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"content": "\u003cp>\u003cem>Welcome to KQED Arts’ \u003ca href=\"https://ww2.kqed.org/arts/series/women-to-watch/\" target=\"_blank\" rel=\"noopener noreferrer\">Women to Watch\u003c/a>, 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/em>\u003c/p>\n\u003cp>Artist and writer \u003ca href=\"http://indiraallegra.com/home.html\" target=\"_blank\" rel=\"noopener noreferrer\">Indira Allegra\u003c/a> weaves words, videos and performance into tapestries both physical and metaphorical. It’s almost impossible to succinctly describe Allegra’s practice, but in this and many other arenas, she’s the best one for the job: “I explore themes of tension and intimacy through text/ile performance,” she says.\u003c/p>\n\u003cp>https://youtu.be/IpYsEosN8DU\u003c/p>\n\u003cp>The slash in “text/ile” is important for Allegra — texts are built upon layers of words, textiles are built upon layers of thread. The loom is, for her, a writing tool. In Allegra’s \u003ci>Blackout\u003c/i>, a digital weaving installation featured in the 2016 YBCA exhibition \u003ci>\u003ca href=\"http://ww2.kqed.org/arts/2016/03/22/take-this-hammer-reveals-power-of-art-and-activism-at-ybca/\" target=\"_blank\" rel=\"noopener noreferrer\">Take This Hammer: Art + Media Activism from the Bay Area\u003c/a>\u003c/i>, she investigated the material of twill — commonly used in police uniforms — and its inherent ability to censor other narratives. In the projected videos, the twill pattern physically obscures text she gathered from family members who have lost loved ones to police violence.\u003c/p>\n\u003cp>For Allegra, tension is a material she doesn’t shy away from, whether that’s the tension of the loom, the tension in a body, or the unspoken social tensions that surround us daily. I talked to her about her work, her new \u003cem>Open Casket\u003c/em> series, and her inspirations.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://youtu.be/YwHS1hI6crQ\u003c/p>\n\u003cp>\u003cstrong>Had you done any textile work before you came to California College of the Arts for your BFA in 2009?\u003c/strong>\u003c/p>\n\u003cp>I came to CCA as a writer and as a performance artist. One of the things that occurred to me when I encountered the loom for the first time — well, first I felt panicked — but then I immediately understood that it was a writing device. There’s not a lot of difference in my mind between laying down pieces of thread and laying down stanzas or stacking video and audio information into Adobe Premiere.\u003c/p>\n\u003cp>I think that we borrow from the architecture of weaving to know how to tell story — when scrolling and scanning on our computers, we’re always following the weft line or the warp line. When we use the word “text” we’re invoking the Latin verb “texere” which means to weave.\u003c/p>\n\u003cp>Part of textile work is also thinking about how things are made in a hypercapitalist environment where few people understand how many things are even produced anymore. That labor is outsourced to marginalized communities worldwide. Similarly, as a writer, thinking about etymology — or word origins — is also about understanding how things are made, understanding the underlying structure of the world we live in.\u003c/p>\n\u003cfigure id=\"attachment_13741111\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13741111\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/w2w-edited-indira-1.jpg\" alt=\"Indira Allegra\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-edited-indira-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-edited-indira-1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-edited-indira-1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-edited-indira-1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-edited-indira-1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-edited-indira-1-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-edited-indira-1-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-edited-indira-1-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-edited-indira-1-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-edited-indira-1-520x293.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Indira Allegra \u003ccite>(Photo: Christina Campbell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What are you currently working or have you been involved with recently that you’re excited about?\u003c/strong>\u003c/p>\n\u003cp>A couple different things. One is the \u003ci>Open Casket\u003c/i> series. This is an outgrowth from the \u003ci>Blackout\u003c/i> series. In this case I’m looking at crepe, a material used to line the interior of caskets. Each pixel is someone actually speaking about a loved one that they’ve lost to police violence. I focused on crepe not only because of its longstanding relationship to mourning, but because it’s a cheaper alternative for casket lining. If you weren’t prepared to cover funeral expenses for someone who was unexpectedly gunned down, you would use crepe. Velvet would be the more expensive material.\u003c/p>\n\u003cp>And then I’m working on a \u003ci>Body Warp\u003c/i> series which I’m showing teasers of on social media. And that’s going to be the work exhibited at \u003ca href=\"http://www.thealicegallery.com/the-alice.html\" target=\"_blank\" rel=\"noopener noreferrer\">The Alice\u003c/a> gallery in Seattle in January. It explores my body as weaving material — or warp — and the tools and accoutrements associated with weaving.