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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On the Do List this week, we welcome back Jamedra Brown Fleischman, co-host of KQED’s podcast \u003cem>The Cooler\u003c/em>, to help with the show. And we found plenty to entertain us: a singer with a luscious voice, a black-light experience that’s a great family choice, the answer to the question, “what does art sound like,” and the kings of surf-goth.\u003c/p>\n\u003cul>\n\u003cli>\u003cstrong>Sept. 26\u003c/strong>: \u003ca href=\"https://wp.me/p4oi3Y-VVE7\" target=\"_blank\" rel=\"noopener noreferrer\">Singer-songwriter \u003c/a>\u003ca href=\"https://wp.me/p4oi3Y-VVE7\" target=\"_blank\" rel=\"noopener noreferrer\">Moses Sumney plays the Great American Music Hall\u003c/a>\u003c/li>\n\u003cli>\u003cstrong>Aug. 25-27\u003c/strong>: \u003ca href=\"https://wp.me/p4oi3Y-VVEn\" target=\"_blank\" rel=\"noopener noreferrer\">Crotchety Comedian John Witherspoon comes to San Jose Improv\u003c/a>\u003c/li>\n\u003cli>\u003cstrong>Sept. 16:\u003c/strong>\u003ca href=\"http://www.blacklightslide.com/sanjoseca/\" target=\"_blank\" rel=\"noopener noreferrer\"> Glowing up with a blacklight slide at the Santa Clara County Fairgrounds\u003c/a>\u003c/li>\n\u003cli>\u003cstrong>Through Jan. 1, 2018:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VVEM\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Soundtracks\u003c/em> is an exhibition at SFMOMA that you have to hear to believe \u003c/a>\u003c/li>\n\u003cli>\u003cstrong>Sept. 6 and 8-11: \u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VVER\" target=\"_blank\" rel=\"noopener noreferrer\">SoCal pop stars The Growlers play San Jose and San Francisco \u003c/a>\u003c/li>\n\u003cli>\u003cstrong>Aug. 27, Sept. 1, and Sept 11: \u003c/strong>\u003ca href=\"http://www.livinonahighnote.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The legendary gospel and soul singer Mavis Staples is busy in Northern California \u003c/a>\u003c/li>\n\u003cli>\u003cstrong>Aug. 27:\u003c/strong> \u003ca href=\"https://ticketing.us.veezi.com/purchase/3985?siteToken=P5WXdOEJ3Eq2eHbZHTAtbg%3D%3D\" target=\"_blank\" rel=\"noopener noreferrer\">Thronies Alert: a season finale viewing party for \u003cem>Game of Thrones\u003c/em> at the New Parkway in Oakland\u003c/a>\u003c/li>\n\u003cli>\u003cstrong>Aug. 27:\u003c/strong> \u003ca href=\"https://allevents.in/oakland/hella-insecure-battle-of-the-sexes-oakland-edition/140263023229703\" target=\"_blank\" rel=\"noopener noreferrer\">And \u003cem>Insecure\u003c/em> fans get a season finale party of their own, at the Au Lounge, also in Oakland\u003c/a> \u003ca href=\"https://ticketing.us.veezi.com/purchase/3985?siteToken=P5WXdOEJ3Eq2eHbZHTAtbg%3D%3D\" target=\"_blank\" rel=\"noopener noreferrer\"> \u003c/a>\u003c/li>\n\u003c/ul>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cem>Soundtracks\u003c/em>, running through the end of the year at the San Francisco Museum of Modern Art, is the museum’s first exhibit devoted to sound in modern art. The array of pieces includes whimsical Rube Goldberg contraptions with pinging chimes, a train crossing at a doorway, and mysterious snarls of wire whose magnetic fields can be heard only with special headphones. My personal favorite piece is the one pictured above, in which museum-goers enter a room filled with a blue pool filled with porcelain bowls, floating about and clinking in a pretty pattern of sound. Everyone is still, phones are silenced, and people just listen. \u003ca href=\"https://www.sfmoma.org/exhibition/soundtracks\" target=\"_blank\" rel=\"noopener noreferrer\">Details here.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"title": "In Reckoning With Confederate Monuments, Other Countries Could Provide Examples",
"headTitle": "In Reckoning With Confederate Monuments, Other Countries Could Provide Examples | KQED",
"content": "\u003cp>Last year, the Southern Poverty Law Center conducted \u003ca href=\"https://www.splcenter.org/20160421/whose-heritage-public-symbols-confederacy\">a study\u003c/a> on public symbols of the Confederacy. The center found more than 700 Confederate monuments on public land in the U.S. — with nearly 300 in Georgia, Virginia and North Carolina alone.\u003c/p>\n\u003cp>Around the country, a fresh push is on to remove Confederate statues, the great majority of which were erected \u003ca href=\"http://www.npr.org/2017/08/20/544266880/confederate-statues-were-built-to-further-a-white-supremacist-future\" target=\"_blank\" rel=\"noopener\">well after the Civil War\u003c/a>.\u003c/p>\n\u003cp>A protest linked to the proposed removal of a Robert E. Lee statue in Charlottesville, Va., became a scene of violence, and officials elsewhere are moving swiftly to remove statues, hoping to keep their own towns and universities from becoming similarly embroiled. Monuments in cities including \u003ca href=\"http://www.npr.org/sections/thetwo-way/2017/08/16/543851420/baltimore-removes-confederate-statues-one-day-after-voting-on-issue\" target=\"_blank\" rel=\"noopener\">Baltimore\u003c/a>, \u003ca href=\"http://www.npr.org/sections/thetwo-way/2017/08/18/544407092/maryland-state-house-removes-statue-of-judge-who-wrote-dred-scott-decision\" target=\"_blank\" rel=\"noopener\">Annapolis\u003c/a>, \u003ca href=\"http://www.npr.org/sections/thetwo-way/2017/08/21/544942064/confederate-statues-are-coming-down-at-the-university-of-texas\" target=\"_blank\" rel=\"noopener\">Austin\u003c/a>, \u003ca href=\"http://www.npr.org/sections/thetwo-way/2017/08/17/544235556/watch-protesters-try-to-surrender-in-solidarity-with-confederate-statue-topplers\" target=\"_blank\" rel=\"noopener\">Durham\u003c/a> and \u003ca href=\"http://www.npr.org/2017/05/20/529232823/with-lee-statues-removal-another-battle-of-new-orleans-comes-to-a-close\" target=\"_blank\" rel=\"noopener\">New Orleans\u003c/a> have already been taken down.\u003c/p>\n\u003cp>Though the controversy surrounding Confederate monuments is uniquely American, the U.S. is not alone in reckoning with public symbols of the past.\u003c/p>\n\u003cp>\u003cstrong>Taiwan\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Taiwan has its own figure who lost a civil war, and whose cause retains support: Chiang Kai-shek, the then-president of the Republic of China who fled to Taiwan in 1949 after losing to the Communist army.\u003c/p>\n\u003cp>“Statues of Chiang were erected all over Taiwan in an effort to cultivate allegiance to his government and a sense of national identity among the local population,” \u003ca href=\"https://www.nytimes.com/2017/08/22/world/asia/taiwan-statues-chiang-kai-shek-park.html?_r=0\" target=\"_blank\" rel=\"noopener\">explains\u003c/a> \u003cem>The New York Times\u003c/em>. But as Taiwan transitioned to democracy, many wanted the monuments to come down.\u003c/p>\n\u003cp>“We don’t want to be part of China, and Chiang Kai-shek represents the idea that China possesses Taiwan,” historian Chen Yi-shen told the newspaper.\u003c/p>\n\u003cp>So what to do with the statues? Taiwan opted to move more than 200 of them to a park in the northern part of the island, near Chiang’s mausoleum.\u003c/p>\n\u003cp>But thousands more remain elsewhere on the island. Proposals to move the rest of them to the park have met resistance.\u003c/p>\n\u003cp>In April, a statue of Chiang in Taipai was \u003ca href=\"http://www.taipeitimes.com/News/front/archives/2017/04/23/2003669253\">found decapitated\u003c/a> and splashed with red paint.\u003c/p>\n\u003cfigure id=\"attachment_13806315\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/gettyimages-516153618-3eec2a26289aed0e2650e4950e2bf673e4a08d7f-800x600.jpg\" alt=\"Workers dismantle an enormous monument to Lenin in Zaporizhia, Ukraine, in March 2016. It was the largest remaining Lenin statue in the country.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13806315\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-516153618-3eec2a26289aed0e2650e4950e2bf673e4a08d7f-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-516153618-3eec2a26289aed0e2650e4950e2bf673e4a08d7f-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-516153618-3eec2a26289aed0e2650e4950e2bf673e4a08d7f-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-516153618-3eec2a26289aed0e2650e4950e2bf673e4a08d7f-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-516153618-3eec2a26289aed0e2650e4950e2bf673e4a08d7f-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-516153618-3eec2a26289aed0e2650e4950e2bf673e4a08d7f-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-516153618-3eec2a26289aed0e2650e4950e2bf673e4a08d7f-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-516153618-3eec2a26289aed0e2650e4950e2bf673e4a08d7f-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-516153618-3eec2a26289aed0e2650e4950e2bf673e4a08d7f-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-516153618-3eec2a26289aed0e2650e4950e2bf673e4a08d7f-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-516153618-3eec2a26289aed0e2650e4950e2bf673e4a08d7f.jpg 1983w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Workers dismantle an enormous monument to Lenin in Zaporizhia, Ukraine, in March 2016. It was the largest remaining Lenin statue in the country. \u003ccite>(Prylepa Leksander/AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Ukraine\u003c/strong>\u003c/p>\n\u003cp>Ukraine’s Institute of National Remembrance says it has removed every one of the 1,320 statues of Lenin in the country, \u003cem>The Times\u003c/em> of London \u003ca href=\"https://www.thetimes.co.uk/article/ukraine-removes-all-1-320-statues-of-lenin-wqsz8b6nh\" target=\"_blank\" rel=\"noopener\">reports\u003c/a>, and destroyed another 1,069 Soviet-era monuments.\u003c/p>\n\u003cp>“The removal of the statues is part of a ban on Soviet-era symbols that was signed into law by President Poroshenko in May 2015,” the newspaper explains. “As well as the removal of statues and monuments, the law orders the renaming of thousands of streets, squares, towns and cities. However, the law cannot be enforced in those parts of eastern Ukraine under the control of Kremlin-backed rebels.”\u003c/p>\n\u003cp>Most of the statues remained in place after the Soviet Union collapsed in 1991, but they’ve since been toppled in waves.\u003c/p>\n\u003cp>Some came down during the 2004 Orange Revolution, others in late 2013 during demonstrations against Ukraine’s president, and the rest since the new law went into effect.\u003c/p>\n\u003cp>“Most places have been renamed after Ukrainian heroes, but in the western region of Zakarpattia the authorities paid homage to the Beatles — changing Lenin Street to Lennon Street,” the \u003cem>Times\u003c/em> reports.\u003c/p>\n\u003cfigure id=\"attachment_13806316\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/gettyimages-469050932-62c30325bfafee8fffcb992af3b5208a7fb72826-800x599.jpg\" alt=\"Students cheer as the Cecil Rhodes statue is removed from the University of Cape Town in South Africa in April 2015.\" width=\"800\" height=\"599\" class=\"size-medium wp-image-13806316\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-469050932-62c30325bfafee8fffcb992af3b5208a7fb72826-800x599.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-469050932-62c30325bfafee8fffcb992af3b5208a7fb72826-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-469050932-62c30325bfafee8fffcb992af3b5208a7fb72826-768x575.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-469050932-62c30325bfafee8fffcb992af3b5208a7fb72826-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-469050932-62c30325bfafee8fffcb992af3b5208a7fb72826-1920x1438.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-469050932-62c30325bfafee8fffcb992af3b5208a7fb72826-1180x884.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-469050932-62c30325bfafee8fffcb992af3b5208a7fb72826-960x719.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-469050932-62c30325bfafee8fffcb992af3b5208a7fb72826-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-469050932-62c30325bfafee8fffcb992af3b5208a7fb72826-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-469050932-62c30325bfafee8fffcb992af3b5208a7fb72826-520x389.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Students cheer as the Cecil Rhodes statue is removed from the University of Cape Town in South Africa in April 2015. \u003ccite>(Charlie Shoemaker/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>South Africa\u003c/strong>\u003c/p>\n\u003cp>A statue of British colonialist Cecil Rhodes became the subject of student protests at the University of Cape Town in 2015.\u003c/p>\n\u003cp>“Rhodes bequeathed the land on which the university was built, but he also slaughtered Africans by the thousands in colonial conquest and helped lay the foundations of apartheid in South Africa,” \u003ca href=\"http://www.npr.org/sections/goatsandsoda/2015/03/28/395608605/why-south-african-students-say-the-statue-of-rhodes-must-fall\" target=\"_blank\" rel=\"noopener\">reported\u003c/a> NPR’s Don Boroughs.\u003c/p>\n\u003cp>One of the leaders of the Rhodes Must Fall movement, Kgotsi Chikane, told NPR the statue needed to come down “not just because it makes people feel uncomfortable, but because it’s the biggest symbol of the institutionalization of racism. That’s why we wouldn’t want to pull it down ourselves. We want the university to acknowledge this.”\u003c/p>\n\u003cp>After a month of demonstrations, the mainly white university council voted to take down the statue – a move Agence France Presse \u003ca href=\"https://www.theguardian.com/world/2015/apr/09/university-cape-town-removes-statue-cecil-rhodes-celebration-afrikaner-protest\" target=\"_blank\" rel=\"noopener\">reports\u003c/a> was welcomed by the government. “It marks a significant … shift where the country deals with its ugly past in a positive and constructive way,” a spokesman for the arts and culture ministry told the wire service.\u003c/p>\n\u003cp>Inspired by the students in Cape Town, a \u003ca href=\"https://www.nytimes.com/2016/01/30/world/europe/oxford-university-oriel-college-cecil-rhodes-statue.html\">similar debate unfolded\u003c/a> over a statue of Rhodes at Oxford University in England. But the college — home to \u003ca href=\"http://www.rhodesscholar.org/\">Rhodes’ namesake scholarship\u003c/a> — decided to keep its monument in place.\u003c/p>\n\u003cp>“What’s positive about this whole Rhodes Must Fall movement is that it’s drawing attention to our history,” Oxford vice chancellor Louise Richardson \u003ca href=\"https://www.ft.com/content/49e70004-b9f2-11e5-b151-8e15c9a029fb#axzz3ycCHQsOh\" target=\"_blank\" rel=\"noopener\">told\u003c/a> the \u003cem>Financial Times\u003c/em>. “We need to confront our history. We can’t pretend it didn’t happen, and I think if this encourages students to go to the Bodleian and look at the archives of the Rhodes period, there are some fabulous archives there both about colonialism and about the contemporary anti-Rhodes movement when he was alive.”\u003c/p>\n\u003cfigure id=\"attachment_13806317\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/gettyimages-829017238-ba57262a1fb98bbedac94f8d2cba6deef8c815c4-800x599.jpg\" alt='A woman takes pictures of the installation \"Beyond The Wall\" by German artist Stefan Roloff mounted on remnants of the former Berlin Wall earlier this month.' width=\"800\" height=\"599\" class=\"size-medium wp-image-13806317\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-829017238-ba57262a1fb98bbedac94f8d2cba6deef8c815c4-800x599.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-829017238-ba57262a1fb98bbedac94f8d2cba6deef8c815c4-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-829017238-ba57262a1fb98bbedac94f8d2cba6deef8c815c4-768x575.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-829017238-ba57262a1fb98bbedac94f8d2cba6deef8c815c4-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-829017238-ba57262a1fb98bbedac94f8d2cba6deef8c815c4-1920x1438.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-829017238-ba57262a1fb98bbedac94f8d2cba6deef8c815c4-1180x884.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-829017238-ba57262a1fb98bbedac94f8d2cba6deef8c815c4-960x719.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-829017238-ba57262a1fb98bbedac94f8d2cba6deef8c815c4-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-829017238-ba57262a1fb98bbedac94f8d2cba6deef8c815c4-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-829017238-ba57262a1fb98bbedac94f8d2cba6deef8c815c4-520x389.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A woman takes pictures of the installation “Beyond The Wall” by German artist Stefan Roloff mounted on remnants of the former Berlin Wall earlier this month. \u003ccite>(Axel Schmidt/AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Germany\u003c/strong>\u003c/p>\n\u003cp>The Berlin Wall came down in 1989. Well, most of it.\u003c/p>\n\u003cp>Berlin has preserved a section of the wall, creating what it says is “the longest-open air gallery in the world.”\u003c/p>\n\u003cp>Just after the wall fell, artists from 21 countries began painting on it, according to \u003ca href=\"https://www.visitberlin.de/en/east-side-gallery\" target=\"_blank\" rel=\"noopener\">Berlin’s official tourism site\u003c/a>: “In more than a hundred paintings on what was the east side of the wall, the artists commented on the political changes in 1989/90. Some of the works at the East Side Gallery are particularly popular, such as Dmitri Vrubel’s \u003cem>Fraternal Kiss\u003c/em>\u003cstrong> \u003c/strong>and Birgit Kinders’ Trabant breaking through the wall.”\u003c/p>\n\u003cp>A new exhibit by German-American artist Stefan Roloff \u003ca href=\"https://www.reuters.com/article/us-germany-art-idUSKBN1AQ1MW\" target=\"_blank\" rel=\"noopener\">opened on the wall\u003c/a> this month, with photos of soldiers who patrolled the wall and the stories of those who lived behind it.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Elsewhere in Berlin, Adolf Hitler’s underground bunker is marked only by a small sign outside a parking lot. “One reason for not preserving Hitler’s bunker was that it was feared that the site might become a place of pilgrimage for neo-Nazis; a place of violence and shameless celebration of a history that should be shameful,” NPR’s Maggie Penman \u003ca href=\"http://www.npr.org/sections/codeswitch/2017/08/16/543808019/the-view-of-charlottesville-from-berlin\" target=\"_blank\" rel=\"noopener\">reports\u003c/a>. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=In+Reckoning+With+Confederate+Monuments%2C+Other+Countries+Could+Provide+Examples&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Last year, the Southern Poverty Law Center conducted \u003ca href=\"https://www.splcenter.org/20160421/whose-heritage-public-symbols-confederacy\">a study\u003c/a> on public symbols of the Confederacy. The center found more than 700 Confederate monuments on public land in the U.S. — with nearly 300 in Georgia, Virginia and North Carolina alone.\u003c/p>\n\u003cp>Around the country, a fresh push is on to remove Confederate statues, the great majority of which were erected \u003ca href=\"http://www.npr.org/2017/08/20/544266880/confederate-statues-were-built-to-further-a-white-supremacist-future\" target=\"_blank\" rel=\"noopener\">well after the Civil War\u003c/a>.\u003c/p>\n\u003cp>A protest linked to the proposed removal of a Robert E. Lee statue in Charlottesville, Va., became a scene of violence, and officials elsewhere are moving swiftly to remove statues, hoping to keep their own towns and universities from becoming similarly embroiled. Monuments in cities including \u003ca href=\"http://www.npr.org/sections/thetwo-way/2017/08/16/543851420/baltimore-removes-confederate-statues-one-day-after-voting-on-issue\" target=\"_blank\" rel=\"noopener\">Baltimore\u003c/a>, \u003ca href=\"http://www.npr.org/sections/thetwo-way/2017/08/18/544407092/maryland-state-house-removes-statue-of-judge-who-wrote-dred-scott-decision\" target=\"_blank\" rel=\"noopener\">Annapolis\u003c/a>, \u003ca href=\"http://www.npr.org/sections/thetwo-way/2017/08/21/544942064/confederate-statues-are-coming-down-at-the-university-of-texas\" target=\"_blank\" rel=\"noopener\">Austin\u003c/a>, \u003ca href=\"http://www.npr.org/sections/thetwo-way/2017/08/17/544235556/watch-protesters-try-to-surrender-in-solidarity-with-confederate-statue-topplers\" target=\"_blank\" rel=\"noopener\">Durham\u003c/a> and \u003ca href=\"http://www.npr.org/2017/05/20/529232823/with-lee-statues-removal-another-battle-of-new-orleans-comes-to-a-close\" target=\"_blank\" rel=\"noopener\">New Orleans\u003c/a> have already been taken down.