>\n\u003cp>Today, Mays has a statue anchoring a plaza named in his honor. Yet the contradiction lingers: celebrated in bronze while the system that excluded him remains largely intact.\u003c/p>\n\u003cp>My family’s story and Willie Mays’ struggle aren’t isolated incidents. They’re threads in a pattern of exclusion stretching back decades in the Bay Area, determining which communities were able to plant roots and which would be systematically uprooted.\u003c/p>\n\u003cfigure id=\"attachment_13978946\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/4_Marion-Coleman_Country-Club-Nights_Circa-2015_Courtesy-Hayward-Area-Historical-Society-scaled.jpg\" alt=\"\" width=\"2560\" height=\"2327\" class=\"size-full wp-image-13978946\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/4_Marion-Coleman_Country-Club-Nights_Circa-2015_Courtesy-Hayward-Area-Historical-Society-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/4_Marion-Coleman_Country-Club-Nights_Circa-2015_Courtesy-Hayward-Area-Historical-Society-2000x1818.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/4_Marion-Coleman_Country-Club-Nights_Circa-2015_Courtesy-Hayward-Area-Historical-Society-160x145.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/4_Marion-Coleman_Country-Club-Nights_Circa-2015_Courtesy-Hayward-Area-Historical-Society-768x698.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/4_Marion-Coleman_Country-Club-Nights_Circa-2015_Courtesy-Hayward-Area-Historical-Society-1536x1396.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/4_Marion-Coleman_Country-Club-Nights_Circa-2015_Courtesy-Hayward-Area-Historical-Society-2048x1861.jpg 2048w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Marion Coleman, ‘Country Club Nights,’ 2014. \u003ccite>(Courtesy of the Hayward Area Historical Society)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That tension — between visibility and erasure, celebration and systemic harm — is what makes \u003ca href=\"https://museumca.org/on-view/black-spaces-reclaim-remain/\">\u003ci>Black Spaces: Reclaim & Remain\u003c/i>\u003c/a> so vital. On view at the \u003ca href=\"https://museumca.org\">Oakland Museum of California \u003c/a>through March 2026, the exhibition does more than document Black displacement; it honors the spaces we built anyway, and the ones we’re still reclaiming.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Curated by OMCA Associate Curator Dania Talley, the exhibit centers on two East Bay communities: West Oakland and the lesser-known \u003ca href=\"https://www.kqed.org/news/11922175/remembering-russell-city-a-thriving-east-bay-town-razed-by-racist-government\">Russell City\u003c/a>, once a vibrant Black and Latino farming town.\u003c/p>\n\u003cp>Museum Director Lori Fogarty first learned about Russell City in 2021, while receiving a national award in Washington, D.C. She’d brought along Carolyn “C.J.” Johnson, CEO of the Black Cultural Zone, as part of OMCA’s delegation. Over dinner, Johnson shared how her family had migrated from Oklahoma and Louisiana to West Oakland, before being displaced to Russell City — one of many families who made a home there before the town was ultimately \u003ca href=\"https://www.kqed.org/news/11897843/decades-after-cultural-genocide-residents-of-a-bulldozed-community-get-apology-from-hayward\">bulldozed in the 1960s to make way for an industrial park\u003c/a>. Fogarty had worked at OMCA for nearly two decades without ever hearing the story. “That had to change,” she said.\u003c/p>\n\u003cfigure id=\"attachment_13978948\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/8_Keith-Dennison_Untitled-A-tank-prepares-to-attack-first-house-in-new-post-office-site-clearance-plan_1960_Collection-of-the-Oakland-Museum-of-California-The-Oakland-Tribune-Collection-scaled.jpg\" alt=\"\" width=\"2560\" height=\"2082\" class=\"size-full wp-image-13978948\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/8_Keith-Dennison_Untitled-A-tank-prepares-to-attack-first-house-in-new-post-office-site-clearance-plan_1960_Collection-of-the-Oakland-Museum-of-California-The-Oakland-Tribune-Collection-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/8_Keith-Dennison_Untitled-A-tank-prepares-to-attack-first-house-in-new-post-office-site-clearance-plan_1960_Collection-of-the-Oakland-Museum-of-California-The-Oakland-Tribune-Collection-2000x1627.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/8_Keith-Dennison_Untitled-A-tank-prepares-to-attack-first-house-in-new-post-office-site-clearance-plan_1960_Collection-of-the-Oakland-Museum-of-California-The-Oakland-Tribune-Collection-160x130.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/8_Keith-Dennison_Untitled-A-tank-prepares-to-attack-first-house-in-new-post-office-site-clearance-plan_1960_Collection-of-the-Oakland-Museum-of-California-The-Oakland-Tribune-Collection-768x625.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/8_Keith-Dennison_Untitled-A-tank-prepares-to-attack-first-house-in-new-post-office-site-clearance-plan_1960_Collection-of-the-Oakland-Museum-of-California-The-Oakland-Tribune-Collection-1536x1249.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/8_Keith-Dennison_Untitled-A-tank-prepares-to-attack-first-house-in-new-post-office-site-clearance-plan_1960_Collection-of-the-Oakland-Museum-of-California-The-Oakland-Tribune-Collection-2048x1666.jpg 2048w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Keith Dennison, ‘Untitled [Sherman tank prepares to destroy homes for post office site],’ 1960. \u003ccite>(Oakland Museum of California / Oakland Tribune Collection)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The exhibit unfolds in three thematic zones: \u003ci>Homeplace\u003c/i>, which explores domestic life under discrimination; \u003ci>Social Fabric\u003c/i>, which celebrates community institutions; and \u003ci>Dispossession and Repair\u003c/i>, which confronts destructive policies and lifts up grassroots resistance.\u003c/p>\n\u003cp>In \u003ci>Homeplace\u003c/i>, artifacts like church fans, diplomas, and a suitcase belonging to Otis Williams, who moved from Louisiana to work in the Marin City shipyards, illustrate personal narratives of migration and “the individual carving out space under systems of exclusion,” as Talley explained at a press preview for the exhibit.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In \u003cem>Social Fabric\u003c/em>, visitors encounter churches, jazz venues, and Black-owned businesses that sustained thriving communities. A special highlight is the Oak Center Neighborhood Association, formed in 1963 to fight the city’s redevelopment plans targeting West Oakland. The group ultimately saved over 300 historic Victorian homes from demolition in the mid-1960s, persuading officials to invest in rehabilitation instead. The Oak Center neighborhood remains a symbol of grassroots resistance and \u003ca href=\"https://www.oakcenter.org/\">the power of residents to protect\u003c/a> what they’ve built.\u003c/p>\n\u003cp>\u003ci>Dispossession and Repair\u003c/i> examines the impact of the Housing Act of 1949 and redlining, while spotlighting resistance through maps, oral histories, and community records.\u003c/p>\n\u003cfigure id=\"attachment_13978949\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/12_Adrian-Burrell_film-still-from-Electric-Slide_2025_Courtesy-of-the-artist-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1433\" class=\"size-full wp-image-13978949\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/12_Adrian-Burrell_film-still-from-Electric-Slide_2025_Courtesy-of-the-artist-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/12_Adrian-Burrell_film-still-from-Electric-Slide_2025_Courtesy-of-the-artist-2000x1119.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/12_Adrian-Burrell_film-still-from-Electric-Slide_2025_Courtesy-of-the-artist-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/12_Adrian-Burrell_film-still-from-Electric-Slide_2025_Courtesy-of-the-artist-768x430.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/12_Adrian-Burrell_film-still-from-Electric-Slide_2025_Courtesy-of-the-artist-1536x860.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/12_Adrian-Burrell_film-still-from-Electric-Slide_2025_Courtesy-of-the-artist-2048x1146.jpg 2048w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Adrian Burrell, still from ‘Electric Slide,’ 2025. \u003ccite>(Adrian Burrell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Three commissioned installations deepen the exhibit’s impact. One of the most arresting is by Adrian Burrell, a third-generation Oaklander, who created a towering bottle tree sculpture anchored by a steel base and adorned with glass bottles — an African American folk tradition meant to ward off evil spirits. Tucked within the branches are small video monitors playing intimate home footage: his grandmother’s block parties in Ghost Town, the somber ritual of her funeral, and tender scenes of family life that pulse with joy, grief, and resilience.\u003c/p>\n\u003cp>“This is about rehearsal,” Burrell explained. “Black folks have always practiced for catastrophe. What we’re doing now is just the latest act.”\u003c/p>\n\u003cp>At the Archive of Urban Futures, created by Dr. Brandi T. Summers, visitors can browse zines, maps, and multimedia documents tracing the erasure, commodification and reclamation of Black history in Oakland. “We still call Oakland home, even if we can’t afford to live here anymore,” Summers said. “This space is about holding on to that memory and building from it.”\u003c/p>\n\u003cfigure id=\"attachment_13978947\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/3_Map-of-West-Oakland-1968_Courtesy-of-Segregation-by-Design-scaled.jpg\" alt=\"\" width=\"2560\" height=\"2048\" class=\"size-full wp-image-13978947\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/3_Map-of-West-Oakland-1968_Courtesy-of-Segregation-by-Design-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/3_Map-of-West-Oakland-1968_Courtesy-of-Segregation-by-Design-2000x1600.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/3_Map-of-West-Oakland-1968_Courtesy-of-Segregation-by-Design-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/3_Map-of-West-Oakland-1968_Courtesy-of-Segregation-by-Design-768x614.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/3_Map-of-West-Oakland-1968_Courtesy-of-Segregation-by-Design-1536x1229.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/3_Map-of-West-Oakland-1968_Courtesy-of-Segregation-by-Design-2048x1639.jpg 2048w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Adam P. Susaneck, ‘Oakland: Freeways and Urban Renewal,’ 1968. \u003ccite>(Adam P. Susaneck / Segregation by Design)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A full-scale replica of 2928 Magnolia St. — occupied by \u003ca href=\"https://www.kqed.org/news/11842392/how-moms-4-housing-changed-laws-and-inspired-a-movement\">Moms 4 Housing\u003c/a> in 2019 — serves as both memorial and model for housing justice. Moms 4 Housing co-founder Dominique Walker shared that her son took his first steps in the house, underscoring the importance of having a place to stay. Councilmember Carroll Fife added, “The system that created homelessness is the same one that made Russell City disappear. We have to keep resisting and telling these stories.”\u003c/p>\n\u003cp>During the preview, gallery owner \u003ca href=\"https://www.kqed.org/arts/13955879/jonathan-carver-moore-gallery-residency-market-street\">Jonathan Carver Moore\u003c/a>, who moved to the Bay from D.C. nine years ago, said the exhibit reshaped how he sees these cities. “I never realized how Black San Francisco and Oakland once were. Seeing those photos, the bulldozers, the kids on top of them — it reminded me this was ours.”\u003c/p>\n\u003cp>Comedian and TV host \u003ca href=\"https://www.kqed.org/arts/tag/w-kamau-bell\">W. Kamau Bell\u003c/a> called the exhibition a necessary mirror. “This is exactly what the Oakland Museum of California does best — centering the voices, aesthetics, and needs of Oakland,” he said. “If there was ever a time to focus on reclaiming Black spaces, it’s now. And not just Black spaces, American spaces. This exhibit reminds us how.”\u003c/p>\n\u003cfigure id=\"attachment_13978950\" class=\"wp-caption aligncenter\" style=\"max-width: 1656px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/14.Krista-Pearl-McAtee-Recipes-for-Remembrance-2025.