\u003c/p>\n\u003cp>I’m embodying all sort of marginalized identities, so how can I use that tension on the loom? Instead of putting thread on the loom, what if I put my body on the loom? What kind of fabric results?\u003c/p>\n\u003cfigure id=\"attachment_13755185\" class=\"wp-caption aligncenter\" style=\"max-width: 2550px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13755185\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/BodyWarp.jpg\" alt=\"An image from Indira Allegra's 'Body Warp' series, produced while in residence at Headlands Center for the Arts.\" width=\"2550\" height=\"1720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/BodyWarp.jpg 2550w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/BodyWarp-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/BodyWarp-800x540.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/BodyWarp-768x518.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/BodyWarp-1020x688.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/BodyWarp-1920x1295.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/BodyWarp-1180x796.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/BodyWarp-960x648.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/BodyWarp-240x162.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/BodyWarp-375x253.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/BodyWarp-520x351.jpg 520w\" sizes=\"(max-width: 2550px) 100vw, 2550px\">\u003cfigcaption class=\"wp-caption-text\">An image from Indira Allegra’s ‘Body Warp’ series, produced while in residence at Headlands Center for the Arts. \u003ccite>(Photo by @kimstar510; Via Instagram)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What sustains you and your practice?\u003c/strong>\u003c/p>\n\u003cp>That morning time where I get a chance to take time out to read and listen to the news, which for me starts at 9am. And I think the relationships that I have in my very inner circle are also really important because I’m constantly staring into the unknown. It’s not like I know what a project is going to look like in the end. I don’t have that kind of certainty, it’s not actually mapped out. And living with that uncertainty actually requires a lot of emotional support from people who have a lot of empathy around how demanding this work is. There’s no way I could do this work alone emotionally.\u003c/p>\n\u003cfigure id=\"attachment_13762940\" class=\"wp-caption alignright\" style=\"max-width: 630px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13762940\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/W2W-Indira-in-text_1.jpg\" alt=\"Indira Allegra\" width=\"630\" height=\"965\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/W2W-Indira-in-text_1.jpg 630w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/W2W-Indira-in-text_1-160x245.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/W2W-Indira-in-text_1-240x368.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/W2W-Indira-in-text_1-375x574.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/W2W-Indira-in-text_1-520x797.jpg 520w\" sizes=\"(max-width: 630px) 100vw, 630px\">\u003cfigcaption class=\"wp-caption-text\">Indira Allegra \u003ccite>(Photo: Christina Campbell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Do you have any “women you watch”?\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/2017/07/20/women-to-watch-black-salt-collective/\" target=\"_blank\" rel=\"noopener noreferrer\">The Black Salt Collective\u003c/a>. I don’t know how you could not be watching them, if you’re in the Bay Area and you’re breathing!\u003c/p>\n\u003cp>The work they’re doing as a collective and individually is really important, and not only in terms of the strategies they’re using to make work. It’s very difficult to survive as an artist here working solo. It’s definitely something I know I have contended with in my own practice. I appreciate the way that they get to each have their distinct individual practice, but they can work in support of each other, which I think is a really good model if artists are going to continue to work in big metropolitan areas, where the engine of gentrification continues to be in play.\u003c/p>\n\u003cp>\u003cstrong>What does your ideal future look like for women artists in the Bay Area?\u003c/strong>\u003c/p>\n\u003cp>My ideal future for women artists in the Bay Area is that our objects, our writings our performances are actually understood as scholarship. That we be conceived as thinkers with the ability to contribute a lot to solving social problems that exist here and nationally. As an artist you have to have a comfort with the unknown, being able to solve problems in a non-linear way. There’s a certain literacy you have to have about what cloth can say, how poetry can speak to the elusiveness of memory and how trauma is inherited. There’s a power in images, composition or performance — they can move people to experience things they might not be able to access on a daily basis.\u003c/p>\n\u003cp>All of that in my mind is scholarship. It’s not just something cool to buy to put on my wall. All these works are actually something the public can learn from and continue to be in dialogue with the artists about. It’s really about understanding the intellectual brilliance of women and also that scholarship can look really broad. It doesn’t have to be a 50-page thesis on something, a three minute dance can actually act as a dissertation as well.\u003c/p>\n\u003cp>I actually want to live in a society that recognizes that.