\u003c/p>\n\u003cp>Though the controversy surrounding Confederate monuments is uniquely American, the U.S. is not alone in reckoning with public symbols of the past.\u003c/p>\n\u003cp>\u003cstrong>Taiwan\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Taiwan has its own figure who lost a civil war, and whose cause retains support: Chiang Kai-shek, the then-president of the Republic of China who fled to Taiwan in 1949 after losing to the Communist army.\u003c/p>\n\u003cp>“Statues of Chiang were erected all over Taiwan in an effort to cultivate allegiance to his government and a sense of national identity among the local population,” \u003ca href=\"https://www.nytimes.com/2017/08/22/world/asia/taiwan-statues-chiang-kai-shek-park.html?_r=0\" target=\"_blank\" rel=\"noopener\">explains\u003c/a> \u003cem>The New York Times\u003c/em>. But as Taiwan transitioned to democracy, many wanted the monuments to come down.\u003c/p>\n\u003cp>“We don’t want to be part of China, and Chiang Kai-shek represents the idea that China possesses Taiwan,” historian Chen Yi-shen told the newspaper.\u003c/p>\n\u003cp>So what to do with the statues? Taiwan opted to move more than 200 of them to a park in the northern part of the island, near Chiang’s mausoleum.\u003c/p>\n\u003cp>But thousands more remain elsewhere on the island. Proposals to move the rest of them to the park have met resistance.\u003c/p>\n\u003cp>In April, a statue of Chiang in Taipai was \u003ca href=\"http://www.taipeitimes.com/News/front/archives/2017/04/23/2003669253\">found decapitated\u003c/a> and splashed with red paint.\u003c/p>\n\u003cfigure id=\"attachment_13806315\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/gettyimages-516153618-3eec2a26289aed0e2650e4950e2bf673e4a08d7f-800x600.jpg\" alt=\"Workers dismantle an enormous monument to Lenin in Zaporizhia, Ukraine, in March 2016. It was the largest remaining Lenin statue in the country.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13806315\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-516153618-3eec2a26289aed0e2650e4950e2bf673e4a08d7f-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-516153618-3eec2a26289aed0e2650e4950e2bf673e4a08d7f-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-516153618-3eec2a26289aed0e2650e4950e2bf673e4a08d7f-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-516153618-3eec2a26289aed0e2650e4950e2bf673e4a08d7f-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-516153618-3eec2a26289aed0e2650e4950e2bf673e4a08d7f-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-516153618-3eec2a26289aed0e2650e4950e2bf673e4a08d7f-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-516153618-3eec2a26289aed0e2650e4950e2bf673e4a08d7f-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-516153618-3eec2a26289aed0e2650e4950e2bf673e4a08d7f-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-516153618-3eec2a26289aed0e2650e4950e2bf673e4a08d7f-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-516153618-3eec2a26289aed0e2650e4950e2bf673e4a08d7f-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-516153618-3eec2a26289aed0e2650e4950e2bf673e4a08d7f.jpg 1983w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Workers dismantle an enormous monument to Lenin in Zaporizhia, Ukraine, in March 2016. It was the largest remaining Lenin statue in the country. \u003ccite>(Prylepa Leksander/AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Ukraine\u003c/strong>\u003c/p>\n\u003cp>Ukraine’s Institute of National Remembrance says it has removed every one of the 1,320 statues of Lenin in the country, \u003cem>The Times\u003c/em> of London \u003ca href=\"https://www.thetimes.co.uk/article/ukraine-removes-all-1-320-statues-of-lenin-wqsz8b6nh\" target=\"_blank\" rel=\"noopener\">reports\u003c/a>, and destroyed another 1,069 Soviet-era monuments.\u003c/p>\n\u003cp>“The removal of the statues is part of a ban on Soviet-era symbols that was signed into law by President Poroshenko in May 2015,” the newspaper explains. “As well as the removal of statues and monuments, the law orders the renaming of thousands of streets, squares, towns and cities. However, the law cannot be enforced in those parts of eastern Ukraine under the control of Kremlin-backed rebels.”\u003c/p>\n\u003cp>Most of the statues remained in place after the Soviet Union collapsed in 1991, but they’ve since been toppled in waves.\u003c/p>\n\u003cp>Some came down during the 2004 Orange Revolution, others in late 2013 during demonstrations against Ukraine’s president, and the rest since the new law went into effect.\u003c/p>\n\u003cp>“Most places have been renamed after Ukrainian heroes, but in the western region of Zakarpattia the authorities paid homage to the Beatles — changing Lenin Street to Lennon Street,” the \u003cem>Times\u003c/em> reports.\u003c/p>\n\u003cfigure id=\"attachment_13806316\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/gettyimages-469050932-62c30325bfafee8fffcb992af3b5208a7fb72826-800x599.jpg\" alt=\"Students cheer as the Cecil Rhodes statue is removed from the University of Cape Town in South Africa in April 2015.\" width=\"800\" height=\"599\" class=\"size-medium wp-image-13806316\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-469050932-62c30325bfafee8fffcb992af3b5208a7fb72826-800x599.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-469050932-62c30325bfafee8fffcb992af3b5208a7fb72826-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-469050932-62c30325bfafee8fffcb992af3b5208a7fb72826-768x575.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-469050932-62c30325bfafee8fffcb992af3b5208a7fb72826-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-469050932-62c30325bfafee8fffcb992af3b5208a7fb72826-1920x1438.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-469050932-62c30325bfafee8fffcb992af3b5208a7fb72826-1180x884.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-469050932-62c30325bfafee8fffcb992af3b5208a7fb72826-960x719.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-469050932-62c30325bfafee8fffcb992af3b5208a7fb72826-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-469050932-62c30325bfafee8fffcb992af3b5208a7fb72826-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-469050932-62c30325bfafee8fffcb992af3b5208a7fb72826-520x389.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Students cheer as the Cecil Rhodes statue is removed from the University of Cape Town in South Africa in April 2015. \u003ccite>(Charlie Shoemaker/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>South Africa\u003c/strong>\u003c/p>\n\u003cp>A statue of British colonialist Cecil Rhodes became the subject of student protests at the University of Cape Town in 2015.\u003c/p>\n\u003cp>“Rhodes bequeathed the land on which the university was built, but he also slaughtered Africans by the thousands in colonial conquest and helped lay the foundations of apartheid in South Africa,” \u003ca href=\"http://www.npr.org/sections/goatsandsoda/2015/03/28/395608605/why-south-african-students-say-the-statue-of-rhodes-must-fall\" target=\"_blank\" rel=\"noopener\">reported\u003c/a> NPR’s Don Boroughs.\u003c/p>\n\u003cp>One of the leaders of the Rhodes Must Fall movement, Kgotsi Chikane, told NPR the statue needed to come down “not just because it makes people feel uncomfortable, but because it’s the biggest symbol of the institutionalization of racism. That’s why we wouldn’t want to pull it down ourselves. We want the university to acknowledge this.”\u003c/p>\n\u003cp>After a month of demonstrations, the mainly white university council voted to take down the statue – a move Agence France Presse \u003ca href=\"https://www.theguardian.com/world/2015/apr/09/university-cape-town-removes-statue-cecil-rhodes-celebration-afrikaner-protest\" target=\"_blank\" rel=\"noopener\">reports\u003c/a> was welcomed by the government. “It marks a significant … shift where the country deals with its ugly past in a positive and constructive way,” a spokesman for the arts and culture ministry told the wire service.\u003c/p>\n\u003cp>Inspired by the students in Cape Town, a \u003ca href=\"https://www.nytimes.com/2016/01/30/world/europe/oxford-university-oriel-college-cecil-rhodes-statue.html\">similar debate unfolded\u003c/a> over a statue of Rhodes at Oxford University in England. But the college — home to \u003ca href=\"http://www.rhodesscholar.org/\">Rhodes’ namesake scholarship\u003c/a> — decided to keep its monument in place.\u003c/p>\n\u003cp>“What’s positive about this whole Rhodes Must Fall movement is that it’s drawing attention to our history,” Oxford vice chancellor Louise Richardson \u003ca href=\"https://www.ft.com/content/49e70004-b9f2-11e5-b151-8e15c9a029fb#axzz3ycCHQsOh\" target=\"_blank\" rel=\"noopener\">told\u003c/a> the \u003cem>Financial Times\u003c/em>. “We need to confront our history. We can’t pretend it didn’t happen, and I think if this encourages students to go to the Bodleian and look at the archives of the Rhodes period, there are some fabulous archives there both about colonialism and about the contemporary anti-Rhodes movement when he was alive.”\u003c/p>\n\u003cfigure id=\"attachment_13806317\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/gettyimages-829017238-ba57262a1fb98bbedac94f8d2cba6deef8c815c4-800x599.jpg\" alt='A woman takes pictures of the installation \"Beyond The Wall\" by German artist Stefan Roloff mounted on remnants of the former Berlin Wall earlier this month.' width=\"800\" height=\"599\" class=\"size-medium wp-image-13806317\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-829017238-ba57262a1fb98bbedac94f8d2cba6deef8c815c4-800x599.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-829017238-ba57262a1fb98bbedac94f8d2cba6deef8c815c4-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-829017238-ba57262a1fb98bbedac94f8d2cba6deef8c815c4-768x575.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-829017238-ba57262a1fb98bbedac94f8d2cba6deef8c815c4-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-829017238-ba57262a1fb98bbedac94f8d2cba6deef8c815c4-1920x1438.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-829017238-ba57262a1fb98bbedac94f8d2cba6deef8c815c4-1180x884.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-829017238-ba57262a1fb98bbedac94f8d2cba6deef8c815c4-960x719.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-829017238-ba57262a1fb98bbedac94f8d2cba6deef8c815c4-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-829017238-ba57262a1fb98bbedac94f8d2cba6deef8c815c4-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-829017238-ba57262a1fb98bbedac94f8d2cba6deef8c815c4-520x389.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A woman takes pictures of the installation “Beyond The Wall” by German artist Stefan Roloff mounted on remnants of the former Berlin Wall earlier this month. \u003ccite>(Axel Schmidt/AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Germany\u003c/strong>\u003c/p>\n\u003cp>The Berlin Wall came down in 1989. Well, most of it.\u003c/p>\n\u003cp>Berlin has preserved a section of the wall, creating what it says is “the longest-open air gallery in the world.”\u003c/p>\n\u003cp>Just after the wall fell, artists from 21 countries began painting on it, according to \u003ca href=\"https://www.visitberlin.de/en/east-side-gallery\" target=\"_blank\" rel=\"noopener\">Berlin’s official tourism site\u003c/a>: “In more than a hundred paintings on what was the east side of the wall, the artists commented on the political changes in 1989/90. Some of the works at the East Side Gallery are particularly popular, such as Dmitri Vrubel’s \u003cem>Fraternal Kiss\u003c/em>\u003cstrong> \u003c/strong>and Birgit Kinders’ Trabant breaking through the wall.”\u003c/p>\n\u003cp>A new exhibit by German-American artist Stefan Roloff \u003ca href=\"https://www.reuters.com/article/us-germany-art-idUSKBN1AQ1MW\" target=\"_blank\" rel=\"noopener\">opened on the wall\u003c/a> this month, with photos of soldiers who patrolled the wall and the stories of those who lived behind it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Elsewhere in Berlin, Adolf Hitler’s underground bunker is marked only by a small sign outside a parking lot. “One reason for not preserving Hitler’s bunker was that it was feared that the site might become a place of pilgrimage for neo-Nazis; a place of violence and shameless celebration of a history that should be shameful,” NPR’s Maggie Penman \u003ca href=\"http://www.npr.org/sections/codeswitch/2017/08/16/543808019/the-view-of-charlottesville-from-berlin\" target=\"_blank\" rel=\"noopener\">reports\u003c/a>. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=In+Reckoning+With+Confederate+Monuments%2C+Other+Countries+Could+Provide+Examples&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Looking Back at the 1979 Eclipse Through Sarah Charlesworth's Eyes",
"headTitle": "Looking Back at the 1979 Eclipse Through Sarah Charlesworth’s Eyes | KQED",
"content": "\u003cp>In 1979, when the moon last interrupted North Americans’ view of the sun, newspapers in the path of the eclipse proudly documented the moment. And \u003ca href=\"http://sarahcharlesworth.net/index.php\" target=\"_blank\" rel=\"noopener\">Sarah Charlesworth\u003c/a>, who would go on to have a nearly 40-year career as an influential conceptual artist and member of the Pictures Generation, documented the newspapers.\u003c/p>\n\u003cp>From Portland, Oregon to Ontario, Canada, Charlesworth’s \u003ci>\u003ca href=\"http://sarahcharlesworth.net/series-view.php?album_id=1449341&subalbum_id=1449503\" target=\"_blank\" rel=\"noopener\">Arc of Total Eclipse, February 26, 1979\u003c/a>\u003c/i> follows the solar eclipse across the front pages of 29 local newspapers, most of which no longer exist. (Remember newspapers?) Charlesworth reduces each print to the newspaper’s masthead and images of the obscured sun, crisply excising, as BAMPFA curator emerita Lucinda Barnes says, “all the chatter.”\u003c/p>\n\u003cp>Comparing just these elements, the papers’ unique editorial decisions give each print a bit of local flavor. \u003ci>The Oregonian\u003c/i> went with an impressive five-image spread across the entire width of the paper, showing the slimming crescent of sun shifting to total eclipse and back again. The \u003ci>Lewiston Tribune\u003c/i> ran a special edition “in celebration of the Feb. 26, 1979 total eclipse of the sun (which most of us didn’t see)” — a nearly full-page image of the eclipse suggesting Charlesworth didn’t need to remove any text on this one. \u003c/p>\n\u003cp>Like the best conceptual art, \u003ci>Arc of Total Eclipse\u003c/i> is elegant in its simplicity. But what makes the piece more than just an exercise in restraint, a microcosm in media studies, is Charlesworth’s subtle nod to the impossibility of adequately capturing a moment of celestial alignment on film, in a paper or even through art. Repeated across her prints, the eclipse starts to seem improbable, as if all 29 newspapers documented glimpses of a UFO. \u003c/p>\n\u003cfigure id=\"attachment_13805915\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Charlesworth_Lewiston_1200.jpg\" alt=\"Sarah Charlesworth, 'Arc of Total Eclipse, February 26, 1979' (detail), 1979/2010.\" width=\"1200\" height=\"1766\" class=\"size-full wp-image-13805915\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Charlesworth_Lewiston_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Charlesworth_Lewiston_1200-160x235.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Charlesworth_Lewiston_1200-800x1177.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Charlesworth_Lewiston_1200-768x1130.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Charlesworth_Lewiston_1200-1020x1501.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Charlesworth_Lewiston_1200-1180x1737.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Charlesworth_Lewiston_1200-960x1413.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Charlesworth_Lewiston_1200-240x353.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Charlesworth_Lewiston_1200-375x552.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Charlesworth_Lewiston_1200-520x765.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Sarah Charlesworth, ‘Arc of Total Eclipse, February 26, 1979’ (detail), 1979/2010. \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When I first saw \u003ci>Arc of Total Eclipse\u003c/i> installed, in a two-person exhibition at the Berkeley Art Museum in 2011, I didn’t fully appreciate how much it would stick with me. Barnes, then chief curator, paired Charlesworth’s prints with a recent work from Bay Area artist Chris McCaw, who allowed the sun to trace its path across his photographic paper, physically — and often, violently — burning its arc into the print. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The show was called \u003ci>Sun Works\u003c/i>. It occupied one of the old Mario Ciampi building’s lovely, semi-isolated terraces, floating, as only a Brutalist building made of hard-edged concrete can, above the museum’s grand atrium.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/2011/11/28/staring_at_the_sun_charlesworth_and_mccaw_at_the_berkeley_art/\" target=\"_blank\" rel=\"noopener\">I covered the show for KQED\u003c/a>, paying close attention to Charlesworth’s images — reprinted for the exhibition in collaboration with the artist. But I quibbled with the curatorial conceit, which argued that both \u003ci>Arc of Total Eclipse\u003c/i> and McCaw’s \u003ci>Sunburned GSP #488 (Sunset/sunrise, Galbraith Lake, Alaska)\u003c/i> were made in cahoots with the celestial orb they depicted. “The organizing principle of \u003ci>Sun Works\u003c/i> is off-point for these prints,” I wrote of Charlesworth’s work. “The real collaborators are the newspaper editors and photographers who took the original images, not the sun.” \u003c/p>\n\u003cp>I was an absolutist art critic. Shows should do what they claim to do, I thought. Artworks should fit neatly into categories and, if paired, into each other. Productive dissonance didn’t interest me as much as poking a triumphant hole in someone else’s argument. \u003c/p>\n\u003cfigure id=\"attachment_13805916\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Charlesworth_Seattle_1200.jpg\" alt=\"Sarah Charlesworth, 'Arc of Total Eclipse, February 26, 1979' (detail), 1979/2010.\" width=\"1200\" height=\"1944\" class=\"size-full wp-image-13805916\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Charlesworth_Seattle_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Charlesworth_Seattle_1200-160x259.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Charlesworth_Seattle_1200-800x1296.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Charlesworth_Seattle_1200-768x1244.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Charlesworth_Seattle_1200-1020x1652.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Charlesworth_Seattle_1200-1180x1912.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Charlesworth_Seattle_1200-960x1555.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Charlesworth_Seattle_1200-240x389.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Charlesworth_Seattle_1200-375x608.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Charlesworth_Seattle_1200-520x842.