-Digital-collage.-Courtesy-of-the-artist-and-Archive-of-Urban-Futures-scaled.jpg\" alt=\"\" width=\"1656\" height=\"2560\" class=\"size-full wp-image-13978950\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/14.Krista-Pearl-McAtee-Recipes-for-Remembrance-2025.-Digital-collage.-Courtesy-of-the-artist-and-Archive-of-Urban-Futures-scaled.jpg 1656w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/14.Krista-Pearl-McAtee-Recipes-for-Remembrance-2025.-Digital-collage.-Courtesy-of-the-artist-and-Archive-of-Urban-Futures-2000x3092.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/14.Krista-Pearl-McAtee-Recipes-for-Remembrance-2025.-Digital-collage.-Courtesy-of-the-artist-and-Archive-of-Urban-Futures-160x247.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/14.Krista-Pearl-McAtee-Recipes-for-Remembrance-2025.-Digital-collage.-Courtesy-of-the-artist-and-Archive-of-Urban-Futures-768x1187.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/14.Krista-Pearl-McAtee-Recipes-for-Remembrance-2025.-Digital-collage.-Courtesy-of-the-artist-and-Archive-of-Urban-Futures-994x1536.jpg 994w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/14.Krista-Pearl-McAtee-Recipes-for-Remembrance-2025.-Digital-collage.-Courtesy-of-the-artist-and-Archive-of-Urban-Futures-1325x2048.jpg 1325w\" sizes=\"auto, (max-width: 1656px) 100vw, 1656px\">\u003cfigcaption class=\"wp-caption-text\">Krista Pearl McAtee, ‘Recipes for Remembrance,’ 2025. \u003ccite>(Krista Pearl McAtee / Archive of Urban Futures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A statement painted on the gallery wall sums up its emotional core: “Black does not ask permission; it seeps, stretches, and stains. Black is the architecture of the uncontainable.”\u003c/p>\n\u003cp>This is not just a history exhibition. It’s a living memory project, a communal vision board, a space to mourn what was lost and to celebrate what still pulses beneath city streets. If you’ve ever walked past an empty lot and felt a story rise up in your chest—or wondered where the jazz clubs went, or why that corner store became a boutique—this show is for you. And if you haven’t, then it’s definitely for you.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"http://museumca.org/on-view/black-spaces-reclaim-remain\">Black Spaces: Reclaim & Remain\u003c/a>’ is on view through March 1, 2026, at the Oakland Museum of California (\u003ci>1000 Oak Street, Oakland). \u003ca href=\"https://museumca.org/on-view/black-spaces-reclaim-remain/\">Details here\u003c/a>.\u003c/i>\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "public-art-comments-portsmouth-square-san-francisco-chinatown",
"title": "Public Gets to Weigh In on Art Coming to a Renovated Portsmouth Square",
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"headTitle": "Public Gets to Weigh In on Art Coming to a Renovated Portsmouth Square | KQED",
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"content": "\u003cp>In San Francisco’s Chinatown, Portsmouth Square’s renovation may be \u003ca href=\"https://www.kqed.org/news/12044728/sf-chinatown-park-makeover-delayed-thanks-to-trump-tariffs\">delayed\u003c/a>, but the neighborhood’s artistic future is already in the works. Local residents are being asked to weigh in on the finalists for two planned public artworks — an \u003ca href=\"https://www.sfartscommission.org/content/art-proposals-portsmouth-square-sculpture\">entrance plaza sculpture\u003c/a> and a \u003ca href=\"https://www.sfartscommission.org/content/art-proposals-portsmouth-square-clubhouse-wall\">clubhouse wall\u003c/a> — that will eventually fill the revamped space. \u003c/p>\n\u003cp>[aside postID='news_12044728,news_11973503']This opportunity provides community members the chance to be seen and heard, ensuring that the public art chosen for Portsmouth Square truly reflects the people who live, work and gather in Chinatown. \u003c/p>\n\u003cp>“Providing public comments is an essential part of our public art selection process,” notes Coma Te, director of communications for the San Francisco Arts Commission. “We encourage all those who are interested, especially those that actively use the public space or who live nearby, to share their feedback.” \u003c/p>\n\u003cp>Community members can share feedback online through the \u003ca href=\"https://www.sfartscommission.org/content/art-proposals-portsmouth-square-sculpture\">SFAC website\u003c/a>, in person at 667 Grant Ave. and 41 Ross Alley (Thursday–Sunday, 11 a.m.–5 p.m.) and during weekly tabling at the Chinatown Rose Pak Station. Public comments for the proposals will be accepted through July 21 until 5 p.m. \u003c/p>\n\u003ch2>\u003ca href=\"https://www.sfartscommission.org/content/art-proposals-portsmouth-square-sculpture\">Entryway sculpture\u003c/a>\u003c/h2>\n\u003cp>Serving as a visual invitation to Portsmouth Square, the entryway sculpture will sit at the corner of Walter U Lum and Washington Streets.\u003c/p>\n\u003cfigure id=\"attachment_13978666\" class=\"wp-caption aligncenter\" style=\"max-width: 1341px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Lee-Boles-Faw_crop.jpg\" alt=\"tree and cast of tree connected by flat awning, lit at night\" width=\"1341\" height=\"1018\" class=\"size-full wp-image-13978666\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Lee-Boles-Faw_crop.jpg 1341w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Lee-Boles-Faw_crop-160x121.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Lee-Boles-Faw_crop-768x583.jpg 768w\" sizes=\"auto, (max-width: 1341px) 100vw, 1341px\">\u003cfigcaption class=\"wp-caption-text\">A nighttime rendering of lee + boles faw’s proposal ‘Living Room/Living Gate.’ \u003ccite>(San Francisco Arts Commission)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003ci>Living Room/Living Gate\u003c/i> by lee + boles faw\u003c/b>\u003cbr>\nDesigned to embody the message, “when you welcome a guest, you have found your home,” this sculpture highlights Chinatown’s spirit of hospitality and community. The sculpture features a bronze cast of a magnolia tree that stood in Portsmouth Square for over 60 years (and will be cut down during construction), paired with a gilded wooden beam and a living magnolia growing nearby. The artists propose to form a sculptural gateway that bridges generations. \u003c/p>\n\u003cfigure id=\"attachment_13978673\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Bijun_proposal-poster_2000.jpg\" alt=\"two metal lion heads with boot-shaped bases\" width=\"2000\" height=\"1374\" class=\"size-full wp-image-13978673\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Bijun_proposal-poster_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Bijun_proposal-poster_2000-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Bijun_proposal-poster_2000-768x528.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Bijun_proposal-poster_2000-1536x1055.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A rendering of the bronze guardian lions in Bijun Liang’s ‘鞋天鞋地 (xietian xiedi)’ proposal. \u003ccite>(San Francisco Arts Commission)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003ci>鞋天鞋地 (xietian xiedi)\u003c/i> by Bijun Liang\u003c/b>\u003cbr>\nAn interactive bronze sculpture of two boot-shaped guardian lions, \u003cem>鞋天鞋地 (xietian xiedi)\u003c/em> invites people to touch, engage with and make the sculpture their own, celebrating Chinatown’s spirit of movement, resilience and everyday joy. Rooted in Liang’s personal history as an immigrant raised in the neighborhood, the piece honors the past while looking boldly toward what’s next. \u003c/p>\n\u003cfigure id=\"attachment_13978667\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/CathyLu_2000.jpg\" alt=\"rendering of tree sculpture with different fruits hanging from branches\" width=\"2000\" height=\"1534\" class=\"size-full wp-image-13978667\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/CathyLu_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/CathyLu_2000-160x123.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/CathyLu_2000-768x589.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/CathyLu_2000-1536x1178.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A detail from the rendering of Cathy Lu’s ‘Nuwa’s Hand (Fruits of Chinatown)’ proposal. \u003ccite>(San Francisco Arts Commission)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003ci>Nuwa’s Hand (Fruits of Chinatown)\u003c/i> by Cathy Lu\u003c/b>\u003cbr>\nThis 11-foot-tall bronze and aluminum sculpture of a mythic tree is rooted in the hand of the Chinese creation goddess, Nuwa. With cast fruits from Chinatown markets growing from its branches, the piece blends ancient symbolism with everyday life to celebrate hybridity, resilience and cultural abundance. Drawing from Lu’s long-standing exploration of diasporic identity, the work reimagines Chinatown as a living, evolving space shaped by its people and their stories. \u003c/p>\n\u003ch2>\u003ca href=\"https://www.sfartscommission.org/content/art-proposals-portsmouth-square-clubhouse-wall\">Clubhouse wall\u003c/a>\u003c/h2>\n\u003cp>Installed on the interior and exterior walls of the new Portsmouth Square clubhouse, this artwork will likely be made with mosaics or ceramic tile.\u003c/p>\n\u003cfigure id=\"attachment_13978675\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/CHEUNG_1_2000.jpg\" alt=\"illustration of children riding phoenix with inset illustrations of daily life\" width=\"2000\" height=\"1511\" class=\"size-full wp-image-13978675\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/CHEUNG_1_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/CHEUNG_1_2000-160x121.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/CHEUNG_1_2000-768x580.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/CHEUNG_1_2000-1536x1160.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A detail of the interior wall in Kayan Cheung-Miaw’s ‘Rising Phoenix’ proposal. \u003ccite>(San Francisco Arts Commission)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003ci>Rising Phoenix\u003c/i> by Kayan Cheung-Miaw\u003c/b>\u003cbr>\nDrawing from a comic-inspired art style, Cheung-Miaw’s design captures themes of struggle, resilience, renewal and individual acts of heroism rooted in the histories of Chinatown and Manilatown. At its center is a phoenix, symbolizing abundance, harmony and collective care, which rises as a tribute to the strength and interconnectedness of the community. \u003c/p>\n\u003cfigure id=\"attachment_13978674\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/10b-Wofford-CommunityTreasures_final_2000.jpg\" alt=\"rendering of large community space with yellow and red walls\" width=\"2000\" height=\"1332\" class=\"size-full wp-image-13978674\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/10b-Wofford-CommunityTreasures_final_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/10b-Wofford-CommunityTreasures_final_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/10b-Wofford-CommunityTreasures_final_2000-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/10b-Wofford-CommunityTreasures_final_2000-1536x1023.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A renderings of Jenifer K Wofford’s ‘Community Treasures’ proposal for the interior and exterior clubhouse wall. \u003ccite>(San Francisco Arts Commission)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003ci>Community Treasures\u003c/i> by Jenifer K Wofford\u003c/b>\u003cbr>\nReferencing traditional Chinese cabinets, this wall will include illustrations of precious treasures (like festival lanterns and mahjong tiles, or food like dan tat, baos and zong) that reflect Chinatown’s historical, cultural and community values. Several shelves intentionally remain empty as they await objects that will be created in future community workshops. \u003c/p>\n\u003cfigure id=\"attachment_13978676\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/SFAC-PSQ-ProposalBoard-Christine-Wong-Yap_2000.jpg\" alt=\"red and pink illustration with curving dragon and text in multiple languages\" width=\"2000\" height=\"1482\" class=\"size-full wp-image-13978676\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/SFAC-PSQ-ProposalBoard-Christine-Wong-Yap_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/SFAC-PSQ-ProposalBoard-Christine-Wong-Yap_2000-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/SFAC-PSQ-ProposalBoard-Christine-Wong-Yap_2000-768x569.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/SFAC-PSQ-ProposalBoard-Christine-Wong-Yap_2000-1536x1138.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Christine Wong Yap’s ‘Generations of Love and Care’ proposal for the interior wall of the clubhouse. \u003ccite>(San Francisco Arts Commission)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003ci>Generations of Love and Care\u003c/i> by Christine Wong Yap\u003c/b>\u003cbr>\nYap’s \u003ci>Generations of Love and Care\u003c/i> features drawings of elderly and young lion dancers in a bold graphic style with warm tones of peachy pink and coral. Made with porcelain enamel on steel, the proposed artwork will include hand-lettered text in multiple languages and interactive features like rubbing plates and a photo-friendly silhouette.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "The San Francisco Arts Commission is accepting public comment on six designs until July 21. ",