\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>\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 \u003c/a>series page, including photo galleries, interviews, and videos.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Do you know a Bay Area artist who is doing amazing things? \u003ca href=\"https://www.instagram.com/kqed_arts/\" target=\"_blank\" rel=\"noopener noreferrer\">We want to hear from you!\u003c/a> Highlight her efforts using \u003ca href=\"https://www.instagram.com/explore/tags/baybrilliant/\" target=\"_blank\" rel=\"noopener noreferrer\">#BayBrilliant\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Welcome to KQED Arts’ \u003ca href=\"https://ww2.kqed.org/arts/series/women-to-watch/\" target=\"_blank\" rel=\"noopener noreferrer\">Women to Watch\u003c/a>, 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/em>\u003c/p>\n\u003cp>Artist and writer \u003ca href=\"http://indiraallegra.com/home.html\" target=\"_blank\" rel=\"noopener noreferrer\">Indira Allegra\u003c/a> weaves words, videos and performance into tapestries both physical and metaphorical. It’s almost impossible to succinctly describe Allegra’s practice, but in this and many other arenas, she’s the best one for the job: “I explore themes of tension and intimacy through text/ile performance,” she says.\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/IpYsEosN8DU'\n title='//www.youtube.com/embed/IpYsEosN8DU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The slash in “text/ile” is important for Allegra — texts are built upon layers of words, textiles are built upon layers of thread. The loom is, for her, a writing tool. In Allegra’s \u003ci>Blackout\u003c/i>, a digital weaving installation featured in the 2016 YBCA exhibition \u003ci>\u003ca href=\"http://ww2.kqed.org/arts/2016/03/22/take-this-hammer-reveals-power-of-art-and-activism-at-ybca/\" target=\"_blank\" rel=\"noopener noreferrer\">Take This Hammer: Art + Media Activism from the Bay Area\u003c/a>\u003c/i>, she investigated the material of twill — commonly used in police uniforms — and its inherent ability to censor other narratives. In the projected videos, the twill pattern physically obscures text she gathered from family members who have lost loved ones to police violence.\u003c/p>\n\u003cp>For Allegra, tension is a material she doesn’t shy away from, whether that’s the tension of the loom, the tension in a body, or the unspoken social tensions that surround us daily. I talked to her about her work, her new \u003cem>Open Casket\u003c/em> series, and her inspirations.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/YwHS1hI6crQ'\n title='//www.youtube.com/embed/YwHS1hI6crQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Had you done any textile work before you came to California College of the Arts for your BFA in 2009?\u003c/strong>\u003c/p>\n\u003cp>I came to CCA as a writer and as a performance artist. One of the things that occurred to me when I encountered the loom for the first time — well, first I felt panicked — but then I immediately understood that it was a writing device. There’s not a lot of difference in my mind between laying down pieces of thread and laying down stanzas or stacking video and audio information into Adobe Premiere.\u003c/p>\n\u003cp>I think that we borrow from the architecture of weaving to know how to tell story — when scrolling and scanning on our computers, we’re always following the weft line or the warp line. When we use the word “text” we’re invoking the Latin verb “texere” which means to weave.\u003c/p>\n\u003cp>Part of textile work is also thinking about how things are made in a hypercapitalist environment where few people understand how many things are even produced anymore. That labor is outsourced to marginalized communities worldwide. Similarly, as a writer, thinking about etymology — or word origins — is also about understanding how things are made, understanding the underlying structure of the world we live in.\u003c/p>\n\u003cfigure id=\"attachment_13741111\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13741111\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/w2w-edited-indira-1.jpg\" alt=\"Indira Allegra\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-edited-indira-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-edited-indira-1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-edited-indira-1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-edited-indira-1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-edited-indira-1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-edited-indira-1-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-edited-indira-1-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-edited-indira-1-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-edited-indira-1-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-edited-indira-1-520x293.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Indira Allegra \u003ccite>(Photo: Christina Campbell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What are you currently working or have you been involved with recently that you’re excited about?\u003c/strong>\u003c/p>\n\u003cp>A couple different things. One is the \u003ci>Open Casket\u003c/i> series. This is an outgrowth from the \u003ci>Blackout\u003c/i> series. In this case I’m looking at crepe, a material used to line the interior of caskets. Each pixel is someone actually speaking about a loved one that they’ve lost to police violence. I focused on crepe not only because of its longstanding relationship to mourning, but because it’s a cheaper alternative for casket lining. If you weren’t prepared to cover funeral expenses for someone who was unexpectedly gunned down, you would use crepe. Velvet would be the more expensive material.