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Sarah Charlesworth, ‘Arc of Total Eclipse, February 26, 1979’ (detail), 1979/2010. \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nearly six years later, when I think back on \u003ci>Sun Works\u003c/i>, I don’t see an uneven installation or an arbitrary pairing. I simply feel a sense of profound gratitude for the introduction to Charlesworth’s work — and this piece in particular. \u003c/p>\n\u003cp>\u003ci>Arc of Total Eclipse\u003c/i> is just one of dozen-ish projects in a series Charlesworth titled \u003ci>\u003ca href=\"http://sarahcharlesworth.net/series.php?album_id=1449341\" target=\"_blank\" rel=\"noopener\">Modern History\u003c/a>\u003c/i>, all made between 1977 and 1979, all culled from newspapers reduced to their mastheads and front-page photographs. (She called the process of blanking out blocks of text “unwriting.”) \u003c/p>\n\u003cp>Some in the series chart spans of time (\u003ci>\u003ca href=\"http://sarahcharlesworth.net/series-view.php?album_id=1449341&subalbum_id=1449342\" target=\"_blank\" rel=\"noopener\">Herald Tribune, September 1977\u003c/a>\u003c/i>), others the events of a particular day. In \u003ci>\u003ca href=\"http://sarahcharlesworth.net/series-view.php?album_id=1449341&subalbum_id=1449475\" target=\"_blank\" rel=\"noopener\">Movie-Television-News-History, June 21, 1979\u003c/a>\u003c/i>, 27 papers reproduce stills from the television footage of the death in Nicaragua of ABC newsman Bill Stewart, with Charlesworth’s prints translating the fuzzy image yet one more step away from the real-life incident. \u003c/p>\n\u003cfigure id=\"attachment_13805917\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Charlesworth_The-Forum_1200.jpg\" alt=\"Sarah Charlesworth, 'Arc of Total Eclipse, February 26, 1979' (detail), 1979/2010.\" width=\"1200\" height=\"1938\" class=\"size-full wp-image-13805917\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Charlesworth_The-Forum_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Charlesworth_The-Forum_1200-160x258.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Charlesworth_The-Forum_1200-800x1292.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Charlesworth_The-Forum_1200-768x1240.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Charlesworth_The-Forum_1200-1020x1647.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Charlesworth_The-Forum_1200-1180x1906.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Charlesworth_The-Forum_1200-960x1550.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Charlesworth_The-Forum_1200-240x388.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Charlesworth_The-Forum_1200-375x606.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Charlesworth_The-Forum_1200-520x840.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Sarah Charlesworth, ‘Arc of Total Eclipse, February 26, 1979’ (detail), 1979/2010. \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Less than two years later after \u003ci>Sun Works\u003c/i> opened, Charlesworth died suddenly of an aneurysm; she was 66. In a remembrance piece for \u003ci>\u003ca href=\"https://www.artforum.com/passages/id=43982\" target=\"_blank\" rel=\"noopener\">Artforum\u003c/a>\u003c/i>, close friend and fellow artist Cindy Sherman wrote, “We will miss the art that she never got to make.” Barnes wonders what Charlesworth would have made of the current state of mass media, how she would have addressed ideas of truth and documentation in her artwork.\u003c/p>\n\u003cp>“How I’m reading it today is: what matters,” Barnes says of \u003ci>Arc of Total Eclipse\u003c/i> now, as she prepares to catch the moment from her home in Idaho. “Of course current events matter, but what she captured in this was a shared human experience.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>On Monday, Aug. 21, the Berkeley Art Museum and Pacific Film Archive will show selections from Sarah Charlesworth’s ‘Arc of Total Eclipse, February 26, 1979’ on their outdoor screen facing Addison St. for one minute on the hour, 8am-8pm. For more information, \u003ca href=\"http://bampfa.org/\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 1979, when the moon last interrupted North Americans’ view of the sun, newspapers in the path of the eclipse proudly documented the moment. And \u003ca href=\"http://sarahcharlesworth.net/index.php\" target=\"_blank\" rel=\"noopener\">Sarah Charlesworth\u003c/a>, who would go on to have a nearly 40-year career as an influential conceptual artist and member of the Pictures Generation, documented the newspapers.\u003c/p>\n\u003cp>From Portland, Oregon to Ontario, Canada, Charlesworth’s \u003ci>\u003ca href=\"http://sarahcharlesworth.net/series-view.php?album_id=1449341&subalbum_id=1449503\" target=\"_blank\" rel=\"noopener\">Arc of Total Eclipse, February 26, 1979\u003c/a>\u003c/i> follows the solar eclipse across the front pages of 29 local newspapers, most of which no longer exist. (Remember newspapers?) Charlesworth reduces each print to the newspaper’s masthead and images of the obscured sun, crisply excising, as BAMPFA curator emerita Lucinda Barnes says, “all the chatter.”\u003c/p>\n\u003cp>Comparing just these elements, the papers’ unique editorial decisions give each print a bit of local flavor. \u003ci>The Oregonian\u003c/i> went with an impressive five-image spread across the entire width of the paper, showing the slimming crescent of sun shifting to total eclipse and back again. The \u003ci>Lewiston Tribune\u003c/i> ran a special edition “in celebration of the Feb. 26, 1979 total eclipse of the sun (which most of us didn’t see)” — a nearly full-page image of the eclipse suggesting Charlesworth didn’t need to remove any text on this one. \u003c/p>\n\u003cp>Like the best conceptual art, \u003ci>Arc of Total Eclipse\u003c/i> is elegant in its simplicity. But what makes the piece more than just an exercise in restraint, a microcosm in media studies, is Charlesworth’s subtle nod to the impossibility of adequately capturing a moment of celestial alignment on film, in a paper or even through art. Repeated across her prints, the eclipse starts to seem improbable, as if all 29 newspapers documented glimpses of a UFO. \u003c/p>\n\u003cfigure id=\"attachment_13805915\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Charlesworth_Lewiston_1200.jpg\" alt=\"Sarah Charlesworth, 'Arc of Total Eclipse, February 26, 1979' (detail), 1979/2010.\" width=\"1200\" height=\"1766\" class=\"size-full wp-image-13805915\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Charlesworth_Lewiston_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Charlesworth_Lewiston_1200-160x235.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Charlesworth_Lewiston_1200-800x1177.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Charlesworth_Lewiston_1200-768x1130.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Charlesworth_Lewiston_1200-1020x1501.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Charlesworth_Lewiston_1200-1180x1737.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Charlesworth_Lewiston_1200-960x1413.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Charlesworth_Lewiston_1200-240x353.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Charlesworth_Lewiston_1200-375x552.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Charlesworth_Lewiston_1200-520x765.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Sarah Charlesworth, ‘Arc of Total Eclipse, February 26, 1979’ (detail), 1979/2010. \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When I first saw \u003ci>Arc of Total Eclipse\u003c/i> installed, in a two-person exhibition at the Berkeley Art Museum in 2011, I didn’t fully appreciate how much it would stick with me. Barnes, then chief curator, paired Charlesworth’s prints with a recent work from Bay Area artist Chris McCaw, who allowed the sun to trace its path across his photographic paper, physically — and often, violently — burning its arc into the print. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The show was called \u003ci>Sun Works\u003c/i>. It occupied one of the old Mario Ciampi building’s lovely, semi-isolated terraces, floating, as only a Brutalist building made of hard-edged concrete can, above the museum’s grand atrium.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/2011/11/28/staring_at_the_sun_charlesworth_and_mccaw_at_the_berkeley_art/\" target=\"_blank\" rel=\"noopener\">I covered the show for KQED\u003c/a>, paying close attention to Charlesworth’s images — reprinted for the exhibition in collaboration with the artist. But I quibbled with the curatorial conceit, which argued that both \u003ci>Arc of Total Eclipse\u003c/i> and McCaw’s \u003ci>Sunburned GSP #488 (Sunset/sunrise, Galbraith Lake, Alaska)\u003c/i> were made in cahoots with the celestial orb they depicted. “The organizing principle of \u003ci>Sun Works\u003c/i> is off-point for these prints,” I wrote of Charlesworth’s work. “The real collaborators are the newspaper editors and photographers who took the original images, not the sun.” \u003c/p>\n\u003cp>I was an absolutist art critic. Shows should do what they claim to do, I thought. Artworks should fit neatly into categories and, if paired, into each other. Productive dissonance didn’t interest me as much as poking a triumphant hole in someone else’s argument. \u003c/p>\n\u003cfigure id=\"attachment_13805916\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Charlesworth_Seattle_1200.jpg\" alt=\"Sarah Charlesworth, 'Arc of Total Eclipse, February 26, 1979' (detail), 1979/2010.\" width=\"1200\" height=\"1944\" class=\"size-full wp-image-13805916\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Charlesworth_Seattle_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Charlesworth_Seattle_1200-160x259.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Charlesworth_Seattle_1200-800x1296.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Charlesworth_Seattle_1200-768x1244.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Charlesworth_Seattle_1200-1020x1652.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Charlesworth_Seattle_1200-1180x1912.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Charlesworth_Seattle_1200-960x1555.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Charlesworth_Seattle_1200-240x389.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Charlesworth_Seattle_1200-375x608.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Charlesworth_Seattle_1200-520x842.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Sarah Charlesworth, ‘Arc of Total Eclipse, February 26, 1979’ (detail), 1979/2010. \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nearly six years later, when I think back on \u003ci>Sun Works\u003c/i>, I don’t see an uneven installation or an arbitrary pairing. I simply feel a sense of profound gratitude for the introduction to Charlesworth’s work — and this piece in particular. \u003c/p>\n\u003cp>\u003ci>Arc of Total Eclipse\u003c/i> is just one of dozen-ish projects in a series Charlesworth titled \u003ci>\u003ca href=\"http://sarahcharlesworth.net/series.php?album_id=1449341\" target=\"_blank\" rel=\"noopener\">Modern History\u003c/a>\u003c/i>, all made between 1977 and 1979, all culled from newspapers reduced to their mastheads and front-page photographs. (She called the process of blanking out blocks of text “unwriting.”) \u003c/p>\n\u003cp>Some in the series chart spans of time (\u003ci>\u003ca href=\"http://sarahcharlesworth.net/series-view.php?album_id=1449341&subalbum_id=1449342\" target=\"_blank\" rel=\"noopener\">Herald Tribune, September 1977\u003c/a>\u003c/i>), others the events of a particular day. In \u003ci>\u003ca href=\"http://sarahcharlesworth.net/series-view.php?album_id=1449341&subalbum_id=1449475\" target=\"_blank\" rel=\"noopener\">Movie-Television-News-History, June 21, 1979\u003c/a>\u003c/i>, 27 papers reproduce stills from the television footage of the death in Nicaragua of ABC newsman Bill Stewart, with Charlesworth’s prints translating the fuzzy image yet one more step away from the real-life incident. \u003c/p>\n\u003cfigure id=\"attachment_13805917\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Charlesworth_The-Forum_1200.jpg\" alt=\"Sarah Charlesworth, 'Arc of Total Eclipse, February 26, 1979' (detail), 1979/2010.\" width=\"1200\" height=\"1938\" class=\"size-full wp-image-13805917\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Charlesworth_The-Forum_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Charlesworth_The-Forum_1200-160x258.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Charlesworth_The-Forum_1200-800x1292.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Charlesworth_The-Forum_1200-768x1240.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Charlesworth_The-Forum_1200-1020x1647.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Charlesworth_The-Forum_1200-1180x1906.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Charlesworth_The-Forum_1200-960x1550.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Charlesworth_The-Forum_1200-240x388.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Charlesworth_The-Forum_1200-375x606.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Charlesworth_The-Forum_1200-520x840.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Sarah Charlesworth, ‘Arc of Total Eclipse, February 26, 1979’ (detail), 1979/2010. \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Less than two years later after \u003ci>Sun Works\u003c/i> opened, Charlesworth died suddenly of an aneurysm; she was 66. In a remembrance piece for \u003ci>\u003ca href=\"https://www.artforum.com/passages/id=43982\" target=\"_blank\" rel=\"noopener\">Artforum\u003c/a>\u003c/i>, close friend and fellow artist Cindy Sherman wrote, “We will miss the art that she never got to make.” Barnes wonders what Charlesworth would have made of the current state of mass media, how she would have addressed ideas of truth and documentation in her artwork.\u003c/p>\n\u003cp>“How I’m reading it today is: what matters,” Barnes says of \u003ci>Arc of Total Eclipse\u003c/i> now, as she prepares to catch the moment from her home in Idaho. “Of course current events matter, but what she captured in this was a shared human experience.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>On Monday, Aug. 21, the Berkeley Art Museum and Pacific Film Archive will show selections from Sarah Charlesworth’s ‘Arc of Total Eclipse, February 26, 1979’ on their outdoor screen facing Addison St. for one minute on the hour, 8am-8pm. For more information, \u003ca href=\"http://bampfa.org/\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Iconic Plague Images Are Often Not What They Seem",
"headTitle": "Iconic Plague Images Are Often Not What They Seem | KQED",
"content": "\u003cp>Many of the images we associate with the plague actually depict leprosy or smallpox. In fact, there are very few images of the Black Death from the time of the scourge.\u003c/p>\n\u003cp>A few weeks ago, I reported \u003ca href=\"http://www.npr.org/sections/goatsandsoda/2017/06/29/534863486/the-bubonic-plague-is-back-this-time-in-new-mexico\">a story\u003c/a> about three cases of the plague in New Mexico. The bacterial illness pops up fairly regularly across the globe and is now easily treatable with antibiotics, if caught in time.\u003c/p>\n\u003cp>The story ran with an iconic image of the plague from a 15th-century Italian document.\u003c/p>\n\u003cfigure id=\"attachment_13805977\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/42-24063922-25-e928d9481b2569af610bde0d1fee97c7ace752cf-800x600.jpg\" alt=\"A 15th-century Bible depicts a couple suffering from the blisters of bubonic plague. The same bacterium that ravaged medieval Europe, where the disease was known as the Black Death, occasionally re-emerges.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13805977\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/42-24063922-25-e928d9481b2569af610bde0d1fee97c7ace752cf-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/42-24063922-25-e928d9481b2569af610bde0d1fee97c7ace752cf-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/42-24063922-25-e928d9481b2569af610bde0d1fee97c7ace752cf-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/42-24063922-25-e928d9481b2569af610bde0d1fee97c7ace752cf-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/42-24063922-25-e928d9481b2569af610bde0d1fee97c7ace752cf-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/42-24063922-25-e928d9481b2569af610bde0d1fee97c7ace752cf-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/42-24063922-25-e928d9481b2569af610bde0d1fee97c7ace752cf-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/42-24063922-25-e928d9481b2569af610bde0d1fee97c7ace752cf-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/42-24063922-25-e928d9481b2569af610bde0d1fee97c7ace752cf-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/42-24063922-25-e928d9481b2569af610bde0d1fee97c7ace752cf.jpg 1901w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A 15th-century Bible depicts a couple suffering from the blisters of bubonic plague. The same bacterium that ravaged medieval Europe, where the disease was known as the Black Death, occasionally re-emerges. \u003ccite>(Corbis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But, as historian \u003ca href=\"https://isearch.asu.edu/profile/384868\">Monica H. Green\u003c/a> swiftly \u003ca href=\"https://twitter.com/monicaMedHist/status/880851932402798592\">pointed out\u003c/a> on Twitter, the image doesn’t actually depict the plague. The patients shown are suffering from leprosy. So, we took the image down and replaced it with another iconic image of the plague, made about 50 years earlier and published in a Swiss Bible. That one, it turns out, doesn’t show the Black Death, either. The people in it are also lepers.\u003c/p>\n\u003cfigure id=\"attachment_13805976\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/plague_custom-52add211fa3187a41c1ca5892706a5d64840eced-800x626.jpe\" alt=\"A 15th-century image by Jacopo Oddi from the 'La Franceschina' codex depicts Franciscan monks treating victims of the plague in Italy.\" width=\"800\" height=\"626\" class=\"size-medium wp-image-13805976\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/plague_custom-52add211fa3187a41c1ca5892706a5d64840eced-800x626.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/plague_custom-52add211fa3187a41c1ca5892706a5d64840eced-160x125.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/plague_custom-52add211fa3187a41c1ca5892706a5d64840eced-768x601.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/plague_custom-52add211fa3187a41c1ca5892706a5d64840eced-1020x798.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/plague_custom-52add211fa3187a41c1ca5892706a5d64840eced-1920x1501.jpe 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/plague_custom-52add211fa3187a41c1ca5892706a5d64840eced-1180x923.jpe 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/plague_custom-52add211fa3187a41c1ca5892706a5d64840eced-960x751.jpe 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/plague_custom-52add211fa3187a41c1ca5892706a5d64840eced-240x188.jpe 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/plague_custom-52add211fa3187a41c1ca5892706a5d64840eced-375x293.jpe 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/plague_custom-52add211fa3187a41c1ca5892706a5d64840eced-520x407.jpe 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/plague_custom-52add211fa3187a41c1ca5892706a5d64840eced.jpe 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A 15th-century image by Jacopo Oddi from the ‘La Franceschina’ codex depicts Franciscan monks treating victims of the plague in Italy. \u003ccite>(A. Dagli Orti/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We’d made the same mistake twice. D’oh!\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“You and a lot of other people,” says Green, a historian with Arizona State University.\u003c/p>\n\u003cp>As her colleague Lori Jones \u003ca href=\"http://www.thelancet.com/journals/laninf/article/PIIS1473-3099(16)30119-0/fulltext\">makes clear in the journal\u003c/a> \u003cem>The Lancet Infectious Diseases, \u003c/em>NPR is far from the first organization to make exactly the same succession of image mistakes.