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"title": "Weigh In on Portsmouth Square’s Future Public Art | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In San Francisco’s Chinatown, Portsmouth Square’s renovation may be \u003ca href=\"https://www.kqed.org/news/12044728/sf-chinatown-park-makeover-delayed-thanks-to-trump-tariffs\">delayed\u003c/a>, but the neighborhood’s artistic future is already in the works. Local residents are being asked to weigh in on the finalists for two planned public artworks — an \u003ca href=\"https://www.sfartscommission.org/content/art-proposals-portsmouth-square-sculpture\">entrance plaza sculpture\u003c/a> and a \u003ca href=\"https://www.sfartscommission.org/content/art-proposals-portsmouth-square-clubhouse-wall\">clubhouse wall\u003c/a> — that will eventually fill the revamped space. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>This opportunity provides community members the chance to be seen and heard, ensuring that the public art chosen for Portsmouth Square truly reflects the people who live, work and gather in Chinatown. \u003c/p>\n\u003cp>“Providing public comments is an essential part of our public art selection process,” notes Coma Te, director of communications for the San Francisco Arts Commission. “We encourage all those who are interested, especially those that actively use the public space or who live nearby, to share their feedback.” \u003c/p>\n\u003cp>Community members can share feedback online through the \u003ca href=\"https://www.sfartscommission.org/content/art-proposals-portsmouth-square-sculpture\">SFAC website\u003c/a>, in person at 667 Grant Ave. and 41 Ross Alley (Thursday–Sunday, 11 a.m.–5 p.m.) and during weekly tabling at the Chinatown Rose Pak Station. Public comments for the proposals will be accepted through July 21 until 5 p.m. \u003c/p>\n\u003ch2>\u003ca href=\"https://www.sfartscommission.org/content/art-proposals-portsmouth-square-sculpture\">Entryway sculpture\u003c/a>\u003c/h2>\n\u003cp>Serving as a visual invitation to Portsmouth Square, the entryway sculpture will sit at the corner of Walter U Lum and Washington Streets.\u003c/p>\n\u003cfigure id=\"attachment_13978666\" class=\"wp-caption aligncenter\" style=\"max-width: 1341px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Lee-Boles-Faw_crop.jpg\" alt=\"tree and cast of tree connected by flat awning, lit at night\" width=\"1341\" height=\"1018\" class=\"size-full wp-image-13978666\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Lee-Boles-Faw_crop.jpg 1341w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Lee-Boles-Faw_crop-160x121.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Lee-Boles-Faw_crop-768x583.jpg 768w\" sizes=\"auto, (max-width: 1341px) 100vw, 1341px\">\u003cfigcaption class=\"wp-caption-text\">A nighttime rendering of lee + boles faw’s proposal ‘Living Room/Living Gate.’ \u003ccite>(San Francisco Arts Commission)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003ci>Living Room/Living Gate\u003c/i> by lee + boles faw\u003c/b>\u003cbr>\nDesigned to embody the message, “when you welcome a guest, you have found your home,” this sculpture highlights Chinatown’s spirit of hospitality and community. The sculpture features a bronze cast of a magnolia tree that stood in Portsmouth Square for over 60 years (and will be cut down during construction), paired with a gilded wooden beam and a living magnolia growing nearby. The artists propose to form a sculptural gateway that bridges generations. \u003c/p>\n\u003cfigure id=\"attachment_13978673\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Bijun_proposal-poster_2000.jpg\" alt=\"two metal lion heads with boot-shaped bases\" width=\"2000\" height=\"1374\" class=\"size-full wp-image-13978673\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Bijun_proposal-poster_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Bijun_proposal-poster_2000-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Bijun_proposal-poster_2000-768x528.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Bijun_proposal-poster_2000-1536x1055.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A rendering of the bronze guardian lions in Bijun Liang’s ‘鞋天鞋地 (xietian xiedi)’ proposal. \u003ccite>(San Francisco Arts Commission)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003ci>鞋天鞋地 (xietian xiedi)\u003c/i> by Bijun Liang\u003c/b>\u003cbr>\nAn interactive bronze sculpture of two boot-shaped guardian lions, \u003cem>鞋天鞋地 (xietian xiedi)\u003c/em> invites people to touch, engage with and make the sculpture their own, celebrating Chinatown’s spirit of movement, resilience and everyday joy. Rooted in Liang’s personal history as an immigrant raised in the neighborhood, the piece honors the past while looking boldly toward what’s next. \u003c/p>\n\u003cfigure id=\"attachment_13978667\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/CathyLu_2000.jpg\" alt=\"rendering of tree sculpture with different fruits hanging from branches\" width=\"2000\" height=\"1534\" class=\"size-full wp-image-13978667\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/CathyLu_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/CathyLu_2000-160x123.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/CathyLu_2000-768x589.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/CathyLu_2000-1536x1178.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A detail from the rendering of Cathy Lu’s ‘Nuwa’s Hand (Fruits of Chinatown)’ proposal. \u003ccite>(San Francisco Arts Commission)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003ci>Nuwa’s Hand (Fruits of Chinatown)\u003c/i> by Cathy Lu\u003c/b>\u003cbr>\nThis 11-foot-tall bronze and aluminum sculpture of a mythic tree is rooted in the hand of the Chinese creation goddess, Nuwa. With cast fruits from Chinatown markets growing from its branches, the piece blends ancient symbolism with everyday life to celebrate hybridity, resilience and cultural abundance. Drawing from Lu’s long-standing exploration of diasporic identity, the work reimagines Chinatown as a living, evolving space shaped by its people and their stories. \u003c/p>\n\u003ch2>\u003ca href=\"https://www.sfartscommission.org/content/art-proposals-portsmouth-square-clubhouse-wall\">Clubhouse wall\u003c/a>\u003c/h2>\n\u003cp>Installed on the interior and exterior walls of the new Portsmouth Square clubhouse, this artwork will likely be made with mosaics or ceramic tile.\u003c/p>\n\u003cfigure id=\"attachment_13978675\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/CHEUNG_1_2000.jpg\" alt=\"illustration of children riding phoenix with inset illustrations of daily life\" width=\"2000\" height=\"1511\" class=\"size-full wp-image-13978675\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/CHEUNG_1_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/CHEUNG_1_2000-160x121.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/CHEUNG_1_2000-768x580.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/CHEUNG_1_2000-1536x1160.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A detail of the interior wall in Kayan Cheung-Miaw’s ‘Rising Phoenix’ proposal. \u003ccite>(San Francisco Arts Commission)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003ci>Rising Phoenix\u003c/i> by Kayan Cheung-Miaw\u003c/b>\u003cbr>\nDrawing from a comic-inspired art style, Cheung-Miaw’s design captures themes of struggle, resilience, renewal and individual acts of heroism rooted in the histories of Chinatown and Manilatown. At its center is a phoenix, symbolizing abundance, harmony and collective care, which rises as a tribute to the strength and interconnectedness of the community. \u003c/p>\n\u003cfigure id=\"attachment_13978674\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/10b-Wofford-CommunityTreasures_final_2000.jpg\" alt=\"rendering of large community space with yellow and red walls\" width=\"2000\" height=\"1332\" class=\"size-full wp-image-13978674\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/10b-Wofford-CommunityTreasures_final_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/10b-Wofford-CommunityTreasures_final_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/10b-Wofford-CommunityTreasures_final_2000-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/10b-Wofford-CommunityTreasures_final_2000-1536x1023.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A renderings of Jenifer K Wofford’s ‘Community Treasures’ proposal for the interior and exterior clubhouse wall. \u003ccite>(San Francisco Arts Commission)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003ci>Community Treasures\u003c/i> by Jenifer K Wofford\u003c/b>\u003cbr>\nReferencing traditional Chinese cabinets, this wall will include illustrations of precious treasures (like festival lanterns and mahjong tiles, or food like dan tat, baos and zong) that reflect Chinatown’s historical, cultural and community values. Several shelves intentionally remain empty as they await objects that will be created in future community workshops. \u003c/p>\n\u003cfigure id=\"attachment_13978676\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/SFAC-PSQ-ProposalBoard-Christine-Wong-Yap_2000.jpg\" alt=\"red and pink illustration with curving dragon and text in multiple languages\" width=\"2000\" height=\"1482\" class=\"size-full wp-image-13978676\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/SFAC-PSQ-ProposalBoard-Christine-Wong-Yap_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/SFAC-PSQ-ProposalBoard-Christine-Wong-Yap_2000-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/SFAC-PSQ-ProposalBoard-Christine-Wong-Yap_2000-768x569.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/SFAC-PSQ-ProposalBoard-Christine-Wong-Yap_2000-1536x1138.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Christine Wong Yap’s ‘Generations of Love and Care’ proposal for the interior wall of the clubhouse. \u003ccite>(San Francisco Arts Commission)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003ci>Generations of Love and Care\u003c/i> by Christine Wong Yap\u003c/b>\u003cbr>\nYap’s \u003ci>Generations of Love and Care\u003c/i> features drawings of elderly and young lion dancers in a bold graphic style with warm tones of peachy pink and coral. Made with porcelain enamel on steel, the proposed artwork will include hand-lettered text in multiple languages and interactive features like rubbing plates and a photo-friendly silhouette.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>When \u003ca href=\"https://www.instagram.com/pablocirca/\">pablo circa\u003c/a> told me that he and \u003ca href=\"https://www.instagram.com/essiwesterman/\">Essi Westerman\u003c/a>, two photographers from Oakland, were curating an exhibition that features even more talented photographers from the Town — 42 to be exact — I had questions.\u003c/p>\n\u003cp>Especially after he told me that every single image in the show falls under his definition of a “self-portrait.”\u003c/p>\n\u003cp>The exhibition, \u003cem>\u003ca href=\"https://www.instagram.com/p/DLTfIcEPDQ_/?img_index=1\">Street Stories: Oakland in Focus\u003c/a>\u003c/em>, will kick off with a free opening night celebration on Friday, July 11 at 464 9th St. in Old Oakland. It will be on display for a month, viewable by appointment until the exhibition’s closing event during the first week of August.