\u003c/p>\n\u003cp>And then I’m working on a \u003ci>Body Warp\u003c/i> series which I’m showing teasers of on social media. And that’s going to be the work exhibited at \u003ca href=\"http://www.thealicegallery.com/the-alice.html\" target=\"_blank\" rel=\"noopener noreferrer\">The Alice\u003c/a> gallery in Seattle in January. It explores my body as weaving material — or warp — and the tools and accoutrements associated with weaving.\u003c/p>\n\u003cp>I’m embodying all sort of marginalized identities, so how can I use that tension on the loom? Instead of putting thread on the loom, what if I put my body on the loom? What kind of fabric results?\u003c/p>\n\u003cfigure id=\"attachment_13755185\" class=\"wp-caption aligncenter\" style=\"max-width: 2550px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13755185\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/BodyWarp.jpg\" alt=\"An image from Indira Allegra's 'Body Warp' series, produced while in residence at Headlands Center for the Arts.\" width=\"2550\" height=\"1720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/BodyWarp.jpg 2550w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/BodyWarp-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/BodyWarp-800x540.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/BodyWarp-768x518.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/BodyWarp-1020x688.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/BodyWarp-1920x1295.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/BodyWarp-1180x796.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/BodyWarp-960x648.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/BodyWarp-240x162.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/BodyWarp-375x253.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/BodyWarp-520x351.jpg 520w\" sizes=\"(max-width: 2550px) 100vw, 2550px\">\u003cfigcaption class=\"wp-caption-text\">An image from Indira Allegra’s ‘Body Warp’ series, produced while in residence at Headlands Center for the Arts. \u003ccite>(Photo by @kimstar510; Via Instagram)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What sustains you and your practice?\u003c/strong>\u003c/p>\n\u003cp>That morning time where I get a chance to take time out to read and listen to the news, which for me starts at 9am. And I think the relationships that I have in my very inner circle are also really important because I’m constantly staring into the unknown. It’s not like I know what a project is going to look like in the end. I don’t have that kind of certainty, it’s not actually mapped out. And living with that uncertainty actually requires a lot of emotional support from people who have a lot of empathy around how demanding this work is. There’s no way I could do this work alone emotionally.\u003c/p>\n\u003cfigure id=\"attachment_13762940\" class=\"wp-caption alignright\" style=\"max-width: 630px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13762940\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/W2W-Indira-in-text_1.jpg\" alt=\"Indira Allegra\" width=\"630\" height=\"965\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/W2W-Indira-in-text_1.jpg 630w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/W2W-Indira-in-text_1-160x245.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/W2W-Indira-in-text_1-240x368.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/W2W-Indira-in-text_1-375x574.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/W2W-Indira-in-text_1-520x797.jpg 520w\" sizes=\"(max-width: 630px) 100vw, 630px\">\u003cfigcaption class=\"wp-caption-text\">Indira Allegra \u003ccite>(Photo: Christina Campbell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Do you have any “women you watch”?\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/2017/07/20/women-to-watch-black-salt-collective/\" target=\"_blank\" rel=\"noopener noreferrer\">The Black Salt Collective\u003c/a>. I don’t know how you could not be watching them, if you’re in the Bay Area and you’re breathing!\u003c/p>\n\u003cp>The work they’re doing as a collective and individually is really important, and not only in terms of the strategies they’re using to make work. It’s very difficult to survive as an artist here working solo. It’s definitely something I know I have contended with in my own practice. I appreciate the way that they get to each have their distinct individual practice, but they can work in support of each other, which I think is a really good model if artists are going to continue to work in big metropolitan areas, where the engine of gentrification continues to be in play.\u003c/p>\n\u003cp>\u003cstrong>What does your ideal future look like for women artists in the Bay Area?\u003c/strong>\u003c/p>\n\u003cp>My ideal future for women artists in the Bay Area is that our objects, our writings our performances are actually understood as scholarship. That we be conceived as thinkers with the ability to contribute a lot to solving social problems that exist here and nationally. As an artist you have to have a comfort with the unknown, being able to solve problems in a non-linear way. There’s a certain literacy you have to have about what cloth can say, how poetry can speak to the elusiveness of memory and how trauma is inherited. There’s a power in images, composition or performance — they can move people to experience things they might not be able to access on a daily basis.