\u003c/p>\n\u003cp>“Most of the images we associate with plague are actually leprosy,” says \u003ca href=\"https://arts.uottawa.ca/history/people/jones-lori\">Jones\u003c/a>, a historian of medieval and early modern medicine at the University of Ottawa.\u003c/p>\n\u003cp>Here’s yet another iconic image from James le Palmer’s \u003cem>Omne Bonum\u003c/em>, a 14th-century encyclopedia. The image has been \u003ca href=\"http://scholarworks.wmich.edu/tmg/vol1/iss1/13/\">commonly mistaken\u003c/a> as depicting the Black Death, including in an exhibit on the epidemic at the Museum of London in 2012.\u003c/p>\n\u003cfigure id=\"attachment_13805993\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/3_custom-f3ddc5146515095812bec0f297316a90f9fbbf66-s800-c85-800x800.jpg\" alt=\"This image in a 14th-century encyclopedia called the 'Omne Bonum' shows a priest giving instructions to people with leprosy. The British Library mislabeled the image as depicting plague victims.\" width=\"800\" height=\"800\" class=\"size-medium wp-image-13805993\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/3_custom-f3ddc5146515095812bec0f297316a90f9fbbf66-s800-c85.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/3_custom-f3ddc5146515095812bec0f297316a90f9fbbf66-s800-c85-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/3_custom-f3ddc5146515095812bec0f297316a90f9fbbf66-s800-c85-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/3_custom-f3ddc5146515095812bec0f297316a90f9fbbf66-s800-c85-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/3_custom-f3ddc5146515095812bec0f297316a90f9fbbf66-s800-c85-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/3_custom-f3ddc5146515095812bec0f297316a90f9fbbf66-s800-c85-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/3_custom-f3ddc5146515095812bec0f297316a90f9fbbf66-s800-c85-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/3_custom-f3ddc5146515095812bec0f297316a90f9fbbf66-s800-c85-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/3_custom-f3ddc5146515095812bec0f297316a90f9fbbf66-s800-c85-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/3_custom-f3ddc5146515095812bec0f297316a90f9fbbf66-s800-c85-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/3_custom-f3ddc5146515095812bec0f297316a90f9fbbf66-s800-c85-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/3_custom-f3ddc5146515095812bec0f297316a90f9fbbf66-s800-c85-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">This image in a 14th-century encyclopedia called the ‘Omne Bonum’ shows a priest giving instructions to people with leprosy. The British Library mislabeled the image as depicting plague victims. \u003ccite>(The British Library)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Historians like Jones and Green are trying to correct such mistakes with websites including NPR, the BBC, Wikipedia and, most importantly, in libraries and art resource databases, including The British Library and Getty Images, that distribute the images.\u003c/p>\n\u003cp>“It gives a misrepresentation of what the plague actually looked like and what people’s experience was of it,” says Jones.\u003c/p>\n\u003cp>It’s easy to understand how it happened. A domino effect of misunderstanding, they say, likely originated with incorrect captioning by libraries and subsequently by art resource databases where journalists purchase photos.\u003c/p>\n\u003cp>“In the pictures that have been mislabeled as the plague, we see in them what we want to see of the plague,” says Jones. We see groups of victims mid-demise, covered in lesions, reaching up to the heavens for help that we know won’t come.\u003c/p>\n\u003cp>Almost everything about that is wrong.\u003c/p>\n\u003cp>First off, there were a lot fewer spots involved. People in the mislabeled images tend to be covered from head to toe in red lesions. Some patients probably \u003cem>did\u003c/em> get petechial hemorrhaging — pinpoint dark spots of blood under the skin. But today, as in the past, plague victims would only have had one bump on their bodies — a big swollen lymph node called a “bubo” close to where they were bitten by a flea carrying the infection.\u003c/p>\n\u003cfigure id=\"attachment_13806001\" class=\"wp-caption alignright\" style=\"max-width: 721px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/bubonic-plague-4.jpg\" alt=\"This woodblock print from Germany in the late 15th century is meant to show doctors how to lance a bubo, which was thought to be how to get rid of the plague.\" width=\"721\" height=\"1025\" class=\"size-full wp-image-13806001\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/bubonic-plague-4.jpg 721w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/bubonic-plague-4-160x227.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/bubonic-plague-4-240x341.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/bubonic-plague-4-375x533.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/bubonic-plague-4-520x739.jpg 520w\" sizes=\"(max-width: 721px) 100vw, 721px\">\u003cfigcaption class=\"wp-caption-text\">This woodblock print from Germany in the late 15th century is meant to show doctors how to lance a bubo, which was thought to be how to get rid of the plague. \u003ccite>(Österreichische Nationalbibliothek)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This is not to say they looked good. They were probably sweating and shivering with fevers, and they supposedly smelled terrible, says Jones, “because their bodies were breaking down from the inside.” But those aren’t characteristics that would stand out in an illustration.\u003c/p>\n\u003cp>Second, while they certainly must have done their fair share of praying to the saints for recovery, they also knew much more about infectious disease than we give them credit for. Plague inspired the \u003ca href=\"https://www.cdc.gov/quarantine/historyquarantine.html\">first known use\u003c/a> of the quarantine, a word that comes from the Italian term for “40 days,” the amount of time that ships had to stay offshore before anyone was allowed to set foot on the ground. It also inspired an early version of \u003ca href=\"http://www.npr.org/sections/health-shots/2014/10/27/359323578/new-yorks-disease-detectives-hit-the-street-in-search-of-ebola\">contact tracing\u003c/a>, where medical practitioners would search for neighbors and relatives who’d been in contact with a plague victim and isolate them to prevent further infectious spread.\u003c/p>\n\u003cp>The incorrect images, Green says, scratch our plague itch. “They fulfill our image of infectious disease,” she says, but they’re wrong. “This is the big hoodwinking everyone has participated in.”\u003c/p>\n\u003cp>So, what medieval illustrations actually \u003cem>do \u003c/em>depict the plague?\u003c/p>\n\u003cp>“From what I’ve been able to find, there are no contemporary images of what the plague looks like,” says Jones, the historian.\u003c/p>\n\u003cp>There just aren’t images of what it was like to suffer from the Black Death drawn during the time of the Black Death.\u003c/p>\n\u003cp>Between about 1347 and 1353, the Black Death wiped out an estimated 50 percent of the European population. It was horrendous. “People were terrified,” says Jones.\u003c/p>\n\u003cp>You’d think, Jones says, “that if this was such a major catastrophe, there must be drawings of it. But there aren’t.”\u003c/p>\n\u003cp>Those that do exist are in line with how we show terrible epidemics today — lots of social chaos and death, rather than a detailed focus on the disease and its symptoms.\u003c/p>\n\u003cp>One scene, in book written in the 1340s by a man named Gilles li Muisit, shows a scene of people carrying coffins of those who died during the Black Death.\u003c/p>\n\u003cfigure id=\"attachment_13805979\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/gettyimages-535795241-50_custom-24857a8478a44a190d409bcd1b48148eb631dff7-800x566.jpg\" alt=\"This is one of the earliest known images of the plague. Drawn in 1349, during the time of the Black Death, it shows people carrying coffins of those who died of the illness in Tournai, a city in what is now Belgium.\" width=\"800\" height=\"566\" class=\"size-medium wp-image-13805979\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-535795241-50_custom-24857a8478a44a190d409bcd1b48148eb631dff7-800x566.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-535795241-50_custom-24857a8478a44a190d409bcd1b48148eb631dff7-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-535795241-50_custom-24857a8478a44a190d409bcd1b48148eb631dff7-768x543.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-535795241-50_custom-24857a8478a44a190d409bcd1b48148eb631dff7-1020x722.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-535795241-50_custom-24857a8478a44a190d409bcd1b48148eb631dff7-1920x1358.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-535795241-50_custom-24857a8478a44a190d409bcd1b48148eb631dff7-1180x835.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-535795241-50_custom-24857a8478a44a190d409bcd1b48148eb631dff7-960x679.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-535795241-50_custom-24857a8478a44a190d409bcd1b48148eb631dff7-240x170.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-535795241-50_custom-24857a8478a44a190d409bcd1b48148eb631dff7-375x265.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-535795241-50_custom-24857a8478a44a190d409bcd1b48148eb631dff7-520x368.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">This is one of the earliest known images of the plague. Drawn in 1349, during the time of the Black Death, it shows people carrying coffins of those who died of the illness in Tournai, a city in what is now Belgium. \u003ccite>(UIG via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“He doesn’t depict the physical symptoms of the plague. He depicts the social devastation — just that social chaos of having to deal with mass death,” says Green.\u003c/p>\n\u003cp>Another image from the 1340s shows Jews, who were blamed for the Black Death, being burned alive in what’s now Switzerland and Germany.\u003c/p>\n\u003cfigure id=\"attachment_13805995\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/bubonic-plague-2-800x481.jpg\" alt=\"In this history book written in the 1340s by the French chronicler and poet Gilles li Muisis, residents of a town stricken by the plague burn Jews, who were blamed for causing the disease.\" width=\"800\" height=\"481\" class=\"size-medium wp-image-13805995\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/bubonic-plague-2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/bubonic-plague-2-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/bubonic-plague-2-768x462.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/bubonic-plague-2-240x144.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/bubonic-plague-2-375x225.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/bubonic-plague-2-520x313.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In this history book written in the 1340s by the French chronicler and poet Gilles li Muisis, residents of a town stricken by the plague burn Jews, who were blamed for causing the disease. \u003ccite>(Royal Library of Belgium)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Why didn’t artists show people suffering from the disease itself?\u003c/p>\n\u003cp>Maybe it was because the artists themselves were too busy dying of the plague to draw other people dying of the plague. Maybe they were fine, and just really scared of picking up the disease from their subjects. Or maybe the plague became so commonplace back then that people didn’t consider it worth depicting — just like how today, doctors and scientists don’t go out of their way to publish images and reports of chicken pox.\u003c/p>\n\u003cp>“It would be like us publishing in the medical literature about a regular case of flu — we don’t waste our time on that in medical literature today. How often are there pictures of measles?” says Jones.\u003c/p>\n\u003cp>Maybe it was because at the time of the Black Death itself, people had no idea what was killing everyone.\u003c/p>\n\u003cp>The \u003ca href=\"https://www.cdc.gov/plague/history/index.html\">first recorded pandemic\u003c/a>, the Plague of Justinian, had ended 700 years earlier. Detailed records existed, but they were mostly written in Syriac or Greek and had remained in the Middle East. The only records available in Western Europe spoke about the plague in vague terms — there was lots of talk about death and demise, but not a lot of specifics on the disease’s progression.\u003c/p>\n\u003cp>“They just had no concept of this disease at all,” says Jones.\u003c/p>\n\u003cp>It wasn’t until about a century after the Black Death ended that people in Western Europe started connecting the dots. When the Ottomans conquered Constantinople in 1453, records of the much earlier scourge made their way to Western Europe with fleeing Christian scholars.\u003c/p>\n\u003cp>And people in Europe, where smaller outbreaks continued to pop up every 10 to 15 years through the 1720s, started connecting the dots.\u003c/p>\n\u003cp>“They started going, ‘Wait a minute, this has happened before,’ ” says Jones.\u003c/p>\n\u003cp>And finally, people started drawing the plague and its symptoms. This one from the 1490s shows St. Sebastian praying on behalf of people suffering from or killed by the plague.\u003c/p>\n\u003cfigure id=\"attachment_13805996\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/bubonic-plague-3-800x1194.jpg\" alt=\"St. Sebastian, one of the saints that people prayed to for protection against the plague, kneels before God while a grave attendant is stricken with the plague as he's burying someone else who died of the disease. He has a single bubo on his bent neck. It was painted by French artist Josse Lieferinxe at the end of the 15th century.\" width=\"800\" height=\"1194\" class=\"size-medium wp-image-13805996\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/bubonic-plague-3.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/bubonic-plague-3-160x239.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/bubonic-plague-3-768x1146.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/bubonic-plague-3-240x358.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/bubonic-plague-3-375x560.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/bubonic-plague-3-520x776.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">St. Sebastian, one of the saints that people prayed to for protection against the plague, kneels before God while a grave attendant is stricken with the plague as he’s burying someone else who died of the disease. He has a single bubo on his bent neck. It was painted by French artist Josse Lieferinxe at the end of the 15th century. \u003ccite>(The Walters Art Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Note that these people are not at all covered in spots. You have to look closely to notice the swollen red lump — the bubo — on the neck of the man on the ground in green sleeves.\u003c/p>\n\u003cp>In this image from 1500, the plague patient points to a bubo in his armpit.\u003c/p>\n\u003cp>Medical illustrations from the late 1400s, like this one from France, are meant to teach medical practitioners how to lance a bubo to get the infection out of it (something along the lines of “poke it with a sharp stick”).\u003c/p>\n\u003cp>That is what the plague actually looked like to people who were around to experience it. The images don’t show much.\u003c/p>\n\u003cp>But, Jones says, who are we to criticize?\u003c/p>\n\u003cp>“We judge medieval people for not having these images on the Black Death, but where’s our modern image of it?” she says.\u003c/p>\n\u003cp>After all, plague is still around in many parts of the world, including in the U.S. Where are the images of buboes on American plague patients this year? How about \u003ca href=\"https://www.washingtonpost.com/news/in-sight/wp/2016/03/09/the-plague-alive-and-well-in-madagascar/?utm_term=.8f8c9f8524ff\">photos of plague-\u003c/a>suffering in Madagascar, where a recent outbreak killed dozens? And, after all, how many of us could describe what a person suffering from Ebola \u003ca href=\"http://www.npr.org/sections/goatsandsoda/2014/11/28/366790665/test-your-medical-smarts-does-this-patient-have-ebola\">actually looks like\u003c/a>?\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“We are always constructing a narrative,” says Green. And often that narrative has much more to do with conveying emotion than medical facts. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Iconic+Plague+Images+Are+Often+Not+What+They+Seem&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "Many images that have been used traditionally to depict the Black Death are, in fact, not images of the plague at all. Now, a group of dedicated historians are trying to correct the record.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Many of the images we associate with the plague actually depict leprosy or smallpox. In fact, there are very few images of the Black Death from the time of the scourge.\u003c/p>\n\u003cp>A few weeks ago, I reported \u003ca href=\"http://www.npr.org/sections/goatsandsoda/2017/06/29/534863486/the-bubonic-plague-is-back-this-time-in-new-mexico\">a story\u003c/a> about three cases of the plague in New Mexico. The bacterial illness pops up fairly regularly across the globe and is now easily treatable with antibiotics, if caught in time.\u003c/p>\n\u003cp>The story ran with an iconic image of the plague from a 15th-century Italian document.\u003c/p>\n\u003cfigure id=\"attachment_13805977\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/42-24063922-25-e928d9481b2569af610bde0d1fee97c7ace752cf-800x600.jpg\" alt=\"A 15th-century Bible depicts a couple suffering from the blisters of bubonic plague. The same bacterium that ravaged medieval Europe, where the disease was known as the Black Death, occasionally re-emerges.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13805977\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/42-24063922-25-e928d9481b2569af610bde0d1fee97c7ace752cf-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/42-24063922-25-e928d9481b2569af610bde0d1fee97c7ace752cf-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/42-24063922-25-e928d9481b2569af610bde0d1fee97c7ace752cf-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/42-24063922-25-e928d9481b2569af610bde0d1fee97c7ace752cf-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/42-24063922-25-e928d9481b2569af610bde0d1fee97c7ace752cf-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/42-24063922-25-e928d9481b2569af610bde0d1fee97c7ace752cf-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/42-24063922-25-e928d9481b2569af610bde0d1fee97c7ace752cf-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/42-24063922-25-e928d9481b2569af610bde0d1fee97c7ace752cf-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/42-24063922-25-e928d9481b2569af610bde0d1fee97c7ace752cf-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/42-24063922-25-e928d9481b2569af610bde0d1fee97c7ace752cf.jpg 1901w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A 15th-century Bible depicts a couple suffering from the blisters of bubonic plague. The same bacterium that ravaged medieval Europe, where the disease was known as the Black Death, occasionally re-emerges. \u003ccite>(Corbis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But, as historian \u003ca href=\"https://isearch.asu.edu/profile/384868\">Monica H. Green\u003c/a> swiftly \u003ca href=\"https://twitter.com/monicaMedHist/status/880851932402798592\">pointed out\u003c/a> on Twitter, the image doesn’t actually depict the plague. The patients shown are suffering from leprosy. So, we took the image down and replaced it with another iconic image of the plague, made about 50 years earlier and published in a Swiss Bible. That one, it turns out, doesn’t show the Black Death, either. The people in it are also lepers.