\u003c/p>\n\u003cp>circa tells me that this collective collage of intimate imagery started with an open submission process; artists chose one photo from their archive to display. “In effect,” he says, “each image is a self-portrait.” But pablo circa’s definition of a self-portrait is a bit different from whatever the dictionary is talking about.\u003c/p>\n\u003cfigure id=\"attachment_13978629\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13978629\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/000007140020-Rhonda-Smith_2000.jpg\" alt=\"person with arms raised looking down on baseball field\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/000007140020-Rhonda-Smith_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/000007140020-Rhonda-Smith_2000-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/000007140020-Rhonda-Smith_2000-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/000007140020-Rhonda-Smith_2000-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A lingering image of the baseball franchise that called Oakland home for over 50 years. \u003ccite>(Rhonda M. Smith)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I believe a photograph to be a self-portrait,” he says, explaining that any image made by a human manually using a camera is a product of a person being present in that environment, being inspired to click the shutter and being able to compose the image in a way that does their subject justice.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I truly believe that every single image is a self-portrait,” circa reiterates during a recent phone call. And for this exhibition in particular, he says, the aim is to highlight how every single person who makes a portrait has an original perspective, especially in this place we call Oakland.\u003c/p>\n\u003cp>“We all have our unique ways of engaging with the city around us,” circa says. “We have 42 different artists who are in their relative communities, bringing their relative experience, all under one roof, to make it an even more dynamic and saturated experience in the space.”\u003c/p>\n\u003cp>The show will feature black-and-white as well as color images; photos from artists who shoot analog and digital; people who publish on Instagram, Substack and their own websites. Visual storytellers \u003ca href=\"https://gatewaycookies.substack.com/\">gateway.cookies\u003c/a>, \u003ca href=\"https://www.sabrinasellersphoto.com/\">Sabrina Sellers\u003c/a> and \u003ca href=\"https://www.instagram.com/hmtwnhero.jpg/\">HMTWNHERO\u003c/a> will have their images mounted next to work from the likes of \u003ca href=\"https://www.instagram.com/ronadsf/?hl=en\">Rhonda M. Smith\u003c/a>, \u003ca href=\"https://www.instagram.com/korisuzukiphoto/?hl=en\">Kori Suzuki\u003c/a> and \u003ca href=\"https://www.instagram.com/filmhowyalike/\">Yameen\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13978631\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13978631\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/47890005-Amelia-Berumen_2000.jpg\" alt=\"two women pose with drinks at bar\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/47890005-Amelia-Berumen_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/47890005-Amelia-Berumen_2000-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/47890005-Amelia-Berumen_2000-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/47890005-Amelia-Berumen_2000-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A pool shark named Reyna (at right) and her best friend pose for a photo at The Aloha Club in East Oakland. \u003ccite>(Amelia Berumen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>circa, who is also the co-founder of the \u003ca href=\"https://www.instagram.com/oak.spc/\">Oakland Street Photography Collective\u003c/a> and \u003ca href=\"https://www.instagram.com/camerasandcoffeeclub/\">The Cameras + Coffee Club\u003c/a>, understands the importance of getting photographers, and people in general, together.\u003c/p>\n\u003cp>“I know that xenophobia and fearmongering is huge, especially now with the distance that comes with social media — and not having to engage with different communities that you can hold an opinion about,” says circa. “The way to overcome that is to actually engage with the community around us.”\u003c/p>\n\u003cp>He laments negative portrayals of Oakland in the media. If people actually took the time to engage and have a conversation, he says, they’d find a lot similarities in the people around them. But building community, much like making a self-portrait, requires curiosity, composition and patience. You have to “slow down, stop, and engage with one another,” circa says, adding, “the more that we know one another, the more that we can potentially support and care for one another.”\u003c/p>\n\u003cp>On Friday night, as \u003ca href=\"https://www.instagram.com/andrewkodama\">NOSEI SUN ROOM\u003c/a> provides a soundtrack for the evening, attendees will gather to see images of each other: reflections of individuals, coming together to create a much larger picture of what Oakland truly is.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.instagram.com/p/DLTfIcEPDQ_/?img_index=1\">Street Stories: Oakland in Focus\u003c/a>’ opens Friday, July 11, 5–8 p.m. at 464 9th St., Oakland.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When \u003ca href=\"https://www.instagram.com/pablocirca/\">pablo circa\u003c/a> told me that he and \u003ca href=\"https://www.instagram.com/essiwesterman/\">Essi Westerman\u003c/a>, two photographers from Oakland, were curating an exhibition that features even more talented photographers from the Town — 42 to be exact — I had questions.\u003c/p>\n\u003cp>Especially after he told me that every single image in the show falls under his definition of a “self-portrait.”\u003c/p>\n\u003cp>The exhibition, \u003cem>\u003ca href=\"https://www.instagram.com/p/DLTfIcEPDQ_/?img_index=1\">Street Stories: Oakland in Focus\u003c/a>\u003c/em>, will kick off with a free opening night celebration on Friday, July 11 at 464 9th St. in Old Oakland. It will be on display for a month, viewable by appointment until the exhibition’s closing event during the first week of August.\u003c/p>\n\u003cp>circa tells me that this collective collage of intimate imagery started with an open submission process; artists chose one photo from their archive to display. “In effect,” he says, “each image is a self-portrait.” But pablo circa’s definition of a self-portrait is a bit different from whatever the dictionary is talking about.\u003c/p>\n\u003cfigure id=\"attachment_13978629\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13978629\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/000007140020-Rhonda-Smith_2000.jpg\" alt=\"person with arms raised looking down on baseball field\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/000007140020-Rhonda-Smith_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/000007140020-Rhonda-Smith_2000-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/000007140020-Rhonda-Smith_2000-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/000007140020-Rhonda-Smith_2000-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A lingering image of the baseball franchise that called Oakland home for over 50 years. \u003ccite>(Rhonda M. Smith)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I believe a photograph to be a self-portrait,” he says, explaining that any image made by a human manually using a camera is a product of a person being present in that environment, being inspired to click the shutter and being able to compose the image in a way that does their subject justice.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I truly believe that every single image is a self-portrait,” circa reiterates during a recent phone call. And for this exhibition in particular, he says, the aim is to highlight how every single person who makes a portrait has an original perspective, especially in this place we call Oakland.\u003c/p>\n\u003cp>“We all have our unique ways of engaging with the city around us,” circa says. “We have 42 different artists who are in their relative communities, bringing their relative experience, all under one roof, to make it an even more dynamic and saturated experience in the space.”\u003c/p>\n\u003cp>The show will feature black-and-white as well as color images; photos from artists who shoot analog and digital; people who publish on Instagram, Substack and their own websites. Visual storytellers \u003ca href=\"https://gatewaycookies.substack.com/\">gateway.cookies\u003c/a>, \u003ca href=\"https://www.sabrinasellersphoto.com/\">Sabrina Sellers\u003c/a> and \u003ca href=\"https://www.instagram.com/hmtwnhero.jpg/\">HMTWNHERO\u003c/a> will have their images mounted next to work from the likes of \u003ca href=\"https://www.instagram.com/ronadsf/?hl=en\">Rhonda M. Smith\u003c/a>, \u003ca href=\"https://www.instagram.com/korisuzukiphoto/?hl=en\">Kori Suzuki\u003c/a> and \u003ca href=\"https://www.instagram.com/filmhowyalike/\">Yameen\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13978631\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13978631\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/47890005-Amelia-Berumen_2000.jpg\" alt=\"two women pose with drinks at bar\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/47890005-Amelia-Berumen_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/47890005-Amelia-Berumen_2000-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/47890005-Amelia-Berumen_2000-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/47890005-Amelia-Berumen_2000-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A pool shark named Reyna (at right) and her best friend pose for a photo at The Aloha Club in East Oakland. \u003ccite>(Amelia Berumen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>circa, who is also the co-founder of the \u003ca href=\"https://www.instagram.com/oak.spc/\">Oakland Street Photography Collective\u003c/a> and \u003ca href=\"https://www.instagram.com/camerasandcoffeeclub/\">The Cameras + Coffee Club\u003c/a>, understands the importance of getting photographers, and people in general, together.\u003c/p>\n\u003cp>“I know that xenophobia and fearmongering is huge, especially now with the distance that comes with social media — and not having to engage with different communities that you can hold an opinion about,” says circa. “The way to overcome that is to actually engage with the community around us.”\u003c/p>\n\u003cp>He laments negative portrayals of Oakland in the media. If people actually took the time to engage and have a conversation, he says, they’d find a lot similarities in the people around them. But building community, much like making a self-portrait, requires curiosity, composition and patience. You have to “slow down, stop, and engage with one another,” circa says, adding, “the more that we know one another, the more that we can potentially support and care for one another.”\u003c/p>\n\u003cp>On Friday night, as \u003ca href=\"https://www.instagram.com/andrewkodama\">NOSEI SUN ROOM\u003c/a> provides a soundtrack for the evening, attendees will gather to see images of each other: reflections of individuals, coming together to create a much larger picture of what Oakland truly is.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.instagram.com/p/DLTfIcEPDQ_/?img_index=1\">Street Stories: Oakland in Focus\u003c/a>’ opens Friday, July 11, 5–8 p.m. at 464 9th St., Oakland.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Bigger Than Ever, the SF Art Book Fair Returns With Zines and Small Presses Galore",