\u003c/p>\n\u003cp>All of that in my mind is scholarship. It’s not just something cool to buy to put on my wall. All these works are actually something the public can learn from and continue to be in dialogue with the artists about. It’s really about understanding the intellectual brilliance of women and also that scholarship can look really broad. It doesn’t have to be a 50-page thesis on something, a three minute dance can actually act as a dissertation as well.\u003c/p>\n\u003cp>I actually want to live in a society that recognizes that.\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>\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 \u003c/a>series page, including photo galleries, interviews, and videos.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Do you know a Bay Area artist who is doing amazing things? \u003ca href=\"https://www.instagram.com/kqed_arts/\" target=\"_blank\" rel=\"noopener noreferrer\">We want to hear from you!\u003c/a> Highlight her efforts using \u003ca href=\"https://www.instagram.com/explore/tags/baybrilliant/\" target=\"_blank\" rel=\"noopener noreferrer\">#BayBrilliant\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Inside Jasdeep Kang's Meticulous, Interrogative Filmmaking",
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"content": "\u003cp>“Blue (American Dream),” a \u003ca href=\"https://www.youtube.com/watch?v=pEw-RpqPxuY\" target=\"_blank\" rel=\"noopener\">music video\u003c/a> directed by filmmaker Jasdeep Kang, opens with a woman (Tia Cabral, better known by her stage name, \u003ca href=\"https://www.eastbayexpress.com/oakland/pantheon-of-me-by-berkeleys-spellling-is-the-most-striking-local-debut-this-year/Content?oid=7855644\" target=\"_blank\" rel=\"noopener\">SPELLLING\u003c/a>) leaning on the back of a dancer, eyes closed and neck extended to catch the last waning wisps of afternoon light. The characters remain motionless as the camera’s slow, leftward pan highlights the faint glimmer of an Oakland warehouse’s corrugated steel wall — a shine outdone by the sharp sparkle of Cabral’s metallic gold dress further down the frame. Transforming the drab industrial setting into an ethereal, dream-like space is an iridescent lens flare, instantly setting the tone for the remainder of the surreal video in its first two seconds.\u003c/p>\n\u003cp>Released in late June, the four-minute long collaboration with up-and-coming Berkeley songwriter Cabral is the most recent installment of Kang’s visual work. The music video addresses and criticizes the notion of the American Dream achievable by the immigrant body. It brims with dramatic cinematography, meticulous attention to detail, and a profound interrogation of cultural identity — facets of Kang’s style that have grown to characterize her films with collaborators in the Bay Area.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=pEw-RpqPxuY\u003c/p>\n\u003cp>“One of the biggest things that inspires my work is the concept of identity,” Kang shares. “I look for people who speak truth, [regardless of] whether it’s about identity, spirituality, or decolonization. The people that I’ve worked with so far — I think that they address their identity in a very present way. They’re very open about their ancestral roots… but want to redefine identity in the space that we live in now [while] also addressing how they’re represented in various degrees.”\u003c/p>\n\u003cp>Kang’s collaborations are few but mighty, perhaps due to the care with which the filmmaker decides her projects. In the last year, she’s collaborated extensively with \u003ca href=\"https://ww2.kqed.org/arts/2017/05/11/onx-the-collective-redefining-black-grief-and-creative-allyship/\" target=\"_blank\" rel=\"noopener\">ONX\u003c/a>, an artistic collective that \u003ca href=\"https://ww2.kqed.org/arts/2017/05/11/onx-the-collective-redefining-black-grief-and-creative-allyship/\" target=\"_blank\" rel=\"noopener\">focuses on the black experience\u003c/a>. Kang shot \u003cem>Copper\u003c/em>, the gorgeous, 14-minute long film on the topic of black death, which acted as the focal point of ONX’s third major release this spring. Previously, she also filmed “Azaadi: Is Freedom Is Fate,” a music video for Berkeley-based musician \u003ca href=\"https://soundcloud.com/kohinoorgasm\" target=\"_blank\" rel=\"noopener\">Kohinoorgasm\u003c/a> which explores the intersections of hair, expression, and freedom.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vuZNAjvhK7Q\u003c/p>\n\u003cp>For Kang, a Punjabi-Sikh American, the inclusive and celebratory energy of the East Bay played an enormous role in shaping her current cinematic style. Although Kang recalls being behind the camera for as long as she can remember, it wasn’t until she moved back to the Bay — Kang originally hails from north of Sacramento — after graduating from UC Irvine in 2014 that she truly understood her position as a woman of color behind the lens.\u003c/p>\n\u003cp>“I’ve been on sets where I was the only brown person, or I was the only woman — [with] no one knowing how to pronounce my name. I felt so belittled by that… [It wasn’t] until I graduated college and started working with people in the Bay that I realized how powerful of a community I could be a part of behind the camera,” she explains. “I wanted to [do] work about race, addressing my identity and spaces [I occupy] with people that didn’t understand it or didn’t understand the importance of it.” Until she came back to the Bay Area, she says, “I wasn’t able to find that.”