\u003c/p>\n\u003cfigure id=\"attachment_13805976\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/plague_custom-52add211fa3187a41c1ca5892706a5d64840eced-800x626.jpe\" alt=\"A 15th-century image by Jacopo Oddi from the 'La Franceschina' codex depicts Franciscan monks treating victims of the plague in Italy.\" width=\"800\" height=\"626\" class=\"size-medium wp-image-13805976\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/plague_custom-52add211fa3187a41c1ca5892706a5d64840eced-800x626.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/plague_custom-52add211fa3187a41c1ca5892706a5d64840eced-160x125.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/plague_custom-52add211fa3187a41c1ca5892706a5d64840eced-768x601.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/plague_custom-52add211fa3187a41c1ca5892706a5d64840eced-1020x798.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/plague_custom-52add211fa3187a41c1ca5892706a5d64840eced-1920x1501.jpe 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/plague_custom-52add211fa3187a41c1ca5892706a5d64840eced-1180x923.jpe 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/plague_custom-52add211fa3187a41c1ca5892706a5d64840eced-960x751.jpe 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/plague_custom-52add211fa3187a41c1ca5892706a5d64840eced-240x188.jpe 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/plague_custom-52add211fa3187a41c1ca5892706a5d64840eced-375x293.jpe 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/plague_custom-52add211fa3187a41c1ca5892706a5d64840eced-520x407.jpe 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/plague_custom-52add211fa3187a41c1ca5892706a5d64840eced.jpe 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A 15th-century image by Jacopo Oddi from the ‘La Franceschina’ codex depicts Franciscan monks treating victims of the plague in Italy. \u003ccite>(A. Dagli Orti/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We’d made the same mistake twice. D’oh!\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“You and a lot of other people,” says Green, a historian with Arizona State University.\u003c/p>\n\u003cp>As her colleague Lori Jones \u003ca href=\"http://www.thelancet.com/journals/laninf/article/PIIS1473-3099(16)30119-0/fulltext\">makes clear in the journal\u003c/a> \u003cem>The Lancet Infectious Diseases, \u003c/em>NPR is far from the first organization to make exactly the same succession of image mistakes.\u003c/p>\n\u003cp>“Most of the images we associate with plague are actually leprosy,” says \u003ca href=\"https://arts.uottawa.ca/history/people/jones-lori\">Jones\u003c/a>, a historian of medieval and early modern medicine at the University of Ottawa.\u003c/p>\n\u003cp>Here’s yet another iconic image from James le Palmer’s \u003cem>Omne Bonum\u003c/em>, a 14th-century encyclopedia. The image has been \u003ca href=\"http://scholarworks.wmich.edu/tmg/vol1/iss1/13/\">commonly mistaken\u003c/a> as depicting the Black Death, including in an exhibit on the epidemic at the Museum of London in 2012.\u003c/p>\n\u003cfigure id=\"attachment_13805993\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/3_custom-f3ddc5146515095812bec0f297316a90f9fbbf66-s800-c85-800x800.jpg\" alt=\"This image in a 14th-century encyclopedia called the 'Omne Bonum' shows a priest giving instructions to people with leprosy. The British Library mislabeled the image as depicting plague victims.\" width=\"800\" height=\"800\" class=\"size-medium wp-image-13805993\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/3_custom-f3ddc5146515095812bec0f297316a90f9fbbf66-s800-c85.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/3_custom-f3ddc5146515095812bec0f297316a90f9fbbf66-s800-c85-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/3_custom-f3ddc5146515095812bec0f297316a90f9fbbf66-s800-c85-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/3_custom-f3ddc5146515095812bec0f297316a90f9fbbf66-s800-c85-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/3_custom-f3ddc5146515095812bec0f297316a90f9fbbf66-s800-c85-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/3_custom-f3ddc5146515095812bec0f297316a90f9fbbf66-s800-c85-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/3_custom-f3ddc5146515095812bec0f297316a90f9fbbf66-s800-c85-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/3_custom-f3ddc5146515095812bec0f297316a90f9fbbf66-s800-c85-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/3_custom-f3ddc5146515095812bec0f297316a90f9fbbf66-s800-c85-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/3_custom-f3ddc5146515095812bec0f297316a90f9fbbf66-s800-c85-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/3_custom-f3ddc5146515095812bec0f297316a90f9fbbf66-s800-c85-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/3_custom-f3ddc5146515095812bec0f297316a90f9fbbf66-s800-c85-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">This image in a 14th-century encyclopedia called the ‘Omne Bonum’ shows a priest giving instructions to people with leprosy. The British Library mislabeled the image as depicting plague victims. \u003ccite>(The British Library)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Historians like Jones and Green are trying to correct such mistakes with websites including NPR, the BBC, Wikipedia and, most importantly, in libraries and art resource databases, including The British Library and Getty Images, that distribute the images.\u003c/p>\n\u003cp>“It gives a misrepresentation of what the plague actually looked like and what people’s experience was of it,” says Jones.\u003c/p>\n\u003cp>It’s easy to understand how it happened. A domino effect of misunderstanding, they say, likely originated with incorrect captioning by libraries and subsequently by art resource databases where journalists purchase photos.\u003c/p>\n\u003cp>“In the pictures that have been mislabeled as the plague, we see in them what we want to see of the plague,” says Jones. We see groups of victims mid-demise, covered in lesions, reaching up to the heavens for help that we know won’t come.\u003c/p>\n\u003cp>Almost everything about that is wrong.\u003c/p>\n\u003cp>First off, there were a lot fewer spots involved. People in the mislabeled images tend to be covered from head to toe in red lesions. Some patients probably \u003cem>did\u003c/em> get petechial hemorrhaging — pinpoint dark spots of blood under the skin. But today, as in the past, plague victims would only have had one bump on their bodies — a big swollen lymph node called a “bubo” close to where they were bitten by a flea carrying the infection.\u003c/p>\n\u003cfigure id=\"attachment_13806001\" class=\"wp-caption alignright\" style=\"max-width: 721px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/bubonic-plague-4.jpg\" alt=\"This woodblock print from Germany in the late 15th century is meant to show doctors how to lance a bubo, which was thought to be how to get rid of the plague.\" width=\"721\" height=\"1025\" class=\"size-full wp-image-13806001\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/bubonic-plague-4.jpg 721w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/bubonic-plague-4-160x227.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/bubonic-plague-4-240x341.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/bubonic-plague-4-375x533.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/bubonic-plague-4-520x739.jpg 520w\" sizes=\"(max-width: 721px) 100vw, 721px\">\u003cfigcaption class=\"wp-caption-text\">This woodblock print from Germany in the late 15th century is meant to show doctors how to lance a bubo, which was thought to be how to get rid of the plague. \u003ccite>(Österreichische Nationalbibliothek)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This is not to say they looked good. They were probably sweating and shivering with fevers, and they supposedly smelled terrible, says Jones, “because their bodies were breaking down from the inside.” But those aren’t characteristics that would stand out in an illustration.\u003c/p>\n\u003cp>Second, while they certainly must have done their fair share of praying to the saints for recovery, they also knew much more about infectious disease than we give them credit for. Plague inspired the \u003ca href=\"https://www.cdc.gov/quarantine/historyquarantine.html\">first known use\u003c/a> of the quarantine, a word that comes from the Italian term for “40 days,” the amount of time that ships had to stay offshore before anyone was allowed to set foot on the ground. It also inspired an early version of \u003ca href=\"http://www.npr.org/sections/health-shots/2014/10/27/359323578/new-yorks-disease-detectives-hit-the-street-in-search-of-ebola\">contact tracing\u003c/a>, where medical practitioners would search for neighbors and relatives who’d been in contact with a plague victim and isolate them to prevent further infectious spread.\u003c/p>\n\u003cp>The incorrect images, Green says, scratch our plague itch. “They fulfill our image of infectious disease,” she says, but they’re wrong. “This is the big hoodwinking everyone has participated in.”\u003c/p>\n\u003cp>So, what medieval illustrations actually \u003cem>do \u003c/em>depict the plague?\u003c/p>\n\u003cp>“From what I’ve been able to find, there are no contemporary images of what the plague looks like,” says Jones, the historian.\u003c/p>\n\u003cp>There just aren’t images of what it was like to suffer from the Black Death drawn during the time of the Black Death.\u003c/p>\n\u003cp>Between about 1347 and 1353, the Black Death wiped out an estimated 50 percent of the European population. It was horrendous. “People were terrified,” says Jones.\u003c/p>\n\u003cp>You’d think, Jones says, “that if this was such a major catastrophe, there must be drawings of it. But there aren’t.”\u003c/p>\n\u003cp>Those that do exist are in line with how we show terrible epidemics today — lots of social chaos and death, rather than a detailed focus on the disease and its symptoms.\u003c/p>\n\u003cp>One scene, in book written in the 1340s by a man named Gilles li Muisit, shows a scene of people carrying coffins of those who died during the Black Death.\u003c/p>\n\u003cfigure id=\"attachment_13805979\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/gettyimages-535795241-50_custom-24857a8478a44a190d409bcd1b48148eb631dff7-800x566.jpg\" alt=\"This is one of the earliest known images of the plague. Drawn in 1349, during the time of the Black Death, it shows people carrying coffins of those who died of the illness in Tournai, a city in what is now Belgium.\" width=\"800\" height=\"566\" class=\"size-medium wp-image-13805979\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-535795241-50_custom-24857a8478a44a190d409bcd1b48148eb631dff7-800x566.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-535795241-50_custom-24857a8478a44a190d409bcd1b48148eb631dff7-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-535795241-50_custom-24857a8478a44a190d409bcd1b48148eb631dff7-768x543.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-535795241-50_custom-24857a8478a44a190d409bcd1b48148eb631dff7-1020x722.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-535795241-50_custom-24857a8478a44a190d409bcd1b48148eb631dff7-1920x1358.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-535795241-50_custom-24857a8478a44a190d409bcd1b48148eb631dff7-1180x835.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-535795241-50_custom-24857a8478a44a190d409bcd1b48148eb631dff7-960x679.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-535795241-50_custom-24857a8478a44a190d409bcd1b48148eb631dff7-240x170.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-535795241-50_custom-24857a8478a44a190d409bcd1b48148eb631dff7-375x265.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-535795241-50_custom-24857a8478a44a190d409bcd1b48148eb631dff7-520x368.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">This is one of the earliest known images of the plague. Drawn in 1349, during the time of the Black Death, it shows people carrying coffins of those who died of the illness in Tournai, a city in what is now Belgium. \u003ccite>(UIG via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“He doesn’t depict the physical symptoms of the plague. He depicts the social devastation — just that social chaos of having to deal with mass death,” says Green.\u003c/p>\n\u003cp>Another image from the 1340s shows Jews, who were blamed for the Black Death, being burned alive in what’s now Switzerland and Germany.\u003c/p>\n\u003cfigure id=\"attachment_13805995\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/bubonic-plague-2-800x481.jpg\" alt=\"In this history book written in the 1340s by the French chronicler and poet Gilles li Muisis, residents of a town stricken by the plague burn Jews, who were blamed for causing the disease.\" width=\"800\" height=\"481\" class=\"size-medium wp-image-13805995\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/bubonic-plague-2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/bubonic-plague-2-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/bubonic-plague-2-768x462.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/bubonic-plague-2-240x144.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/bubonic-plague-2-375x225.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/bubonic-plague-2-520x313.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In this history book written in the 1340s by the French chronicler and poet Gilles li Muisis, residents of a town stricken by the plague burn Jews, who were blamed for causing the disease. \u003ccite>(Royal Library of Belgium)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Why didn’t artists show people suffering from the disease itself?\u003c/p>\n\u003cp>Maybe it was because the artists themselves were too busy dying of the plague to draw other people dying of the plague. Maybe they were fine, and just really scared of picking up the disease from their subjects. Or maybe the plague became so commonplace back then that people didn’t consider it worth depicting — just like how today, doctors and scientists don’t go out of their way to publish images and reports of chicken pox.\u003c/p>\n\u003cp>“It would be like us publishing in the medical literature about a regular case of flu — we don’t waste our time on that in medical literature today. How often are there pictures of measles?” says Jones.\u003c/p>\n\u003cp>Maybe it was because at the time of the Black Death itself, people had no idea what was killing everyone.\u003c/p>\n\u003cp>The \u003ca href=\"https://www.cdc.gov/plague/history/index.html\">first recorded pandemic\u003c/a>, the Plague of Justinian, had ended 700 years earlier. Detailed records existed, but they were mostly written in Syriac or Greek and had remained in the Middle East. The only records available in Western Europe spoke about the plague in vague terms — there was lots of talk about death and demise, but not a lot of specifics on the disease’s progression.\u003c/p>\n\u003cp>“They just had no concept of this disease at all,” says Jones.\u003c/p>\n\u003cp>It wasn’t until about a century after the Black Death ended that people in Western Europe started connecting the dots. When the Ottomans conquered Constantinople in 1453, records of the much earlier scourge made their way to Western Europe with fleeing Christian scholars.\u003c/p>\n\u003cp>And people in Europe, where smaller outbreaks continued to pop up every 10 to 15 years through the 1720s, started connecting the dots.\u003c/p>\n\u003cp>“They started going, ‘Wait a minute, this has happened before,’ ” says Jones.\u003c/p>\n\u003cp>And finally, people started drawing the plague and its symptoms. This one from the 1490s shows St. Sebastian praying on behalf of people suffering from or killed by the plague.\u003c/p>\n\u003cfigure id=\"attachment_13805996\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/bubonic-plague-3-800x1194.jpg\" alt=\"St. Sebastian, one of the saints that people prayed to for protection against the plague, kneels before God while a grave attendant is stricken with the plague as he's burying someone else who died of the disease. He has a single bubo on his bent neck. It was painted by French artist Josse Lieferinxe at the end of the 15th century.\" width=\"800\" height=\"1194\" class=\"size-medium wp-image-13805996\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/bubonic-plague-3.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/bubonic-plague-3-160x239.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/bubonic-plague-3-768x1146.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/bubonic-plague-3-240x358.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/bubonic-plague-3-375x560.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/bubonic-plague-3-520x776.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">St. Sebastian, one of the saints that people prayed to for protection against the plague, kneels before God while a grave attendant is stricken with the plague as he’s burying someone else who died of the disease. He has a single bubo on his bent neck. It was painted by French artist Josse Lieferinxe at the end of the 15th century. \u003ccite>(The Walters Art Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Note that these people are not at all covered in spots. You have to look closely to notice the swollen red lump — the bubo — on the neck of the man on the ground in green sleeves.\u003c/p>\n\u003cp>In this image from 1500, the plague patient points to a bubo in his armpit.\u003c/p>\n\u003cp>Medical illustrations from the late 1400s, like this one from France, are meant to teach medical practitioners how to lance a bubo to get the infection out of it (something along the lines of “poke it with a sharp stick”).\u003c/p>\n\u003cp>That is what the plague actually looked like to people who were around to experience it. The images don’t show much.\u003c/p>\n\u003cp>But, Jones says, who are we to criticize?\u003c/p>\n\u003cp>“We judge medieval people for not having these images on the Black Death, but where’s our modern image of it?” she says.\u003c/p>\n\u003cp>After all, plague is still around in many parts of the world, including in the U.S. Where are the images of buboes on American plague patients this year? How about \u003ca href=\"https://www.washingtonpost.com/news/in-sight/wp/2016/03/09/the-plague-alive-and-well-in-madagascar/?utm_term=.8f8c9f8524ff\">photos of plague-\u003c/a>suffering in Madagascar, where a recent outbreak killed dozens? And, after all, how many of us could describe what a person suffering from Ebola \u003ca href=\"http://www.npr.org/sections/goatsandsoda/2014/11/28/366790665/test-your-medical-smarts-does-this-patient-have-ebola\">actually looks like\u003c/a>?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We are always constructing a narrative,” says Green. And often that narrative has much more to do with conveying emotion than medical facts. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Iconic+Plague+Images+Are+Often+Not+What+They+Seem&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>This week, KQED’s Cy Musiker welcomes Marc Bamuthi Joseph, an artist and curator of performing arts at the Yerba Buena Center for the Arts. The two talk about an ancient masquerade tradition, the art and spirit of Oakland, and a joyous juke joint sound. The podcast also features a visit with Chef Joey Altman, and exposes his secret musical life. Listen to the show above, and click through the links below for details.\u003c/p>\n\u003cul>\n\u003cli>\u003cstrong>July 26-Aug. 26: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2017/08/16/everyone-deserves-a-great-moment/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Making of a Great Moment,\u003c/em> a new play, at Z Space in San Francisco\u003c/a>\u003c/li>\n\u003cli>\u003cstrong>Aug. 9-Sept. 3\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2017/08/16/african-american-history-as-a-homeric-odyssey/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Black Odyssey\u003c/em> at California Shakespeare Theater\u003c/a>\u003c/li>\n\u003cli>\u003cstrong>Aug. 16-27:\u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2017/08/16/dressing-up-to-honor-ancestors-and-the-black-lives-matter-movement/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem> Ethos de Masquerade \u003c/em>at the Strand Theater in San Francisco\u003c/a>\u003c/li>\n\u003cli>\u003cstrong>Aug. 16 & 17\u003c/strong>:\u003ca href=\"https://ww2.kqed.org/arts/2017/08/16/the-art-soul-and-spirit-of-oakland/\" target=\"_blank\" rel=\"noopener noreferrer\"> The Art and Soul Festival fills downtown Oakland with big crowds and a joyful spirit\u003c/a>\u003c/li>\n\u003cli>\u003cstrong>Aug. 17-20:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/08/16/uncovering-great-jazz-and-rb-of-the-past/\" target=\"_blank\" rel=\"noopener noreferrer\">The Genius of Ray Charles, Nina Simone, Miles Davis and Muscle Shoals at SFJAZZ in San Francisco\u003c/a>\u003c/li>\n\u003cli>\u003cstrong>Aug. 18:\u003c/strong> \u003ca href=\"http://www.theindependentsf.com/event/1495109-matthew-sweet-san-francisco/\" target=\"_blank\" rel=\"noopener noreferrer\">Matthew Sweet at the Independent \u003c/a>\u003c/li>\n\u003cli>\u003cstrong>Aug. 18, 24, 25:\u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2017/08/16/soulful-jook-joint-music-from-quinn-deveaux/%E2%80%8E\" target=\"_blank\" rel=\"noopener noreferrer\"> Bluesman Quinn DeVeaux at the New Parish, Armando’s and the David Brower Center\u003c/a>\u003c/li>\n\u003c/ul>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"title": "Prince Gets His Own Purple",