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"content": "\u003cp>You don’t realize just how massive the Bay Area’s small-press and \u003ca href=\"https://www.kqed.org/arts/tag/zines\">zine\u003c/a> world is until you walk into the San Francisco Art Book Fair. \u003c/p>\n\u003cp>Inside, it’s shoulder-to-shoulder crowds. A steady din of excited conversation. And tables full of fascinating, eye-catching DIY publications as far as the eyes can see. \u003c/p>\n\u003cp>It’s a scene that immediately captivated \u003ca href=\"https://cargocollective.com/oceanmescalanti/About-Ocean-M-Escalanti\">Ocean Escalanti\u003c/a> when the festival launched in 2016. After working to assist other vendors at the fair, or tabling for her day job at Richmond’s NIAD Art Center, the Oakland-based zinemaker began applying to be an exhibitor herself. This year, despite the fair receiving more than 400 applications for around 130 tables, she got in. \u003c/p>\n\u003cfigure id=\"attachment_13929554\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/SFABF2019_photoAirykaRockefeller-200-1.jpeg\" alt=\"people browse at a book fair\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13929554\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/SFABF2019_photoAirykaRockefeller-200-1.jpeg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/SFABF2019_photoAirykaRockefeller-200-1-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/SFABF2019_photoAirykaRockefeller-200-1-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/SFABF2019_photoAirykaRockefeller-200-1-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/SFABF2019_photoAirykaRockefeller-200-1-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/SFABF2019_photoAirykaRockefeller-200-1-1536x1024.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/SFABF2019_photoAirykaRockefeller-200-1-1920x1280.jpeg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">People browse at the 2019 SF Art Book Fair. \u003ccite>(Airyka Rockefeller)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In a way, Escalanti says, exhibiting at the SFABF is a rite of passage, and “a way to get acceptance, and own the fact that I’m an artist creating in the Bay Area.”\u003c/p>\n\u003cp>Escalanti’s zines provide a cross-section of the fair’s variety: she’ll have chapbook-sized tributes to David Bowie and Jerry Garcia alongside zines that reference ancient drawings. Her skill-share brochures on color symbolism and natural dyes are informed by her Indigenous Quechan background, and her desire to foster a personal relationship with the Bay Area’s land and its Native people after moving here from San Diego more than 10 years ago.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>On Friday, July 11, 1–2 p.m., Escalanti leads a discussion on the importance of small publishers working in the realms of ecology, homesteading and the natural world — one of 19 breakout events throughout the weekend.\u003c/p>\n\u003cp>[aside postID='arts_13961341'] In fact, after eight years, the SF Art Book Fair has expanded beyond its original mission as a showcase for art books. In addition to book signings with decidedly non–small press publishers like Chronicle Books, the weekend’s activities include photo exhibitions, a record swap sponsored by KUSF, a reading room dedicated to Charles and Ray Eames and a screening room of short films curated by SF Cinematique. \u003ca href=\"https://www.instagram.com/p/DLyXK-3v-T3/\">There’s even a celebrity dog\u003c/a>.\u003c/p>\n\u003cp>But books and zines are still the star attraction — so much so that, in the case of Ben Kinmont and his “street activation” about the 1960s group The Diggers, they’ll even be printed and given away on-site. When I attended the fair last year, I struggled to whittle my highlights down to just \u003ca href=\"https://www.kqed.org/arts/13961341/sf-art-book-fair-zines-underground-small-press-review\">eight cool books and zines\u003c/a> on offer — although I discovered most of them in the out-of-the-way second building up the street at 1150 25th St., where more DIY and grassroots artists like Escalanti can be found.\u003c/p>\n\u003cp>My advice? Go in completely blind, work your way around the buildings, and enjoy navigating the maze of personal, niche, funny and I-didn’t-know-I-needed-this publications from the Bay Area and beyond. \u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The ninth annual \u003ca href=\"https://sfartbookfair.com/\">San Francisco Art Book Fair\u003c/a> is free to attend and runs Friday–Saturday, July 11–13 — with an opening night on Thursday, July 10, 6–10 p.m. — at the Minnesota Street Project (1150 25th St., 1275 Minnesota St., 1240 Minnesota St. and 1201 Minnesota St., San Francisco).\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>You don’t realize just how massive the Bay Area’s small-press and \u003ca href=\"https://www.kqed.org/arts/tag/zines\">zine\u003c/a> world is until you walk into the San Francisco Art Book Fair. \u003c/p>\n\u003cp>Inside, it’s shoulder-to-shoulder crowds. A steady din of excited conversation. And tables full of fascinating, eye-catching DIY publications as far as the eyes can see. \u003c/p>\n\u003cp>It’s a scene that immediately captivated \u003ca href=\"https://cargocollective.com/oceanmescalanti/About-Ocean-M-Escalanti\">Ocean Escalanti\u003c/a> when the festival launched in 2016. After working to assist other vendors at the fair, or tabling for her day job at Richmond’s NIAD Art Center, the Oakland-based zinemaker began applying to be an exhibitor herself. This year, despite the fair receiving more than 400 applications for around 130 tables, she got in. \u003c/p>\n\u003cfigure id=\"attachment_13929554\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/SFABF2019_photoAirykaRockefeller-200-1.jpeg\" alt=\"people browse at a book fair\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13929554\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/SFABF2019_photoAirykaRockefeller-200-1.jpeg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/SFABF2019_photoAirykaRockefeller-200-1-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/SFABF2019_photoAirykaRockefeller-200-1-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/SFABF2019_photoAirykaRockefeller-200-1-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/SFABF2019_photoAirykaRockefeller-200-1-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/SFABF2019_photoAirykaRockefeller-200-1-1536x1024.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/SFABF2019_photoAirykaRockefeller-200-1-1920x1280.jpeg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">People browse at the 2019 SF Art Book Fair. \u003ccite>(Airyka Rockefeller)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In a way, Escalanti says, exhibiting at the SFABF is a rite of passage, and “a way to get acceptance, and own the fact that I’m an artist creating in the Bay Area.”\u003c/p>\n\u003cp>Escalanti’s zines provide a cross-section of the fair’s variety: she’ll have chapbook-sized tributes to David Bowie and Jerry Garcia alongside zines that reference ancient drawings. Her skill-share brochures on color symbolism and natural dyes are informed by her Indigenous Quechan background, and her desire to foster a personal relationship with the Bay Area’s land and its Native people after moving here from San Diego more than 10 years ago.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>On Friday, July 11, 1–2 p.m., Escalanti leads a discussion on the importance of small publishers working in the realms of ecology, homesteading and the natural world — one of 19 breakout events throughout the weekend.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp> In fact, after eight years, the SF Art Book Fair has expanded beyond its original mission as a showcase for art books. In addition to book signings with decidedly non–small press publishers like Chronicle Books, the weekend’s activities include photo exhibitions, a record swap sponsored by KUSF, a reading room dedicated to Charles and Ray Eames and a screening room of short films curated by SF Cinematique. \u003ca href=\"https://www.instagram.com/p/DLyXK-3v-T3/\">There’s even a celebrity dog\u003c/a>.\u003c/p>\n\u003cp>But books and zines are still the star attraction — so much so that, in the case of Ben Kinmont and his “street activation” about the 1960s group The Diggers, they’ll even be printed and given away on-site. When I attended the fair last year, I struggled to whittle my highlights down to just \u003ca href=\"https://www.kqed.org/arts/13961341/sf-art-book-fair-zines-underground-small-press-review\">eight cool books and zines\u003c/a> on offer — although I discovered most of them in the out-of-the-way second building up the street at 1150 25th St., where more DIY and grassroots artists like Escalanti can be found.\u003c/p>\n\u003cp>My advice? Go in completely blind, work your way around the buildings, and enjoy navigating the maze of personal, niche, funny and I-didn’t-know-I-needed-this publications from the Bay Area and beyond. \u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The ninth annual \u003ca href=\"https://sfartbookfair.com/\">San Francisco Art Book Fair\u003c/a> is free to attend and runs Friday–Saturday, July 11–13 — with an opening night on Thursday, July 10, 6–10 p.m. — at the Minnesota Street Project (1150 25th St., 1275 Minnesota St., 1240 Minnesota St. and 1201 Minnesota St., San Francisco).\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>We’ve all been there. One minute you’re casually browsing newspaper archives in the library, the next you’re stumbling across a story from yore that’s so bizarre, you just \u003cem>have\u003c/em> to render it in miniature form.\u003c/p>\n\u003cp>Yeah, okay, so, no. We clearly haven’t all been \u003cem>there\u003c/em>. But apparently, there are enough people who get overcome with a history-fueled desire to create dioramas that the Oakland Library is building an entire exhibition around it.\u003c/p>\n\u003cp>[aside postid='arts_13910308']\u003cem>All the News That’s Fit to Build: Local News Dioramas \u003c/em>will take over the Oakland History Center on the second floor of the Oakland library’s main branch between early August and late November. The plan is for the show to be a creative and engaging way to bring stories from East Bay history into the present day.\u003c/p>\n\u003cp>Best of all? The Oakland Library is specifically requesting that participants get as weird as possible. Examples of \u003ca href=\"https://oaklandlibrary.org/blogs/post/calling-all-crafters-make-an-oakland-history-diorama/\">newspaper story subjects that library staff think would make for good dioramas\u003c/a> include: a cop who put a raccoon in jail for disorderly conduct, a man who got accidentally buried up to his neck in mud at Lake Merritt, and a 1940s Hayward highway that was blocked by 10 tons of tomatoes.\u003c/p>\n\u003cp>All clearly excellent suggestions, but we at KQED Arts & Culture would like to add some to the pile, if we may be so bold. Such as:\u003c/p>\n\u003col>\n\u003cli>The \u003ca href=\"https://www.kqed.org/arts/13957514/1896-mystery-airship-bay-area-ufo-history-victorian-aliens\">entire streetcar of witnesses in Fruitvale who saw a Victorian UFO\u003c/a> one night in 1896\u003c/li>\n\u003cli>The “City of Oakland” hot air balloon pilots who went on a \u003ca href=\"https://www.kqed.org/arts/13910308/city-of-oakland-hot-air-balloon-idora-park-piedmont-baths-neptune-beach\">mayhem-drenched near-death ride\u003c/a> in 1909\u003c/li>\n\u003cli>The San Antonio Spurs players who, in 2014, were \u003ca href=\"https://www.kqed.org/arts/13879301/5-haunted-bay-area-locations-to-scare-people-into-social-distancing\">terrorized by a ghost baby\u003c/a> in a Berkeley hotel\u003c/li>\n\u003cli>The \u003ca href=\"https://www.kqed.org/arts/13934227/history-kids-weapons-dynamite-30s-40s-50s-tweens-with-bombs\">dumb 1950s teens in Walnut Creek who stole some dynamite\u003c/a> and shattered a square-mile’s worth of windows\u003c/li>\n\u003cli>The seven West Oakland junkyard tweens who built themselves a \u003ca href=\"https://www.kqed.org/arts/13910308/city-of-oakland-hot-air-balloon-idora-park-piedmont-baths-neptune-beach\">functioning rollercoaster in 1915\u003c/a>\u003c/li>\n\u003c/ol>\n\u003cp>Feeling inspired yet?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>If you need some extra incentive, outstanding creations will be honored at a special reception on Oct. 4 with prizes provided by Kala Art Institute, Flax Art & Design, Fenton’s Creamery and East Bay Depot for Creative Reuse.\u003c/p>\n\u003cp>The Oakland Library is requesting that all dioramas — which must not exceed 6 inches in height — be delivered between July 21 and Aug. 2, 2025, along with a copy of the newspaper story it’s based on. (This should include important details like name of newspaper and publication date.)\u003c/p>\n\u003cp>Creators are welcome to access the library’s archives and newspapers.com account for inspiration. Finding ghost baby and/or raccoon figurines is entirely up to you.