\u003c/p>\n\u003cfigure id=\"attachment_13748818\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/Jasdeep-800x450.jpg\" alt=\"Jasdeep Kang's filmmaking is simultaneously exploratory and hazy.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13748818\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Jasdeep-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Jasdeep-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Jasdeep-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Jasdeep-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Jasdeep.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Jasdeep-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Jasdeep-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Jasdeep-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Jasdeep-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Jasdeep-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jasdeep Kang’s filmmaking is simultaneously exploratory and veiled. \u003ccite>(Artist photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Since coming into her own in the local art community, Kang has grown particularly passionate about ensuring that she and her creative collaborators remain dedicated to exploring the nuances of her actual and stereotyped identity — and continuing to work in redefining those nuances through their art. She cites her own family’s history and immigration story as primary sources of inspiration in her work. \u003c/p>\n\u003cp>“I’ve seen my parents reclaim their identity, and I’ve seen my grandparents reclaim theirs, because both generations have gone through their own genocides and have been displaced. The history of [my family] even being in this country alone has always made them challenge their identities. And, therefore, it’s forced me to challenge my own and every single space that I’ve been in.”\u003c/p>\n\u003cfigure id=\"attachment_13749234\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/Jasdeep.Copper-800x450.jpg\" alt=\"A still from 'Copper,' a short film by Jasdeep Kang.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13749234\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Jasdeep.Copper-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Jasdeep.Copper-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Jasdeep.Copper-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Jasdeep.Copper-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Jasdeep.Copper-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Jasdeep.Copper-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Jasdeep.Copper-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Jasdeep.Copper-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Jasdeep.Copper-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Jasdeep.Copper.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A still from ‘Copper,’ a short film shot by Jasdeep Kang. \u003ccite>(Jasdeep Kang)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The solution to some of that cultural displacement, as it appears in Kang’s films, is the creation of an imaginary dream space — one that Kang has ultimately found possible to construct through the support of her diverse collaborators in the Bay. Although the filmmaker has recently moved to New York to pursue various freelancing opportunities, she has numerous long-term projects — like video and film installations — she’ll return to complete in the coming months. \u003c/p>\n\u003cp>Regardless of where Kang might be, however, she hopes to continue encouraging artists, no matter how established or how fledging, to take up space in areas they feel they aren’t allowed to.\u003c/p>\n\u003cp>“I’m trying to dream up spaces so people can fill them in, in real life,” she says. “That’s it honestly. That’s what really inspires the motion and my work.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>For more from Jasdeep Kang, see the \u003ca href=\"http://www.jasdeepkang.com/\" target=\"_blank\" rel=\"noopener\">artist’s site\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“Blue (American Dream),” a \u003ca href=\"https://www.youtube.com/watch?v=pEw-RpqPxuY\" target=\"_blank\" rel=\"noopener\">music video\u003c/a> directed by filmmaker Jasdeep Kang, opens with a woman (Tia Cabral, better known by her stage name, \u003ca href=\"https://www.eastbayexpress.com/oakland/pantheon-of-me-by-berkeleys-spellling-is-the-most-striking-local-debut-this-year/Content?oid=7855644\" target=\"_blank\" rel=\"noopener\">SPELLLING\u003c/a>) leaning on the back of a dancer, eyes closed and neck extended to catch the last waning wisps of afternoon light. The characters remain motionless as the camera’s slow, leftward pan highlights the faint glimmer of an Oakland warehouse’s corrugated steel wall — a shine outdone by the sharp sparkle of Cabral’s metallic gold dress further down the frame. Transforming the drab industrial setting into an ethereal, dream-like space is an iridescent lens flare, instantly setting the tone for the remainder of the surreal video in its first two seconds.\u003c/p>\n\u003cp>Released in late June, the four-minute long collaboration with up-and-coming Berkeley songwriter Cabral is the most recent installment of Kang’s visual work. The music video addresses and criticizes the notion of the American Dream achievable by the immigrant body. It brims with dramatic cinematography, meticulous attention to detail, and a profound interrogation of cultural identity — facets of Kang’s style that have grown to characterize her films with collaborators in the Bay Area.