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"content": "\u003cp>Prince was multi-chromatic; a comedian who said as few words as possible, an androgynous sex symbol, a devout mischief-maker, an artist who fused disparate styles — soul and rhythm and blues and rock solos and reedy electronics — into one squarely his own, painted with a palette no one had even noticed.\u003c/p>\n\u003cp>Regardless, we call him The Purple One for good reason. And now, thanks to a deal between his increasingly license-happy estate and the Pantone Color Institute, he has his own, specific, kingly shade.\u003c/p>\n\u003cfigure id=\"attachment_13805451\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/prince-purple-pantone_custom-2516d901de430e78d04c68ee4128068bbb907ea1.jpg\" alt=\"Love Symbol #2, a color developed by Pantone in collaboration with the estate of Prince Rogers Nelson.\" width=\"200\" height=\"291\" class=\"size-full wp-image-13805451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/prince-purple-pantone_custom-2516d901de430e78d04c68ee4128068bbb907ea1.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/prince-purple-pantone_custom-2516d901de430e78d04c68ee4128068bbb907ea1-160x233.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">Love Symbol #2, a color developed by Pantone in collaboration with the estate of Prince Rogers Nelson. \u003ccite>(Courtesy of Pantone)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“While the spectrum of the color purple will still be used in respect to the ‘Purple One,’ Love Symbol #2 will be the official color across the brand he left behind,” a statement reads. The color was inspired by the hue of a piano he’d planned to take on tour, before passing away on April 21, 2016.\u003c/p>\n\u003cp>Love Symbol #2 was the name Prince gave to his copyrighted symbol, which made its first appearance on 1992’s \u003cem>Love Symbol Album\u003c/em>. One year later, after reaching peak frustration with Warner Bros., his label home for many, many years, Prince changed his name to the graphic portmanteau.\u003c/p>\n\u003cp>Not wanting to leave the press out in the lurch with regard to covering him, Prince sent around \u003ca href=\"http://anildash.com/2014/06/my-favorite-floppy-of-all-time.html\">floppy disks\u003c/a> containing\u003cstrong> \u003c/strong>a font that had just one character: his own. They eventually settled, for the most part, on the far-less elegant “Artist Formerly Known As Prince.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Prince+Gets+His+Own+Purple&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Prince was multi-chromatic; a comedian who said as few words as possible, an androgynous sex symbol, a devout mischief-maker, an artist who fused disparate styles — soul and rhythm and blues and rock solos and reedy electronics — into one squarely his own, painted with a palette no one had even noticed.\u003c/p>\n\u003cp>Regardless, we call him The Purple One for good reason. And now, thanks to a deal between his increasingly license-happy estate and the Pantone Color Institute, he has his own, specific, kingly shade.\u003c/p>\n\u003cfigure id=\"attachment_13805451\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/prince-purple-pantone_custom-2516d901de430e78d04c68ee4128068bbb907ea1.jpg\" alt=\"Love Symbol #2, a color developed by Pantone in collaboration with the estate of Prince Rogers Nelson.\" width=\"200\" height=\"291\" class=\"size-full wp-image-13805451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/prince-purple-pantone_custom-2516d901de430e78d04c68ee4128068bbb907ea1.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/prince-purple-pantone_custom-2516d901de430e78d04c68ee4128068bbb907ea1-160x233.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">Love Symbol #2, a color developed by Pantone in collaboration with the estate of Prince Rogers Nelson. \u003ccite>(Courtesy of Pantone)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“While the spectrum of the color purple will still be used in respect to the ‘Purple One,’ Love Symbol #2 will be the official color across the brand he left behind,” a statement reads. The color was inspired by the hue of a piano he’d planned to take on tour, before passing away on April 21, 2016.\u003c/p>\n\u003cp>Love Symbol #2 was the name Prince gave to his copyrighted symbol, which made its first appearance on 1992’s \u003cem>Love Symbol Album\u003c/em>. One year later, after reaching peak frustration with Warner Bros., his label home for many, many years, Prince changed his name to the graphic portmanteau.\u003c/p>\n\u003cp>Not wanting to leave the press out in the lurch with regard to covering him, Prince sent around \u003ca href=\"http://anildash.com/2014/06/my-favorite-floppy-of-all-time.html\">floppy disks\u003c/a> containing\u003cstrong> \u003c/strong>a font that had just one character: his own. They eventually settled, for the most part, on the far-less elegant “Artist Formerly Known As Prince.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Prince+Gets+His+Own+Purple&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>This week, we’re talking about a Syrian wedding singer, the return of a beloved comedian, a NSFW art show, an Ethiopian jazz master, a 20th Street block party and more. Listen to the show above, or click through the links below for details.\u003c/p>\n\u003cul>\n\u003cli>\u003cstrong>Aug. 12 and 13\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2017/08/09/a-double-dose-of-filipino-culture-at-yerba-buena/\" target=\"_blank\" rel=\"noopener\">The Pistahan Filipino Festival at Yerba Buena Gardens\u003c/a>\u003c/li>\n\u003cli>\u003cstrong>Aug. 16\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2017/08/09/a-giant-of-ethiopian-jazz-meets-a-local-musical-ambassador/\" target=\"_blank\" rel=\"noopener\">Mulatu Astatke at the UC Theatre in Berkeley\u003c/a>\u003c/li>\n\u003cli>\u003cstrong>Aug. 17–Sept. 3\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2017/08/09/a-double-dose-of-filipino-culture-at-yerba-buena/\" target=\"_blank\" rel=\"noopener\">The Festval of New Filipino Cinema at YBCA\u003c/a>\u003c/li>\n\u003cli>\u003cstrong>Aug. 19\u003c/strong>: \u003ca href=\"http://www.20thstreetblockparty.com/\" target=\"_blank\" rel=\"noopener\">The 20th Street Block Party in San Francisco\u003c/a>\u003c/li>\n\u003cli>\u003cstrong>Aug. 23–26\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2017/08/09/ahem-bonsoir-so-loooovely-to-see-you-dahhhling/\" target=\"_blank\" rel=\"noopener\">Scott Thompson at The Punchline in San Francisco\u003c/a>\u003c/li>\n\u003cli>\u003cstrong>Ending Aug. 26\u003c/strong>: \u003ca href=\"https://spoke-art.com/collections/nsfw-art-show\" target=\"_blank\" rel=\"noopener\">The NSFW Art Show at Spoke Art in San Francisco\u003c/a>\u003c/li>\n\u003cli>\u003cstrong>Sept. 5\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2017/08/09/and-now-our-favorite-syrian-wedding-singer/\" target=\"_blank\" rel=\"noopener\">Omar Souleyman at The Ritz in San Jose\u003c/a>\u003c/li>\n\u003c/ul>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>Oysters and the internet. \u003ca href=\"http://www.tanjageis.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Tanja Geis\u003c/a> and Christopher Nickel, the inaugural artists of \u003ca href=\"http://www.embarkgallery.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Embark Gallery\u003c/a>’s new R&D Projects series, chose vastly different tracks in their research-based partnerships with local nonprofits, the culminations of which are now on view in two concurrent solo exhibitions.\u003c/p>\n\u003cp>For \u003ci>Lurid Ecologies: Ways of Seeing the Bay\u003c/i>, Oakland-based Geis speculates about a re-colonization of the San Francisco Bay by \u003ci>Ostrea lurida\u003c/i>. A bit of background: \u003ci>Ostrea lurida\u003c/i>, also known as the Olympia oyster, was a common food source in the Bay Area for thousands of years. Today, local populations are critically low. The culprits? Take your pick: over-harvesting, pollution, hydraulic mining runoff, and invasive species have all been blamed for wreaking havoc on the oyster, which filters nitrogen from water and creates important habitats for other aquatic life.\u003c/p>\n\u003cp>Geis’ imagined future may not be far off — several state and federal organizations are piloting \u003ci>Ostrea lurida\u003c/i> restoration, which has the potential to contribute to sea level resiliency and pollution mitigation. In fact, Geis collaborated with one of these organizations, the Smithsonian Environmental Research Center (SERC), to produce the work in \u003ci>Lurid Ecologies\u003c/i>.\u003c/p>\n\u003cp>On view are a series of large paintings of imagined \u003ci>Ostrea lurida\u003c/i> colonies. Painted on paper with mud from the San Francisco Bay, these works create a referential loop: material taken from the Bay creates a vision of a more sustainable Bay. The intricate paintings act like aquatic Rorschach tests — many seem almost anthropomorphic, with faces emerging from the varied substrates. The complexity of the paintings evidences Geis’ commitment to both fine art and the welfare of the marine environment (she holds both an MFA and a graduate degree in coastal and marine management).\u003c/p>\n\u003cfigure id=\"attachment_13804676\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13804676\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Tanja-Geis-Life-in-the-Greenhouse.jpg\" alt=\"Tanja Geis, 'Life in the Greenhouse,' 2017.\" width=\"1920\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Tanja-Geis-Life-in-the-Greenhouse.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Tanja-Geis-Life-in-the-Greenhouse-160x30.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Tanja-Geis-Life-in-the-Greenhouse-800x150.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Tanja-Geis-Life-in-the-Greenhouse-768x144.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Tanja-Geis-Life-in-the-Greenhouse-1020x191.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Tanja-Geis-Life-in-the-Greenhouse-1180x221.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Tanja-Geis-Life-in-the-Greenhouse-960x180.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Tanja-Geis-Life-in-the-Greenhouse-240x45.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Tanja-Geis-Life-in-the-Greenhouse-375x70.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Tanja-Geis-Life-in-the-Greenhouse-520x98.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Tanja Geis, ‘Life in the Greenhouse,’ 2017. \u003ccite>(Courtesy the artist and Embark Gallery, San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The centerpiece of the exhibition is \u003ci>Life in the Greenhouse\u003c/i>, a three-channel video filmed in the research tanks at the \u003ca href=\"http://rtc.sfsu.edu/\" target=\"_blank\" rel=\"noopener noreferrer\">Romberg Tiburon Center for Environmental Studies\u003c/a>. The video’s connection to \u003ci>Ostrea lurida\u003c/i> is less apparent, but unlike some of Geis’ other, more ethereal videos, this one is more straightforward, maybe even scientific.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>On one channel, the camera lingers on lace-like organisms or materials. On another, tiny creatures seem to battle or mate with one another. And the third channel spends eight minutes exploring brilliant, chlorophyll-filled plants. The result is almost a narrative — just poetic enough to evade easy categorization.\u003c/p>\n\u003cp>Sharing the gallery with \u003ci>Lurid Ecologies\u003c/i> is \u003ca href=\"http://www.christopher-nickel.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Christopher Nickel\u003c/a>’s \u003ci>A Few Select Bits of Knowledge: A Visual Archive\u003c/i>, another R&D Projects enterprise. Nickel’s work draws from his exploration of the \u003ca href=\"https://archive.org/index.php\" target=\"_blank\" rel=\"noopener noreferrer\">Internet Archive\u003c/a>, an online collection of free books, audio, video, software, websites and more. On display at Embark Gallery are five large collages, each made from dozens of images culled from the archive’s wide-ranging database.\u003c/p>\n\u003cfigure id=\"attachment_13804678\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13804678\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Christopher-Nickel-Understanding-Whole-Systems-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Christopher-Nickel-Understanding-Whole-Systems-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Christopher-Nickel-Understanding-Whole-Systems-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Christopher-Nickel-Understanding-Whole-Systems-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Christopher-Nickel-Understanding-Whole-Systems-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Christopher-Nickel-Understanding-Whole-Systems-1920x1282.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Christopher-Nickel-Understanding-Whole-Systems-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Christopher-Nickel-Understanding-Whole-Systems-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Christopher-Nickel-Understanding-Whole-Systems-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Christopher-Nickel-Understanding-Whole-Systems-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Christopher-Nickel-Understanding-Whole-Systems-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Christopher-Nickel-Understanding-Whole-Systems.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Christopher Nickel, ‘Understanding Whole Systems,’ 2017. \u003cem>(\u003c/em>\u003ci>Courtesy the artist and Embark Gallery, San Francisco)\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>Nickel’s images at first appear randomly grouped: David Bowie as Ziggy Stardust, a Swiss Army knife, a handheld vacuum. But his work engages with systems, particularly in regards to communication, and this becomes evident when reviewing the works’ titles. Bowie, the knife, and vacuum appear in \u003ci>Nomadics\u003c/i>. \u003ci>Communications\u003c/i> includes images of the Jackson 5, a woman wearing a virtual reality headset, a MIDI keyboard, and Voyager’s Golden Record.\u003c/p>\n\u003cp>These constellations of images conjure connections between the different objects and concepts — and, most importantly — across time. Like Geis’ \u003ci>Life in the Greenhouse\u003c/i>, this work doesn’t lead to direct conclusions, only vague suggestions.\u003c/p>\n\u003cp>If Nickel’s collages are inventories of visual representations of specific systems or concepts, I’m left wondering, “Why these images?” Is this how the Internet Archive best represents these specific systems? Are Nickel’s collages microcosms of the Voyager records, picturing how we picture ourselves?\u003c/p>\n\u003cp>For both Geis and Nickel, the results of their research-intensive projects hint at their processes while avoiding an overly didactic approach. At times this left me wanting more — I craved a deeper window into the artists’ research. But unburdened by explanatory text, the works are afforded the freedom to guide viewers down numerous paths.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Lurid Ecologies: Ways of Seeing the Bay’ and ‘A Few Select Bits of Knowledge: A Visual Archive’ are on view at San Francisco’s Embark Gallery through Aug. 18, 2017. For more information, \u003ca href=\"http://www.embarkgallery.com/\" target=\"_blank\" rel=\"noopener noreferrer\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Oysters and the internet. \u003ca href=\"http://www.tanjageis.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Tanja Geis\u003c/a> and Christopher Nickel, the inaugural artists of \u003ca href=\"http://www.embarkgallery.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Embark Gallery\u003c/a>’s new R&D Projects series, chose vastly different tracks in their research-based partnerships with local nonprofits, the culminations of which are now on view in two concurrent solo exhibitions.\u003c/p>\n\u003cp>For \u003ci>Lurid Ecologies: Ways of Seeing the Bay\u003c/i>, Oakland-based Geis speculates about a re-colonization of the San Francisco Bay by \u003ci>Ostrea lurida\u003c/i>. A bit of background: \u003ci>Ostrea lurida\u003c/i>, also known as the Olympia oyster, was a common food source in the Bay Area for thousands of years. Today, local populations are critically low. The culprits? Take your pick: over-harvesting, pollution, hydraulic mining runoff, and invasive species have all been blamed for wreaking havoc on the oyster, which filters nitrogen from water and creates important habitats for other aquatic life.\u003c/p>\n\u003cp>Geis’ imagined future may not be far off — several state and federal organizations are piloting \u003ci>Ostrea lurida\u003c/i> restoration, which has the potential to contribute to sea level resiliency and pollution mitigation. In fact, Geis collaborated with one of these organizations, the Smithsonian Environmental Research Center (SERC), to produce the work in \u003ci>Lurid Ecologies\u003c/i>.\u003c/p>\n\u003cp>On view are a series of large paintings of imagined \u003ci>Ostrea lurida\u003c/i> colonies. Painted on paper with mud from the San Francisco Bay, these works create a referential loop: material taken from the Bay creates a vision of a more sustainable Bay. The intricate paintings act like aquatic Rorschach tests — many seem almost anthropomorphic, with faces emerging from the varied substrates. The complexity of the paintings evidences Geis’ commitment to both fine art and the welfare of the marine environment (she holds both an MFA and a graduate degree in coastal and marine management).\u003c/p>\n\u003cfigure id=\"attachment_13804676\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13804676\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Tanja-Geis-Life-in-the-Greenhouse.jpg\" alt=\"Tanja Geis, 'Life in the Greenhouse,' 2017.\" width=\"1920\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Tanja-Geis-Life-in-the-Greenhouse.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Tanja-Geis-Life-in-the-Greenhouse-160x30.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Tanja-Geis-Life-in-the-Greenhouse-800x150.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Tanja-Geis-Life-in-the-Greenhouse-768x144.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Tanja-Geis-Life-in-the-Greenhouse-1020x191.