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cspan class=\"OYPEnA font-feature-liga-off font-feature-clig-off font-feature-calt-off text-decoration-none text-strikethrough-none\">\u003cem>‘All the News That’s Fit to Build: Local News Dioramas’ will be on display at The Oakland Library’s History Center (125 14th Street, 2nd Floor)\u003c/em>\u003c/span>\u003cem>\u003cspan class=\"OYPEnA font-feature-liga-off font-feature-clig-off font-feature-calt-off text-decoration-none text-strikethrough-none\"> between Aug. 9 and Nov. 29, 2025. Potential participants can find \u003ca href=\"https://oaklandlibrary.org/diorama/\">full instructions at the library’s website\u003c/a>.\u003c/span>\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>We’ve all been there. One minute you’re casually browsing newspaper archives in the library, the next you’re stumbling across a story from yore that’s so bizarre, you just \u003cem>have\u003c/em> to render it in miniature form.\u003c/p>\n\u003cp>Yeah, okay, so, no. We clearly haven’t all been \u003cem>there\u003c/em>. But apparently, there are enough people who get overcome with a history-fueled desire to create dioramas that the Oakland Library is building an entire exhibition around it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>All the News That’s Fit to Build: Local News Dioramas \u003c/em>will take over the Oakland History Center on the second floor of the Oakland library’s main branch between early August and late November. The plan is for the show to be a creative and engaging way to bring stories from East Bay history into the present day.\u003c/p>\n\u003cp>Best of all? The Oakland Library is specifically requesting that participants get as weird as possible. Examples of \u003ca href=\"https://oaklandlibrary.org/blogs/post/calling-all-crafters-make-an-oakland-history-diorama/\">newspaper story subjects that library staff think would make for good dioramas\u003c/a> include: a cop who put a raccoon in jail for disorderly conduct, a man who got accidentally buried up to his neck in mud at Lake Merritt, and a 1940s Hayward highway that was blocked by 10 tons of tomatoes.\u003c/p>\n\u003cp>All clearly excellent suggestions, but we at KQED Arts & Culture would like to add some to the pile, if we may be so bold. Such as:\u003c/p>\n\u003col>\n\u003cli>The \u003ca href=\"https://www.kqed.org/arts/13957514/1896-mystery-airship-bay-area-ufo-history-victorian-aliens\">entire streetcar of witnesses in Fruitvale who saw a Victorian UFO\u003c/a> one night in 1896\u003c/li>\n\u003cli>The “City of Oakland” hot air balloon pilots who went on a \u003ca href=\"https://www.kqed.org/arts/13910308/city-of-oakland-hot-air-balloon-idora-park-piedmont-baths-neptune-beach\">mayhem-drenched near-death ride\u003c/a> in 1909\u003c/li>\n\u003cli>The San Antonio Spurs players who, in 2014, were \u003ca href=\"https://www.kqed.org/arts/13879301/5-haunted-bay-area-locations-to-scare-people-into-social-distancing\">terrorized by a ghost baby\u003c/a> in a Berkeley hotel\u003c/li>\n\u003cli>The \u003ca href=\"https://www.kqed.org/arts/13934227/history-kids-weapons-dynamite-30s-40s-50s-tweens-with-bombs\">dumb 1950s teens in Walnut Creek who stole some dynamite\u003c/a> and shattered a square-mile’s worth of windows\u003c/li>\n\u003cli>The seven West Oakland junkyard tweens who built themselves a \u003ca href=\"https://www.kqed.org/arts/13910308/city-of-oakland-hot-air-balloon-idora-park-piedmont-baths-neptune-beach\">functioning rollercoaster in 1915\u003c/a>\u003c/li>\n\u003c/ol>\n\u003cp>Feeling inspired yet?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>If you need some extra incentive, outstanding creations will be honored at a special reception on Oct. 4 with prizes provided by Kala Art Institute, Flax Art & Design, Fenton’s Creamery and East Bay Depot for Creative Reuse.\u003c/p>\n\u003cp>The Oakland Library is requesting that all dioramas — which must not exceed 6 inches in height — be delivered between July 21 and Aug. 2, 2025, along with a copy of the newspaper story it’s based on. (This should include important details like name of newspaper and publication date.)\u003c/p>\n\u003cp>Creators are welcome to access the library’s archives and newspapers.com account for inspiration. Finding ghost baby and/or raccoon figurines is entirely up to you.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cspan class=\"OYPEnA font-feature-liga-off font-feature-clig-off font-feature-calt-off text-decoration-none text-strikethrough-none\">\u003cem>‘All the News That’s Fit to Build: Local News Dioramas’ will be on display at The Oakland Library’s History Center (125 14th Street, 2nd Floor)\u003c/em>\u003c/span>\u003cem>\u003cspan class=\"OYPEnA font-feature-liga-off font-feature-clig-off font-feature-calt-off text-decoration-none text-strikethrough-none\"> between Aug. 9 and Nov. 29, 2025. Potential participants can find \u003ca href=\"https://oaklandlibrary.org/diorama/\">full instructions at the library’s website\u003c/a>.\u003c/span>\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>When I first got a glimpse of \u003ca href=\"https://www.milomoyer-battick.com/\">Milo Moyer-Battick\u003c/a>’s paintings in person last year, the show was a small one, arranged on the wood-paneled walls of \u003ca href=\"https://laststrawsf.com/exhibitions\">The Last Straw\u003c/a>, an enigmatic artist-run gallery and gift shop in San Francisco’s Outer Sunset neighborhood.\u003c/p>\n\u003cp>At The Last Straw, Moyer-Battick showed dark, muted paintings overlaid with his own brand of pointillism, a diffuse smattering of dots that blur (especially if you take your glasses off) into a cohesive whole. But it was tricky in those close quarters to get the distance necessary to truly take in the effect — or confidently decipher a signal from the noise. \u003c/p>\n\u003cp>Now through July 19 at \u003ca href=\"https://www.pacificsawworks.com/\">Pacific Saw Works\u003c/a>, another artist-run space, this one in a former Oakland hardware store, we get an evolution of that visual scramble. In Moyer-Battick’s solo show \u003ci>\u003ca href=\"https://www.pacificsawworks.com/specific-saw-horse\">Specific Saw Horse\u003c/a>\u003c/i>, clearly identifiable images borrowed from logos, diagrams and bygone recipes rub up against non sequiturs and punny wordplay.\u003c/p>\n\u003cp>“Ringo Starr bound and gagged,” reads the bottom of \u003ci>The Opposite of Snow\u003c/i>, a painting that combines the Bic pen logo, Dance Dance Revolution arrows, Felix the Cat, \u003ci>Goodnight Moon\u003c/i> and a chevron arrangement of ticks. \u003c/p>\n\u003cfigure id=\"attachment_13978341\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/TheOppositeOfRhyming_Hires_2000.jpg\" alt=\"yellow painting with various images and brands in combination\" width=\"2000\" height=\"2540\" class=\"size-full wp-image-13978341\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/TheOppositeOfRhyming_Hires_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/TheOppositeOfRhyming_Hires_2000-160x203.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/TheOppositeOfRhyming_Hires_2000-768x975.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/TheOppositeOfRhyming_Hires_2000-1209x1536.jpg 1209w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/TheOppositeOfRhyming_Hires_2000-1613x2048.jpg 1613w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Milo Moyer-Battick, ‘The Opposite of Rhyming,’ 2025. \u003ccite>(Courtesy Pacific Saw Works)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In \u003ci>The Opposite of Rhyming\u003c/i>, illustrations of feet, the Pink Panther, the Raisin Bran logo and clam chowder packaging mingle in a zingy red, pink and yellow composition. This is just a cursory list; prepare for a delightfully zany version of “I spy.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Not all of Moyer-Battick’s work is so eclectic. Several sign paintings punctuate the show with the sans-serif elegance of On Kawara’s \u003ca href=\"https://www.davidzwirner.com/artists/on-kawara\">date paintings\u003c/a>, only to proclaim “Spinach,” “Cumulus cloud” and “OPSTAY” (the last one, fittingly, on a red hexagon of unprimed canvas).\u003c/p>\n\u003cp>But other pieces are so dense they attain a kind of Magic Eye quality. With a confident hand, Moyer-Battick layers thinly painted text and found imagery directly on top of one another. It takes selective, sustained focus to decipher these disparate parts. In \u003ci>Orange Ham and Eggs\u003c/i>, we find a fish in a bowl, an old-timey violinist and cooking instructions (à l’orange, of course). \u003c/p>\n\u003cfigure id=\"attachment_13978345\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/LoremIpsum_Hires_cloud_2000.jpg\" alt=\"tie-dye like painting with words painted around edges; and wide white text on dark brown\" width=\"2000\" height=\"860\" class=\"size-full wp-image-13978345\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/LoremIpsum_Hires_cloud_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/LoremIpsum_Hires_cloud_2000-160x69.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/LoremIpsum_Hires_cloud_2000-768x330.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/LoremIpsum_Hires_cloud_2000-1536x660.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Milo Moyer-Battick, ‘Lorem Ipsum,’ 2025 and ‘Cumulus cloud,’ 2025. \u003ccite>(Courtesy Pacific Saw Works)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Throughout the show, Moyer-Battick encodes visual information into a personal, free-associative cypher. What are we to make of Elvis + \u003ci>Grease\u003c/i> + “cook in hot, deep fat”? It’s a rebus that doesn’t quite parse, an equation that will never add up. \u003c/p>\n\u003cp>Thankfully, the work is well balanced between perplexing visual puzzles and straightforward — if meat-heavy — messaging. (\u003ci>Liver\u003c/i> is one of the sign paintings, \u003ci>Half a pound of turkey Ninety pounds of pork\u003c/i> is another.) Tucked into one corner, the showstopper \u003ci>Lorem Ipsum\u003c/i> is the equivalent of a contemplative sunset, the word salad running around its edges a comforting babble. \u003c/p>\n\u003cp>\u003ci>Specific Saw Horse\u003c/i> is a reminder that surrealism is just a few juxtapositions away from our seemingly ordered reality. When the real world feels increasingly uncanny, it’s practices like these — that dig deep into commonplace things and render them altogether strange — that really make sense.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Specific Saw Horse’ is on view at Pacific Saw Works through July 19, 2025. Email \u003ca href=\"mailto:pacificsawworks@gmail.com\">pacificsawworks@gmail.com\u003c/a> to make an appointment, or visit the gallery \u003ca href=\"https://www.instagram.com/pacificsawworks/\">Instagram\u003c/a> for weekly open hours.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When I first got a glimpse of \u003ca href=\"https://www.milomoyer-battick.com/\">Milo Moyer-Battick\u003c/a>’s paintings in person last year, the show was a small one, arranged on the wood-paneled walls of \u003ca href=\"https://laststrawsf.com/exhibitions\">The Last Straw\u003c/a>, an enigmatic artist-run gallery and gift shop in San Francisco’s Outer Sunset neighborhood.\u003c/p>\n\u003cp>At The Last Straw, Moyer-Battick showed dark, muted paintings overlaid with his own brand of pointillism, a diffuse smattering of dots that blur (especially if you take your glasses off) into a cohesive whole. But it was tricky in those close quarters to get the distance necessary to truly take in the effect — or confidently decipher a signal from the noise. \u003c/p>\n\u003cp>Now through July 19 at \u003ca href=\"https://www.pacificsawworks.com/\">Pacific Saw Works\u003c/a>, another artist-run space, this one in a former Oakland hardware store, we get an evolution of that visual scramble. In Moyer-Battick’s solo show \u003ci>\u003ca href=\"https://www.pacificsawworks.com/specific-saw-horse\">Specific Saw Horse\u003c/a>\u003c/i>, clearly identifiable images borrowed from logos, diagrams and bygone recipes rub up against non sequiturs and punny wordplay.