\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/pEw-RpqPxuY'\n title='//www.youtube.com/embed/pEw-RpqPxuY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“One of the biggest things that inspires my work is the concept of identity,” Kang shares. “I look for people who speak truth, [regardless of] whether it’s about identity, spirituality, or decolonization. The people that I’ve worked with so far — I think that they address their identity in a very present way. They’re very open about their ancestral roots… but want to redefine identity in the space that we live in now [while] also addressing how they’re represented in various degrees.”\u003c/p>\n\u003cp>Kang’s collaborations are few but mighty, perhaps due to the care with which the filmmaker decides her projects. In the last year, she’s collaborated extensively with \u003ca href=\"https://ww2.kqed.org/arts/2017/05/11/onx-the-collective-redefining-black-grief-and-creative-allyship/\" target=\"_blank\" rel=\"noopener\">ONX\u003c/a>, an artistic collective that \u003ca href=\"https://ww2.kqed.org/arts/2017/05/11/onx-the-collective-redefining-black-grief-and-creative-allyship/\" target=\"_blank\" rel=\"noopener\">focuses on the black experience\u003c/a>. Kang shot \u003cem>Copper\u003c/em>, the gorgeous, 14-minute long film on the topic of black death, which acted as the focal point of ONX’s third major release this spring. Previously, she also filmed “Azaadi: Is Freedom Is Fate,” a music video for Berkeley-based musician \u003ca href=\"https://soundcloud.com/kohinoorgasm\" target=\"_blank\" rel=\"noopener\">Kohinoorgasm\u003c/a> which explores the intersections of hair, expression, and freedom.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/vuZNAjvhK7Q'\n title='//www.youtube.com/embed/vuZNAjvhK7Q'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>For Kang, a Punjabi-Sikh American, the inclusive and celebratory energy of the East Bay played an enormous role in shaping her current cinematic style. Although Kang recalls being behind the camera for as long as she can remember, it wasn’t until she moved back to the Bay — Kang originally hails from north of Sacramento — after graduating from UC Irvine in 2014 that she truly understood her position as a woman of color behind the lens.\u003c/p>\n\u003cp>“I’ve been on sets where I was the only brown person, or I was the only woman — [with] no one knowing how to pronounce my name. I felt so belittled by that… [It wasn’t] until I graduated college and started working with people in the Bay that I realized how powerful of a community I could be a part of behind the camera,” she explains. “I wanted to [do] work about race, addressing my identity and spaces [I occupy] with people that didn’t understand it or didn’t understand the importance of it.” Until she came back to the Bay Area, she says, “I wasn’t able to find that.”\u003c/p>\n\u003cfigure id=\"attachment_13748818\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/Jasdeep-800x450.jpg\" alt=\"Jasdeep Kang's filmmaking is simultaneously exploratory and hazy.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13748818\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Jasdeep-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Jasdeep-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Jasdeep-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Jasdeep-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Jasdeep.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Jasdeep-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Jasdeep-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Jasdeep-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Jasdeep-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Jasdeep-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jasdeep Kang’s filmmaking is simultaneously exploratory and veiled. \u003ccite>(Artist photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Since coming into her own in the local art community, Kang has grown particularly passionate about ensuring that she and her creative collaborators remain dedicated to exploring the nuances of her actual and stereotyped identity — and continuing to work in redefining those nuances through their art. She cites her own family’s history and immigration story as primary sources of inspiration in her work. \u003c/p>\n\u003cp>“I’ve seen my parents reclaim their identity, and I’ve seen my grandparents reclaim theirs, because both generations have gone through their own genocides and have been displaced. The history of [my family] even being in this country alone has always made them challenge their identities. And, therefore, it’s forced me to challenge my own and every single space that I’ve been in.”\u003c/p>\n\u003cfigure id=\"attachment_13749234\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/Jasdeep.Copper-800x450.jpg\" alt=\"A still from 'Copper,' a short film by Jasdeep Kang.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13749234\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Jasdeep.Copper-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Jasdeep.Copper-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Jasdeep.Copper-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Jasdeep.Copper-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Jasdeep.Copper-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Jasdeep.Copper-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Jasdeep.Copper-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Jasdeep.Copper-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Jasdeep.Copper-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Jasdeep.Copper.