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Tanja-Geis-Life-in-the-Greenhouse-1180x221.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Tanja-Geis-Life-in-the-Greenhouse-960x180.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Tanja-Geis-Life-in-the-Greenhouse-240x45.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Tanja-Geis-Life-in-the-Greenhouse-375x70.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Tanja-Geis-Life-in-the-Greenhouse-520x98.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Tanja Geis, ‘Life in the Greenhouse,’ 2017. \u003ccite>(Courtesy the artist and Embark Gallery, San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The centerpiece of the exhibition is \u003ci>Life in the Greenhouse\u003c/i>, a three-channel video filmed in the research tanks at the \u003ca href=\"http://rtc.sfsu.edu/\" target=\"_blank\" rel=\"noopener noreferrer\">Romberg Tiburon Center for Environmental Studies\u003c/a>. The video’s connection to \u003ci>Ostrea lurida\u003c/i> is less apparent, but unlike some of Geis’ other, more ethereal videos, this one is more straightforward, maybe even scientific.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>On one channel, the camera lingers on lace-like organisms or materials. On another, tiny creatures seem to battle or mate with one another. And the third channel spends eight minutes exploring brilliant, chlorophyll-filled plants. The result is almost a narrative — just poetic enough to evade easy categorization.\u003c/p>\n\u003cp>Sharing the gallery with \u003ci>Lurid Ecologies\u003c/i> is \u003ca href=\"http://www.christopher-nickel.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Christopher Nickel\u003c/a>’s \u003ci>A Few Select Bits of Knowledge: A Visual Archive\u003c/i>, another R&D Projects enterprise. Nickel’s work draws from his exploration of the \u003ca href=\"https://archive.org/index.php\" target=\"_blank\" rel=\"noopener noreferrer\">Internet Archive\u003c/a>, an online collection of free books, audio, video, software, websites and more. On display at Embark Gallery are five large collages, each made from dozens of images culled from the archive’s wide-ranging database.\u003c/p>\n\u003cfigure id=\"attachment_13804678\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13804678\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Christopher-Nickel-Understanding-Whole-Systems-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Christopher-Nickel-Understanding-Whole-Systems-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Christopher-Nickel-Understanding-Whole-Systems-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Christopher-Nickel-Understanding-Whole-Systems-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Christopher-Nickel-Understanding-Whole-Systems-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Christopher-Nickel-Understanding-Whole-Systems-1920x1282.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Christopher-Nickel-Understanding-Whole-Systems-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Christopher-Nickel-Understanding-Whole-Systems-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Christopher-Nickel-Understanding-Whole-Systems-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Christopher-Nickel-Understanding-Whole-Systems-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Christopher-Nickel-Understanding-Whole-Systems-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Christopher-Nickel-Understanding-Whole-Systems.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Christopher Nickel, ‘Understanding Whole Systems,’ 2017. \u003cem>(\u003c/em>\u003ci>Courtesy the artist and Embark Gallery, San Francisco)\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>Nickel’s images at first appear randomly grouped: David Bowie as Ziggy Stardust, a Swiss Army knife, a handheld vacuum. But his work engages with systems, particularly in regards to communication, and this becomes evident when reviewing the works’ titles. Bowie, the knife, and vacuum appear in \u003ci>Nomadics\u003c/i>. \u003ci>Communications\u003c/i> includes images of the Jackson 5, a woman wearing a virtual reality headset, a MIDI keyboard, and Voyager’s Golden Record.\u003c/p>\n\u003cp>These constellations of images conjure connections between the different objects and concepts — and, most importantly — across time. Like Geis’ \u003ci>Life in the Greenhouse\u003c/i>, this work doesn’t lead to direct conclusions, only vague suggestions.\u003c/p>\n\u003cp>If Nickel’s collages are inventories of visual representations of specific systems or concepts, I’m left wondering, “Why these images?” Is this how the Internet Archive best represents these specific systems? Are Nickel’s collages microcosms of the Voyager records, picturing how we picture ourselves?\u003c/p>\n\u003cp>For both Geis and Nickel, the results of their research-intensive projects hint at their processes while avoiding an overly didactic approach. At times this left me wanting more — I craved a deeper window into the artists’ research. But unburdened by explanatory text, the works are afforded the freedom to guide viewers down numerous paths.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Lurid Ecologies: Ways of Seeing the Bay’ and ‘A Few Select Bits of Knowledge: A Visual Archive’ are on view at San Francisco’s Embark Gallery through Aug. 18, 2017. For more information, \u003ca href=\"http://www.embarkgallery.com/\" target=\"_blank\" rel=\"noopener noreferrer\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Visitors to CTRL+SHFT’s gallery space in West Oakland immediately notice a massive, vibrantly colored painting by Oakland-based artist Lukaza Branfman-Verissimo. Childlike confetti decorates the bottom half of the work — a stark rebuke to the heavy dark brown tones and urgent all-caps phrase on the top half of the piece: “IT IS IMPORTANT TO REMEMBER ALL THE RESISTANCE WORK FOLKS ARE DOING ALL OVER THE WORLD RIGHT NOW.”\u003c/p>\n\u003cp>The painting serves as a thematic centerpiece to “Double Dip,” CTRL+SHFT’s annual, members-only pop-up show and two-year anniversary celebration. Founded in 2015, the collective of women-identifying and nonbinary artists have spent the past two years providing space for underrepresented identities in the art world — namely, artists who identify as women, queer and trans folks, gender nonconforming folks, and people of color.\u003c/p>\n\u003cfigure id=\"attachment_13790720\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/kenyatta-800x450.jpg\" alt=\"Kenyatta A.C. Hinkle of CTRL+SHFT.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13790720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/kenyatta-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/kenyatta-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/kenyatta-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/kenyatta-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/kenyatta.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/kenyatta-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/kenyatta-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/kenyatta-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/kenyatta-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/kenyatta-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kenyatta A.C. Hinkle of CTRL+SHFT. \u003ccite>(Courtesy CTRL+SHFT)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There were a lot of members who felt that there were conversations around race, gender, and other political things that people wanted to explore as a group,” says Erica Molesworth, a founding member of the collective. “It came down to that: providing a space, providing a platform [that looked] at gender and racial inequalities in the art world and wanting to do something to remedy that.”\u003c/p>\n\u003cp>And so CTRL+SHFT’s founding members opened a space combining technical aspects of contemporary art — most of the group had just graduated with MFAs from CCA — with socially relevant dialogue and experimental elements that weren’t receiving representation elsewhere. Most recently, the gallery welcomed Oakland artist \u003ca href=\"https://yetundeolagbaju.com/give-it-to-her/\" target=\"_blank\" rel=\"noopener\">Yetunde Olagbaju\u003c/a> for her solo show, \u003cem>give it to her when she’s decided she knew herself…\u003c/em>, an multimedia installation that explored Olagbaju’s relationship with her Gullah/Geechee and Yoruba ancestry.\u003c/p>\n\u003cp>“The goal is to give people the space, and to let them do what they can’t do elsewhere — whether that is highlighting certain aspects of their identity or certain aspects of their practice,” shares Addy Rabinovitch, another longtime member. “We really want to hand the space over to people. We try not to take too heavy a curatorial hand, and try not to filter what people want to do while they’re here.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/staging-800x569.jpg\" alt=\"\" width=\"800\" height=\"569\" class=\"aligncenter size-medium wp-image-13790718\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/staging-800x569.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/staging-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/staging-768x546.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/staging-960x683.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/staging-240x171.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/staging-375x267.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/staging-520x370.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/staging.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>In the last couple months, CTRL+SHFT appeared in danger of losing its space due to a substantial rent increase in the rapidly developing neighborhood. The group even launched a Kickstarter in mid-June in an effort to raise $15,000 to combat the rent increase and remain in their current space — a goal the members were ecstatic to see realized just last week. Being based in Oakland, the group has experienced firsthand how often members come and go — something Rabinovitch chalks up primarily to the financial difficulties of simply living in the Bay.\u003c/p>\n\u003cp>“I think being in Oakland… [there’s] this sense of urgency [of] being able to be a part of the community [and] seeing the changes that are happening,” Allison Chalco expresses. “I feel like CTRL+SHFT is a vital place when you’re removing yourself [from the outside world] and coming in here, while thinking about everything that’s happening right outside. There’s so much happening right now in Oakland, in San Francisco, the Bay Area. And being here for so long already, just seeing the women who are in the space now — it’s constantly changing.”\u003c/p>\n\u003cfigure id=\"attachment_13790719\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/talkbacktalkoutlukaza-800x599.jpg\" alt=\"Lukaza Branfman-Verissimo at 'Women Talk Back, Talk Out' at CTRL+SHFT in March.\" width=\"800\" height=\"599\" class=\"size-medium wp-image-13790719\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/talkbacktalkoutlukaza-800x599.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/talkbacktalkoutlukaza-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/talkbacktalkoutlukaza-768x575.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/talkbacktalkoutlukaza-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/talkbacktalkoutlukaza-960x719.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/talkbacktalkoutlukaza-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/talkbacktalkoutlukaza-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/talkbacktalkoutlukaza-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/talkbacktalkoutlukaza.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lukaza Branfman-Verissimo at ‘Women Talk Back, Talk Out’ at CTRL+SHFT in March. \u003ccite>(Courtesy CTRL+SHFT)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While a number of factors set the collective apart from others in the area (its broad range of critical practice and DIY style, its commitment to using the space as a platform for other artists rather than the members’ own work, and its non-hierarchal system, to name a few), what’s most noticeable about CTRL+SHFT is its supportive, feminine energy and environment — a rarity in the male-dominated field even today.\u003c/p>\n\u003cp>“There’s something that’s different about being around all women-identifying folks and making work, I think,” Jay Katelansky says. “Women in the arts don’t get the same recognition as men in the arts [to begin with], so we’re kind of [already] at this platform together. And because this collective focuses on work for queer [folks] and people of color, that adds another step that allows a welcoming space to make work.”\u003c/p>\n\u003cp>To Katelansky’s words, Maryam Yousif adds, “Maybe I’m generalizing, but… from my professional experience so far, it’s only been women helping me. There hasn’t been a manly situation where they’re offering me space, or they offer me shows.”\u003c/p>\n\u003cp>The artist pauses for a moment, glancing around the pink-accented gallery and flashing a smile at the CTRL+SHFT members present.\u003c/p>\n\u003cp>“It’s literally just been women,” she laughs. “That should be pretty telling.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>The CTRL+SHFT collective currently consists of Lukaza Branfman-Verissimo, Allison Chalco, Caroline Charuk, Kenyatta A.C. Hinkle, Jessica Hubbard, Jay Katelansky, Em Meine, Erica Molesworth, Addy Rabinovitch, Megan Reed, Lindsay Tunkl, and Maryam Yousif.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>For more, see \u003ca href=\"http://ctrlshftcollective.com/\" target=\"_blank\" rel=\"noopener\">CTRL+SHFT’s site\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Visitors to CTRL+SHFT’s gallery space in West Oakland immediately notice a massive, vibrantly colored painting by Oakland-based artist Lukaza Branfman-Verissimo. Childlike confetti decorates the bottom half of the work — a stark rebuke to the heavy dark brown tones and urgent all-caps phrase on the top half of the piece: “IT IS IMPORTANT TO REMEMBER ALL THE RESISTANCE WORK FOLKS ARE DOING ALL OVER THE WORLD RIGHT NOW.”\u003c/p>\n\u003cp>The painting serves as a thematic centerpiece to “Double Dip,” CTRL+SHFT’s annual, members-only pop-up show and two-year anniversary celebration. Founded in 2015, the collective of women-identifying and nonbinary artists have spent the past two years providing space for underrepresented identities in the art world — namely, artists who identify as women, queer and trans folks, gender nonconforming folks, and people of color.\u003c/p>\n\u003cfigure id=\"attachment_13790720\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/kenyatta-800x450.jpg\" alt=\"Kenyatta A.C. Hinkle of CTRL+SHFT.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13790720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/kenyatta-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/kenyatta-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/kenyatta-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/kenyatta-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/kenyatta.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/kenyatta-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/kenyatta-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/kenyatta-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/kenyatta-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/kenyatta-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kenyatta A.C. Hinkle of CTRL+SHFT. \u003ccite>(Courtesy CTRL+SHFT)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There were a lot of members who felt that there were conversations around race, gender, and other political things that people wanted to explore as a group,” says Erica Molesworth, a founding member of the collective. “It came down to that: providing a space, providing a platform [that looked] at gender and racial inequalities in the art world and wanting to do something to remedy that.”\u003c/p>\n\u003cp>And so CTRL+SHFT’s founding members opened a space combining technical aspects of contemporary art — most of the group had just graduated with MFAs from CCA — with socially relevant dialogue and experimental elements that weren’t receiving representation elsewhere. Most recently, the gallery welcomed Oakland artist \u003ca href=\"https://yetundeolagbaju.com/give-it-to-her/\" target=\"_blank\" rel=\"noopener\">Yetunde Olagbaju\u003c/a> for her solo show, \u003cem>give it to her when she’s decided she knew herself…\u003c/em>, an multimedia installation that explored Olagbaju’s relationship with her Gullah/Geechee and Yoruba ancestry.\u003c/p>\n\u003cp>“The goal is to give people the space, and to let them do what they can’t do elsewhere — whether that is highlighting certain aspects of their identity or certain aspects of their practice,” shares Addy Rabinovitch, another longtime member. “We really want to hand the space over to people. We try not to take too heavy a curatorial hand, and try not to filter what people want to do while they’re here.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/staging-800x569.jpg\" alt=\"\" width=\"800\" height=\"569\" class=\"aligncenter size-medium wp-image-13790718\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/staging-800x569.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/staging-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/staging-768x546.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/staging-960x683.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/staging-240x171.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/staging-375x267.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/staging-520x370.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/staging.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>In the last couple months, CTRL+SHFT appeared in danger of losing its space due to a substantial rent increase in the rapidly developing neighborhood. The group even launched a Kickstarter in mid-June in an effort to raise $15,000 to combat the rent increase and remain in their current space — a goal the members were ecstatic to see realized just last week. Being based in Oakland, the group has experienced firsthand how often members come and go — something Rabinovitch chalks up primarily to the financial difficulties of simply living in the Bay.\u003c/p>\n\u003cp>“I think being in Oakland… [there’s] this sense of urgency [of] being able to be a part of the community [and] seeing the changes that are happening,” Allison Chalco expresses. “I feel like CTRL+SHFT is a vital place when you’re removing yourself [from the outside world] and coming in here, while thinking about everything that’s happening right outside. There’s so much happening right now in Oakland, in San Francisco, the Bay Area. And being here for so long already, just seeing the women who are in the space now — it’s constantly changing.”\u003c/p>\n\u003cfigure id=\"attachment_13790719\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/talkbacktalkoutlukaza-800x599.jpg\" alt=\"Lukaza Branfman-Verissimo at 'Women Talk Back, Talk Out' at CTRL+SHFT in March.\" width=\"800\" height=\"599\" class=\"size-medium wp-image-13790719\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/talkbacktalkoutlukaza-800x599.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/talkbacktalkoutlukaza-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/talkbacktalkoutlukaza-768x575.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/talkbacktalkoutlukaza-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/talkbacktalkoutlukaza-960x719.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/talkbacktalkoutlukaza-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/talkbacktalkoutlukaza-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/talkbacktalkoutlukaza-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/talkbacktalkoutlukaza.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lukaza Branfman-Verissimo at ‘Women Talk Back, Talk Out’ at CTRL+SHFT in March. \u003ccite>(Courtesy CTRL+SHFT)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While a number of factors set the collective apart from others in the area (its broad range of critical practice and DIY style, its commitment to using the space as a platform for other artists rather than the members’ own work, and its non-hierarchal system, to name a few), what’s most noticeable about CTRL+SHFT is its supportive, feminine energy and environment — a rarity in the male-dominated field even today.\u003c/p>\n\u003cp>“There’s something that’s different about being around all women-identifying folks and making work, I think,” Jay Katelansky says. “Women in the arts don’t get the same recognition as men in the arts [to begin with], so we’re kind of [already] at this platform together. And because this collective focuses on work for queer [folks] and people of color, that adds another step that allows a welcoming space to make work.”\u003c/p>\n\u003cp>To Katelansky’s words, Maryam Yousif adds, “Maybe I’m generalizing, but… from my professional experience so far, it’s only been women helping me. There hasn’t been a manly situation where they’re offering me space, or they offer me shows.”\u003c/p>\n\u003cp>The artist pauses for a moment, glancing around the pink-accented gallery and flashing a smile at the CTRL+SHFT members present.\u003c/p>\n\u003cp>“It’s literally just been women,” she laughs. “That should be pretty telling.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>The CTRL+SHFT collective currently consists of Lukaza Branfman-Verissimo, Allison Chalco, Caroline Charuk, Kenyatta A.C. Hinkle, Jessica Hubbard, Jay Katelansky, Em Meine, Erica Molesworth, Addy Rabinovitch, Megan Reed, Lindsay Tunkl, and Maryam Yousif.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>For more, see \u003ca href=\"http://ctrlshftcollective.com/\" target=\"_blank\" rel=\"noopener\">CTRL+SHFT’s site\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "VIDEO: Why French Artist Sophie Calle Bought a Burial Plot in Bolinas",