\u003c/p>\n\u003cp>“Ringo Starr bound and gagged,” reads the bottom of \u003ci>The Opposite of Snow\u003c/i>, a painting that combines the Bic pen logo, Dance Dance Revolution arrows, Felix the Cat, \u003ci>Goodnight Moon\u003c/i> and a chevron arrangement of ticks. \u003c/p>\n\u003cfigure id=\"attachment_13978341\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/TheOppositeOfRhyming_Hires_2000.jpg\" alt=\"yellow painting with various images and brands in combination\" width=\"2000\" height=\"2540\" class=\"size-full wp-image-13978341\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/TheOppositeOfRhyming_Hires_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/TheOppositeOfRhyming_Hires_2000-160x203.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/TheOppositeOfRhyming_Hires_2000-768x975.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/TheOppositeOfRhyming_Hires_2000-1209x1536.jpg 1209w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/TheOppositeOfRhyming_Hires_2000-1613x2048.jpg 1613w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Milo Moyer-Battick, ‘The Opposite of Rhyming,’ 2025. \u003ccite>(Courtesy Pacific Saw Works)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In \u003ci>The Opposite of Rhyming\u003c/i>, illustrations of feet, the Pink Panther, the Raisin Bran logo and clam chowder packaging mingle in a zingy red, pink and yellow composition. This is just a cursory list; prepare for a delightfully zany version of “I spy.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Not all of Moyer-Battick’s work is so eclectic. Several sign paintings punctuate the show with the sans-serif elegance of On Kawara’s \u003ca href=\"https://www.davidzwirner.com/artists/on-kawara\">date paintings\u003c/a>, only to proclaim “Spinach,” “Cumulus cloud” and “OPSTAY” (the last one, fittingly, on a red hexagon of unprimed canvas).\u003c/p>\n\u003cp>But other pieces are so dense they attain a kind of Magic Eye quality. With a confident hand, Moyer-Battick layers thinly painted text and found imagery directly on top of one another. It takes selective, sustained focus to decipher these disparate parts. In \u003ci>Orange Ham and Eggs\u003c/i>, we find a fish in a bowl, an old-timey violinist and cooking instructions (à l’orange, of course). \u003c/p>\n\u003cfigure id=\"attachment_13978345\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/LoremIpsum_Hires_cloud_2000.jpg\" alt=\"tie-dye like painting with words painted around edges; and wide white text on dark brown\" width=\"2000\" height=\"860\" class=\"size-full wp-image-13978345\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/LoremIpsum_Hires_cloud_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/LoremIpsum_Hires_cloud_2000-160x69.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/LoremIpsum_Hires_cloud_2000-768x330.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/LoremIpsum_Hires_cloud_2000-1536x660.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Milo Moyer-Battick, ‘Lorem Ipsum,’ 2025 and ‘Cumulus cloud,’ 2025. \u003ccite>(Courtesy Pacific Saw Works)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Throughout the show, Moyer-Battick encodes visual information into a personal, free-associative cypher. What are we to make of Elvis + \u003ci>Grease\u003c/i> + “cook in hot, deep fat”? It’s a rebus that doesn’t quite parse, an equation that will never add up. \u003c/p>\n\u003cp>Thankfully, the work is well balanced between perplexing visual puzzles and straightforward — if meat-heavy — messaging. (\u003ci>Liver\u003c/i> is one of the sign paintings, \u003ci>Half a pound of turkey Ninety pounds of pork\u003c/i> is another.) Tucked into one corner, the showstopper \u003ci>Lorem Ipsum\u003c/i> is the equivalent of a contemplative sunset, the word salad running around its edges a comforting babble. \u003c/p>\n\u003cp>\u003ci>Specific Saw Horse\u003c/i> is a reminder that surrealism is just a few juxtapositions away from our seemingly ordered reality. When the real world feels increasingly uncanny, it’s practices like these — that dig deep into commonplace things and render them altogether strange — that really make sense.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Specific Saw Horse’ is on view at Pacific Saw Works through July 19, 2025. Email \u003ca href=\"mailto:pacificsawworks@gmail.com\">pacificsawworks@gmail.com\u003c/a> to make an appointment, or visit the gallery \u003ca href=\"https://www.instagram.com/pacificsawworks/\">Instagram\u003c/a> for weekly open hours.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "A Show of Queer Desire Pairs Abandon and Restraint",
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"content": "\u003cfigure id=\"attachment_13978222\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/SFAC_ServiceTension-5153_2000.jpg\" alt=\"artwork of color prints mounted on metal strips over brown leather hides\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13978222\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/SFAC_ServiceTension-5153_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/SFAC_ServiceTension-5153_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/SFAC_ServiceTension-5153_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/SFAC_ServiceTension-5153_2000-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Xandra Ibarra, ‘Libidinal Mark-Making (Hickey Series),’ 2025–ongoing. \u003ccite>(Aaron Wojack)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s a good sign when an art show has \u003ca href=\"https://www.kqed.org/arts/13962303/foul-odor-off-hours-upper-market-gallery-review\">a bit of a scent\u003c/a>. Too often, art exists outside of the hustle and bustle of everyday life. It hangs on perfectly smooth, white walls. It sits in mostly empty, climate-controlled spaces. Even when there’s texture and novel materials at play, viewers have to keep their hands to themselves.\u003c/p>\n\u003cp>But a sniff? A sniff is allowed.\u003c/p>\n\u003cp>[aside postID='arts_13978179']Before the May 29 opening of \u003ci>\u003ca href=\"https://www.sfartscommission.org/experience-art/exhibitions/service-tension\">Service Tension\u003c/a>\u003c/i>, a group show at the San Francisco Arts Commission main gallery, the smells emitting from some of the artworks were strong enough that windows were opened. A month in, the scents that remain are less aggressive, more intriguing: leather, polyurethane rubber, silicone and linen. \u003c/p>\n\u003cp>It’s fitting that \u003ci>Service Tension\u003c/i> engages as many senses as possible. The show, curated by Elena Gross and Leila Weefur, opens with a quote from “\u003ca href=\"https://bombmagazine.org/articles/2023/06/21/butch-blow-job-jenny-johnson/\">Butch Blow Job\u003c/a>,” an essay by Jenny Johnson: “May whomever needs to hear this — feel more, feel further.”\u003c/p>\n\u003cp>The exhibition is filled with abstracted scenes of queer intimacy and desire, starting with an enormous photograph by \u003ca href=\"https://www.kqed.org/arts/13926347/identities-penelope-houston-xandra-ibarra-mugshots-sfpl\">Xandra Ibarra\u003c/a>, part of her ongoing \u003ci>Hickey Series\u003c/i>. In the image, a person lifts dark hair to reveal the tell-tale burst blood vessels on their back, while someone else’s tattooed hand rests gently on their neck.\u003c/p>\n\u003cfigure id=\"attachment_13978228\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/SFAC_ServiceTension-5157_2000.jpg\" alt=\"two vertical leather rectangles wrapped in black ropes and knots\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13978228\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/SFAC_ServiceTension-5157_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/SFAC_ServiceTension-5157_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/SFAC_ServiceTension-5157_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/SFAC_ServiceTension-5157_2000-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Tiona Nekkia McClodden, ‘NEVER LET ME GO | XXII. only by special order,’ 2024 and ‘NEVER LET ME GO | V. irrevocable,’ 2023. \u003ccite>(Aaron Wojack)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That combination of spikiness and tenderness is echoed in \u003ca href=\"https://www.instagram.com/ricki.dwyer/?hl=en\">Ricki Dwyer\u003c/a>’s dyed textile work \u003ci>Bound (-)\u003c/i>, where perceived softness is negated by the steel nails that keep the piece pulled taut over stretcher bars. Whether weaving, binding, draping or piercing, the six artists of \u003ci>Service Tension\u003c/i> all manipulate their materials in precisely controlled — and titillating — ways.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"https://www.tionam.com/\">Tiona Nekkia McClodden\u003c/a>, a Philadelphia artist, has just two pieces in the show, but their monolithic power is undeniable. The satiny leather surfaces of \u003ci>NEVER LET ME GO | XXII. only by special order\u003c/i> and \u003ci>NEVER LET ME GO | V. irrevocable\u003c/i>, wrapped in shibari knots, are elegant stand-ins for bodies. Colored with leather dye and shoe polish, they have an almost iridescent sheen. Also, see above re: sniffing.\u003c/p>\n\u003cp>Beside McClodden’s work, \u003ca href=\"https://www.instagram.com/salimatuamabebe/?hl=en\">Salimatu Amabebe\u003c/a>’s two neoprene rubber pieces hang like a before-and-after: the patched-together, mostly solid \u003ci>River\u003c/i> next to the shredded, braided \u003ci>Rush\u003c/i>. (For these, along with four neoprene rubber sculptures on neoprene rubber-coved pedestals, close proximity isn’t necessary to get a whiff of Amabebe’s preferred material.)\u003c/p>\n\u003cfigure id=\"attachment_13978229\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/SFAC_ServiceTension-5121_2000.jpg\" alt=\"gallery view with rubber works on pedestals, large photo prints on walls\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13978229\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/SFAC_ServiceTension-5121_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/SFAC_ServiceTension-5121_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/SFAC_ServiceTension-5121_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/SFAC_ServiceTension-5121_2000-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Service Tension’ with Sasha Kelley’s ‘Portraits of Chocolate Chip,’ 2017 on the far right. \u003ccite>(Aaron Wojack)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>Service Tension\u003c/i> delights in pairing restraint with abandon: a light touch and a tight knot. The show’s back half turns slightly more playful, starting with \u003ca href=\"https://www.kqed.org/arts/13828216/the-hustle-a-photographer-juggling-side-gigs-on-18000-a-year-toddler-in-tow\">Sasha Kelley\u003c/a>’s unexpected arrangement of \u003ci>Portraits of Chocolate Chip\u003c/i>. In a large color photograph on the wall, Chocolate Chip, mostly nude, looks at the camera sedately from all fours. Below, on an angled sheet of plywood, there’s Chip from above, laughing with eyes closed on the same blue carpet. It’s a vertiginous, topsy-turvy display, another version of before and after.\u003c/p>\n\u003cp>(Some of that tumble is also present in \u003ca href=\"https://www.instagram.com/veggiemon/?hl=en\">Autumn Wallace\u003c/a>’s painting \u003ci>Use Case\u003c/i>, a violet swirl of hoof and human with an open mouth labeled “Passage.”)\u003c/p>\n\u003cp>The star of the show is Ibarra’s \u003ci>Free To Those Who Deserve It\u003c/i>, an ongoing sculpture series made out of colorful vices and pierced silicone genitals. Displayed in five cut-out windows within a standalone wall, the sculptures hint — peep-show-style — at a wobbly comedy, even when struck through with an impossibly long nail.\u003c/p>\n\u003cfigure id=\"attachment_13978231\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/SFAC_ServiceTension-5128_2000.jpg\" alt=\"gallery with white walls, vertical painting at back and small sculptures in cut-outs from standing wall\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13978231\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/SFAC_ServiceTension-5128_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/SFAC_ServiceTension-5128_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/SFAC_ServiceTension-5128_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/SFAC_ServiceTension-5128_2000-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Service Tension’ with Autumn Wallace’s ‘Use Case,’ 2022 at left and Xandra Ibarra’s ‘Free To Those Who Deserve It,’ 2020–ongoing at right. \u003ccite>(Aaron Wojack)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Floating diaphanously above the rest of the show’s material solids, Dwyer’s textile work shifts the mood to one of relaxed (satiated?) comfort. \u003ci>Psychically Milked\u003c/i> fills one large room with a complicated drape of intersecting planes. Its expanse of woven cotton and linen is anchored to angled two-by-fours with chrome-plated, cast brass Hershey’s kisses. Twelve of these are also presented, jewel-like, in a clear plastic case, sweetness personified. \u003c/p>\n\u003cp>In their exhibition text, Gross and Weefur describe how an “erotic circuit” is created between artist, artwork and audience — one that exists without the need for physical touch. It helps that the pieces in \u003ci>Service Tension\u003c/i> act on viewers in such evocative, sensory ways. After a deep inhale and a lengthy gaze, you may leave the gallery buzzing with that electricity: all tense surfaces, prickly with possibility.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://www.sfartscommission.org/experience-art/exhibitions/service-tension\">Service Tension\u003c/a>’ is on view at the San Francisco Arts Commission main gallery (401 Van Ness Ave.) through Aug. 23, 2025.\u003c/i>\u003c/p>\n\n",
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"title": "A Show of Queer Desire Pairs Abandon and Restraint | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13978222\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/SFAC_ServiceTension-5153_2000.jpg\" alt=\"artwork of color prints mounted on metal strips over brown leather hides\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13978222\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/SFAC_ServiceTension-5153_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/SFAC_ServiceTension-5153_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/SFAC_ServiceTension-5153_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/SFAC_ServiceTension-5153_2000-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Xandra Ibarra, ‘Libidinal Mark-Making (Hickey Series),’ 2025–ongoing. \u003ccite>(Aaron Wojack)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s a good sign when an art show has \u003ca href=\"https://www.kqed.org/arts/13962303/foul-odor-off-hours-upper-market-gallery-review\">a bit of a scent\u003c/a>. Too often, art exists outside of the hustle and bustle of everyday life. It hangs on perfectly smooth, white walls. It sits in mostly empty, climate-controlled spaces. Even when there’s texture and novel materials at play, viewers have to keep their hands to themselves.\u003c/p>\n\u003cp>But a sniff? A sniff is allowed.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Before the May 29 opening of \u003ci>\u003ca href=\"https://www.sfartscommission.org/experience-art/exhibitions/service-tension\">Service Tension\u003c/a>\u003c/i>, a group show at the San Francisco Arts Commission main gallery, the smells emitting from some of the artworks were strong enough that windows were opened. A month in, the scents that remain are less aggressive, more intriguing: leather, polyurethane rubber, silicone and linen. \u003c/p>\n\u003cp>It’s fitting that \u003ci>Service Tension\u003c/i> engages as many senses as possible. The show, curated by Elena Gross and Leila Weefur, opens with a quote from “\u003ca href=\"https://bombmagazine.org/articles/2023/06/21/butch-blow-job-jenny-johnson/\">Butch Blow Job\u003c/a>,” an essay by Jenny Johnson: “May whomever needs to hear this — feel more, feel further.”\u003c/p>\n\u003cp>The exhibition is filled with abstracted scenes of queer intimacy and desire, starting with an enormous photograph by \u003ca href=\"https://www.kqed.org/arts/13926347/identities-penelope-houston-xandra-ibarra-mugshots-sfpl\">Xandra Ibarra\u003c/a>, part of her ongoing \u003ci>Hickey Series\u003c/i>. In the image, a person lifts dark hair to reveal the tell-tale burst blood vessels on their back, while someone else’s tattooed hand rests gently on their neck.\u003c/p>\n\u003cfigure id=\"attachment_13978228\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/SFAC_ServiceTension-5157_2000.jpg\" alt=\"two vertical leather rectangles wrapped in black ropes and knots\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13978228\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/SFAC_ServiceTension-5157_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/SFAC_ServiceTension-5157_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/SFAC_ServiceTension-5157_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/SFAC_ServiceTension-5157_2000-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Tiona Nekkia McClodden, ‘NEVER LET ME GO | XXII. only by special order,’ 2024 and ‘NEVER LET ME GO | V. irrevocable,’ 2023. \u003ccite>(Aaron Wojack)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That combination of spikiness and tenderness is echoed in \u003ca href=\"https://www.instagram.com/ricki.dwyer/?hl=en\">Ricki Dwyer\u003c/a>’s dyed textile work \u003ci>Bound (-)\u003c/i>, where perceived softness is negated by the steel nails that keep the piece pulled taut over stretcher bars. Whether weaving, binding, draping or piercing, the six artists of \u003ci>Service Tension\u003c/i> all manipulate their materials in precisely controlled — and titillating — ways.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.tionam.com/\">Tiona Nekkia McClodden\u003c/a>, a Philadelphia artist, has just two pieces in the show, but their monolithic power is undeniable. The satiny leather surfaces of \u003ci>NEVER LET ME GO | XXII. only by special order\u003c/i> and \u003ci>NEVER LET ME GO | V. irrevocable\u003c/i>, wrapped in shibari knots, are elegant stand-ins for bodies. Colored with leather dye and shoe polish, they have an almost iridescent sheen. Also, see above re: sniffing.\u003c/p>\n\u003cp>Beside McClodden’s work, \u003ca href=\"https://www.instagram.com/salimatuamabebe/?hl=en\">Salimatu Amabebe\u003c/a>’s two neoprene rubber pieces hang like a before-and-after: the patched-together, mostly solid \u003ci>River\u003c/i> next to the shredded, braided \u003ci>Rush\u003c/i>. (For these, along with four neoprene rubber sculptures on neoprene rubber-coved pedestals, close proximity isn’t necessary to get a whiff of Amabebe’s preferred material.)\u003c/p>\n\u003cfigure id=\"attachment_13978229\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/SFAC_ServiceTension-5121_2000.jpg\" alt=\"gallery view with rubber works on pedestals, large photo prints on walls\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13978229\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/SFAC_ServiceTension-5121_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/SFAC_ServiceTension-5121_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/SFAC_ServiceTension-5121_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/SFAC_ServiceTension-5121_2000-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Service Tension’ with Sasha Kelley’s ‘Portraits of Chocolate Chip,’ 2017 on the far right. \u003ccite>(Aaron Wojack)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>Service Tension\u003c/i> delights in pairing restraint with abandon: a light touch and a tight knot. The show’s back half turns slightly more playful, starting with \u003ca href=\"https://www.kqed.org/arts/13828216/the-hustle-a-photographer-juggling-side-gigs-on-18000-a-year-toddler-in-tow\">Sasha Kelley\u003c/a>’s unexpected arrangement of \u003ci>Portraits of Chocolate Chip\u003c/i>. In a large color photograph on the wall, Chocolate Chip, mostly nude, looks at the camera sedately from all fours. Below, on an angled sheet of plywood, there’s Chip from above, laughing with eyes closed on the same blue carpet. It’s a vertiginous, topsy-turvy display, another version of before and after.\u003c/p>\n\u003cp>(Some of that tumble is also present in \u003ca href=\"https://www.instagram.com/veggiemon/?hl=en\">Autumn Wallace\u003c/a>’s painting \u003ci>Use Case\u003c/i>, a violet swirl of hoof and human with an open mouth labeled “Passage.”)\u003c/p>\n\u003cp>The star of the show is Ibarra’s \u003ci>Free To Those Who Deserve It\u003c/i>, an ongoing sculpture series made out of colorful vices and pierced silicone genitals. Displayed in five cut-out windows within a standalone wall, the sculptures hint — peep-show-style — at a wobbly comedy, even when struck through with an impossibly long nail.\u003c/p>\n\u003cfigure id=\"attachment_13978231\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/SFAC_ServiceTension-5128_2000.jpg\" alt=\"gallery with white walls, vertical painting at back and small sculptures in cut-outs from standing wall\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13978231\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/SFAC_ServiceTension-5128_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/SFAC_ServiceTension-5128_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/SFAC_ServiceTension-5128_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/SFAC_ServiceTension-5128_2000-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Service Tension’ with Autumn Wallace’s ‘Use Case,’ 2022 at left and Xandra Ibarra’s ‘Free To Those Who Deserve It,’ 2020–ongoing at right. \u003ccite>(Aaron Wojack)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Floating diaphanously above the rest of the show’s material solids, Dwyer’s textile work shifts the mood to one of relaxed (satiated?) comfort. \u003ci>Psychically Milked\u003c/i> fills one large room with a complicated drape of intersecting planes. Its expanse of woven cotton and linen is anchored to angled two-by-fours with chrome-plated, cast brass Hershey’s kisses. Twelve of these are also presented, jewel-like, in a clear plastic case, sweetness personified. \u003c/p>\n\u003cp>In their exhibition text, Gross and Weefur describe how an “erotic circuit” is created between artist, artwork and audience — one that exists without the need for physical touch. It helps that the pieces in \u003ci>Service Tension\u003c/i> act on viewers in such evocative, sensory ways. After a deep inhale and a lengthy gaze, you may leave the gallery buzzing with that electricity: all tense surfaces, prickly with possibility.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://www.sfartscommission.org/experience-art/exhibitions/service-tension\">Service Tension\u003c/a>’ is on view at the San Francisco Arts Commission main gallery (401 Van Ness Ave.) through Aug. 23, 2025.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareport",
"meta": {
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"source": "kqed",
"order": 8
},
"link": "/californiareport",
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}
},
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"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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}
},
"city-arts": {
"id": "city-arts",
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"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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}
},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"meta": {
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
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"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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"rss": "https://feeds.megaphone.fm/KQINC2275451163"
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"spotify": "https://open.spotify.com/show/0OLWoyizopu6tY1XiuX70x",
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"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"info": "One of public radio's most dynamic voices, Sam Sanders helped launch The NPR Politics Podcast and hosted NPR's hit show It's Been A Minute. Now, the award-winning host returns with something brand new, The Sam Sanders Show. Every week, Sam Sanders and friends dig into the culture that shapes our lives: what's driving the biggest trends, how artists really think, and even the memes you can't stop scrolling past. Sam is beloved for his way of unpacking the world and bringing you up close to fresh currents and engaging conversations. The Sam Sanders Show is smart, funny and always a good time.",
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