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"content": "\u003cp>Sophie Calle has been a regular visitor to in the sleepy coastal town of Bolinas ever since she launched her professional career there, producing a series of photographs of gravestones in the late 1970s.\u003c/p>\n\u003cp>Recently, the famous French conceptual artist made the unusual move of buying herself a grave plot in Bolinas cemetery. KQED’s senior arts editor Chloe Veltman caught up with Calle among the gravestones while the 63-year-old artist was in the Bay Area for the opening of a major exhibition of her work at the Fort Mason Center for Arts and Culture in San Francisco.\u003c/p>\n\u003cp>Watch the report for \u003cem>KQED Newsroom\u003c/em> here:\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Why French Artist Sophie Calle Bought a Burial Plot in Bolinas\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/5UMUb04U_0g?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Curated by \u003ca href=\"http://arscitizen.org/\">Ars Citizen\u003c/a>, Sophie Calle’s exhibition, \u003ca href=\"https://fortmason.org/event/missing/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Missing\u003c/em>\u003c/a>, is on view at the Fort Mason Center for Arts and Culture in San Francisco through Sunday, Aug. 20. Entry is free.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This segment originally aired on Friday, Jul. 28 on KQED Newsroom. To watch the full show, click \u003ca href=\"https://ww2.kqed.org/news/2017/07/28/turmoil-in-the-trump-administration-david-chiu-interview-artist-sophie-calle/\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Sophie Calle has been a regular visitor to in the sleepy coastal town of Bolinas ever since she launched her professional career there, producing a series of photographs of gravestones in the late 1970s.\u003c/p>\n\u003cp>Recently, the famous French conceptual artist made the unusual move of buying herself a grave plot in Bolinas cemetery. KQED’s senior arts editor Chloe Veltman caught up with Calle among the gravestones while the 63-year-old artist was in the Bay Area for the opening of a major exhibition of her work at the Fort Mason Center for Arts and Culture in San Francisco.\u003c/p>\n\u003cp>Watch the report for \u003cem>KQED Newsroom\u003c/em> here:\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Why French Artist Sophie Calle Bought a Burial Plot in Bolinas\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/5UMUb04U_0g?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Curated by \u003ca href=\"http://arscitizen.org/\">Ars Citizen\u003c/a>, Sophie Calle’s exhibition, \u003ca href=\"https://fortmason.org/event/missing/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Missing\u003c/em>\u003c/a>, is on view at the Fort Mason Center for Arts and Culture in San Francisco through Sunday, Aug. 20. Entry is free.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This segment originally aired on Friday, Jul. 28 on KQED Newsroom. To watch the full show, click \u003ca href=\"https://ww2.kqed.org/news/2017/07/28/turmoil-in-the-trump-administration-david-chiu-interview-artist-sophie-calle/\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ci>Welcome to KQED Arts’ \u003c/i>\u003ca href=\"https://ww2.kqed.org/arts/series/women-to-watch/\">\u003ci>Women to Watch\u003c/i>\u003c/a>\u003ci>, a series celebrating 20 local women artists, creatives and makers who are pushing boundaries in 2017. Driven by passion for their own disciplines, from photography to comedy and every other medium in between, these women are true vanguards paving the way in their respective communities.\u003c/i>\u003c/p>\n\u003cp>Erin Salazar grew up in the Mojave Desert, the daughter of a teacher’s aide for high risk youth. When she left Southern California at 17 to pursue an arts degree at San Jose State, “I’d heard that it had a good arts program and it was far enough away from Hesperia so I didn’t have to go home for minor holidays. It was just the right distance away,” Salazar says. “At the time, I thought San Jose was a beautiful, cosmopolitan city.”\u003c/p>\n\u003cp>Today, her passionate affection for San Jose takes the form of her work beautifying its neighborhoods with murals. As the founder and executive director of the \u003ca href=\"https://www.exhibitiondistrict.com\" target=\"_blank\" rel=\"noopener noreferrer\">Exhibition District\u003c/a>, Salazar is on a mission to fill 40,000 square feet of blank space in downtown San Jose with art, receiving support from both the San Jose Downtown Association and the Knight Foundation.\u003c/p>\n\u003cp>Salazar started as a muralist herself, taking on commissions so modest she was sometimes paid with free beer and food. Then, in 2011 and 2012, both of her parents died, and Salazar began thinking of her own mortality. “I thought I could be more impactful working for other people,” she says, “than just working for myself.”\u003c/p>\n\u003cp>https://youtu.be/EiPZUEUzsds\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>Did you have a mission statement in mind when you started the Exhibition District?\u003c/b>\u003c/p>\n\u003cp>I started building this concept around creating economic opportunities for artists. City beautification was secondary to that. Artists are so quick to devalue the work they do, and so I wanted to make sure that artists were getting paid.\u003c/p>\n\u003cp>\u003cb>What’s the hardest part of this work?\u003c/b>\u003c/p>\n\u003cp>For me personally, it’s definitely the paperwork. I’m a creative person, and so I have to force myself to read about tax law and all this other stuff. Also, it’s tough finding the time to beat the street and get more work up.\u003c/p>\n\u003cp>\u003cb>Where do you see yourself in 10 years?\u003c/b>\u003c/p>\n\u003cp>The Exhibition District has two different arms now. One of them is outside, and then there’s this secondary one that we just started. It’s called \u003ca href=\"https://www.exhibitiondistrict.com/localcolor\" target=\"_blank\" rel=\"noopener noreferrer\">Local Color\u003c/a>, and it’s about the reactivation of buildings that are going to be torn down. The owners let us have the keys [before then]. We’re just trying to create a beautiful prototype for a larger community. My hope is to get a semi-permanent space, so artists have a place to practice. I call it “asset-based community development.” I was in a fellowship with National Art Strategies. I was really inspired by the idea that we need to define communities according to their assets, rather than their deficits. So in 10 years, I want to run an art space.\u003c/p>\n\u003cfigure id=\"attachment_13741657\" class=\"wp-caption alignright\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13741657\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/w2w-edited-erin-2.jpg\" alt=\"Erin Salazar.\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-edited-erin-2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-edited-erin-2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-edited-erin-2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-edited-erin-2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-edited-erin-2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-edited-erin-2-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-edited-erin-2-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-edited-erin-2-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-edited-erin-2-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-edited-erin-2-520x293.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Erin Salazar. \u003ccite>(Christina Campbell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>What do you find most challenging about being an artist in the South Bay?\u003c/b>\u003c/p>\n\u003cp>You have to fake it ’til you make it. There’s so much money flowing about here, but it’s so far above what we’re able to access as artists. So it’s about trying to get people to value art. That comes with more exposure to what goes in to the craft, so people see the work that goes into this, the value. We have to work a lot harder because that value isn’t there yet. We lack exposure, because the region has been dubbed a wasteland. We have to get away from that. We have to re-brand.\u003c/p>\n\u003cp>\u003cb>What does your ideal future look like for women artists in the Bay Area?\u003c/b>\u003c/p>\n\u003cp>Definitely more opportunities in public art. Getting more women to think big, and work big, and get paid. I want to be woman-centric in building my company. I want to help women get out of the sketchbook and onto the wall.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Curious about who else made the list? Check out the \u003ca href=\"https://ww2.kqed.org/arts/series/women-to-watch/\" target=\"_blank\" rel=\"noopener noreferrer\">Women to Watch series page\u003c/a>, including photo galleries, interviews and videos. Do you know a Bay Area artist who is doing amazing things? We want to hear from you! \u003c/em>\u003ci>Highlight her efforts using \u003c/i>\u003ca href=\"https://www.instagram.com/explore/tags/baybrilliant/\">\u003ci>#BayBrilliant\u003c/i>\u003c/a>\u003ci>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>Welcome to KQED Arts’ \u003c/i>\u003ca href=\"https://ww2.kqed.org/arts/series/women-to-watch/\">\u003ci>Women to Watch\u003c/i>\u003c/a>\u003ci>, a series celebrating 20 local women artists, creatives and makers who are pushing boundaries in 2017. Driven by passion for their own disciplines, from photography to comedy and every other medium in between, these women are true vanguards paving the way in their respective communities.\u003c/i>\u003c/p>\n\u003cp>Erin Salazar grew up in the Mojave Desert, the daughter of a teacher’s aide for high risk youth. When she left Southern California at 17 to pursue an arts degree at San Jose State, “I’d heard that it had a good arts program and it was far enough away from Hesperia so I didn’t have to go home for minor holidays. It was just the right distance away,” Salazar says. “At the time, I thought San Jose was a beautiful, cosmopolitan city.”\u003c/p>\n\u003cp>Today, her passionate affection for San Jose takes the form of her work beautifying its neighborhoods with murals. As the founder and executive director of the \u003ca href=\"https://www.exhibitiondistrict.com\" target=\"_blank\" rel=\"noopener noreferrer\">Exhibition District\u003c/a>, Salazar is on a mission to fill 40,000 square feet of blank space in downtown San Jose with art, receiving support from both the San Jose Downtown Association and the Knight Foundation.\u003c/p>\n\u003cp>Salazar started as a muralist herself, taking on commissions so modest she was sometimes paid with free beer and food. Then, in 2011 and 2012, both of her parents died, and Salazar began thinking of her own mortality. “I thought I could be more impactful working for other people,” she says, “than just working for myself.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/EiPZUEUzsds'\n title='//www.youtube.com/embed/EiPZUEUzsds'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>Did you have a mission statement in mind when you started the Exhibition District?\u003c/b>\u003c/p>\n\u003cp>I started building this concept around creating economic opportunities for artists. City beautification was secondary to that. Artists are so quick to devalue the work they do, and so I wanted to make sure that artists were getting paid.\u003c/p>\n\u003cp>\u003cb>What’s the hardest part of this work?\u003c/b>\u003c/p>\n\u003cp>For me personally, it’s definitely the paperwork. I’m a creative person, and so I have to force myself to read about tax law and all this other stuff. Also, it’s tough finding the time to beat the street and get more work up.\u003c/p>\n\u003cp>\u003cb>Where do you see yourself in 10 years?\u003c/b>\u003c/p>\n\u003cp>The Exhibition District has two different arms now. One of them is outside, and then there’s this secondary one that we just started. It’s called \u003ca href=\"https://www.exhibitiondistrict.com/localcolor\" target=\"_blank\" rel=\"noopener noreferrer\">Local Color\u003c/a>, and it’s about the reactivation of buildings that are going to be torn down. The owners let us have the keys [before then]. We’re just trying to create a beautiful prototype for a larger community. My hope is to get a semi-permanent space, so artists have a place to practice. I call it “asset-based community development.” I was in a fellowship with National Art Strategies. I was really inspired by the idea that we need to define communities according to their assets, rather than their deficits. So in 10 years, I want to run an art space.\u003c/p>\n\u003cfigure id=\"attachment_13741657\" class=\"wp-caption alignright\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13741657\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/w2w-edited-erin-2.jpg\" alt=\"Erin Salazar.\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-edited-erin-2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-edited-erin-2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-edited-erin-2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-edited-erin-2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-edited-erin-2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-edited-erin-2-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-edited-erin-2-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-edited-erin-2-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-edited-erin-2-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-edited-erin-2-520x293.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Erin Salazar. \u003ccite>(Christina Campbell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>What do you find most challenging about being an artist in the South Bay?\u003c/b>\u003c/p>\n\u003cp>You have to fake it ’til you make it. There’s so much money flowing about here, but it’s so far above what we’re able to access as artists. So it’s about trying to get people to value art. That comes with more exposure to what goes in to the craft, so people see the work that goes into this, the value. We have to work a lot harder because that value isn’t there yet. We lack exposure, because the region has been dubbed a wasteland. We have to get away from that. We have to re-brand.\u003c/p>\n\u003cp>\u003cb>What does your ideal future look like for women artists in the Bay Area?\u003c/b>\u003c/p>\n\u003cp>Definitely more opportunities in public art. Getting more women to think big, and work big, and get paid. I want to be woman-centric in building my company. I want to help women get out of the sketchbook and onto the wall.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Curious about who else made the list? Check out the \u003ca href=\"https://ww2.kqed.org/arts/series/women-to-watch/\" target=\"_blank\" rel=\"noopener noreferrer\">Women to Watch series page\u003c/a>, including photo galleries, interviews and videos. Do you know a Bay Area artist who is doing amazing things? 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"id": "code-switch-life-kit",
"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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"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": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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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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"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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"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",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"link": "/radio/program/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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"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",
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"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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"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",
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"airtime": "SUN 7:30pm-8pm",
"meta": {
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},
"link": "/radio/program/how-i-built-this",
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"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
},
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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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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"order": 18
},
"link": "/podcasts/jerrybrown",
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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/",
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},
"link": "/radio/program/latino-usa",
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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": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"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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},
"link": "/radio/program/masters-of-scale",
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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",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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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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"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
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"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
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"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
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"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
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