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A still from ‘Copper,’ a short film shot by Jasdeep Kang. \u003ccite>(Jasdeep Kang)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The solution to some of that cultural displacement, as it appears in Kang’s films, is the creation of an imaginary dream space — one that Kang has ultimately found possible to construct through the support of her diverse collaborators in the Bay. Although the filmmaker has recently moved to New York to pursue various freelancing opportunities, she has numerous long-term projects — like video and film installations — she’ll return to complete in the coming months. \u003c/p>\n\u003cp>Regardless of where Kang might be, however, she hopes to continue encouraging artists, no matter how established or how fledging, to take up space in areas they feel they aren’t allowed to.\u003c/p>\n\u003cp>“I’m trying to dream up spaces so people can fill them in, in real life,” she says. “That’s it honestly. That’s what really inspires the motion and my work.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>For more from Jasdeep Kang, see the \u003ca href=\"http://www.jasdeepkang.com/\" target=\"_blank\" rel=\"noopener\">artist’s site\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "women-to-watch-amy-m-ho",
"title": "Women to Watch: Amy M. Ho",
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"content": "\u003cp>\u003cem>Welcome to KQED Arts’ \u003ca href=\"https://ww2.kqed.org/arts/series/women-to-watch/\" target=\"_blank\" rel=\"noopener noreferrer\">Women to Watch\u003c/a>, 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/em>\u003c/p>\n\u003cp>San Francisco-based visual artist \u003ca href=\"http://www.amymho.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Amy M. Ho\u003c/a> builds installations that explore the psychology of space. Her work asks: How does a built environment make a person feel, both physically and emotionally?\u003c/p>\n\u003cp>The installations often start as models of real or imagined spaces. Rendered in white paper, rooms, tables and chairs become ghostly. Light slants through open doorways, but also through the doors themselves, revealing their material nature. Ho photographs the models and projects those images into existing or specially made architectural spaces, rendering the once small-scale paper constructions eerily life-sized (or larger).\u003c/p>\n\u003cfigure id=\"attachment_13741261\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13741261\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/Ho.SpacesFromYesterdayTheGarage.2016.SingleChannelProjectionWoodFabric.96x84x144_2-e1501027736506.jpg\" alt=\"Installation view of 'Spaces from Yesterday: The Garage,' created with Bobby Dean Evans Jr.\" width=\"1200\" height=\"838\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Spaces from Yesterday: The Garage,’ created with Bobby Dean Evans Jr. \u003ccite>(Courtesy of Chandra Cerrito Contemporary; Photo by Chris Fraser)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In her ongoing series \u003ci>Spaces From Yesterday\u003c/i>, Ho collaborates with incarcerated artists from San Quentin State Prison — where she has worked with the \u003ca href=\"http://williamjamesassociation.org/\" target=\"_blank\" rel=\"noopener noreferrer\">William James Association\u003c/a> since 2012 — to recreate inmates’ memories of specific places. In each iteration of the project, which Ho purposefully identifies as a two-person show, her collaborator’s illustration of the same space hangs alongside Ho’s installation.\u003c/p>\n\u003cp>In this and all of her work, uncanny projections of psychologically significant spaces coexist with carefully constructed physical structures, blending real and imagined spaces, image and object, and personal memory with the artist’s abstractions.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://youtu.be/q32-E_P-i_g\u003c/p>\n\u003cp>\u003cstrong>How did you start working with incarcerated artists at San Quentin?\u003c/strong>\u003c/p>\n\u003cp>At one point when I was in college I thought I would be a human rights activist. But the activist lifestyle seems really stressful to me — you’re always fighting and you won’t necessarily see any immediate change. I really believe in expanding human rights but I wasn’t sure I could live that lifestyle.\u003c/p>\n\u003cp>Some time after grad school, I still cared about these issues and I wondered how I could participate in prison reform. [Oakland-based curator, artist and writer] \u003ca href=\"http://kevinbchen.com/home.html\" target=\"_blank\" rel=\"noopener noreferrer\">Kevin Chen\u003c/a> put me in touch with the William James Association. When I started, the program had no money and people were volunteering at San Quentin for free. In the last three years \u003ca href=\"http://arts.ca.gov/initiatives/aic.php\" target=\"_blank\" rel=\"noopener noreferrer\">the California Arts Council slowly started refunding the “Arts in Corrections” program\u003c/a> — now it’s up to $8 million a year.\u003c/p>\n\u003cfigure id=\"attachment_13741260\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13741260\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/Collaborators1-1020x1387.jpg\" alt=\"Amy M. Ho with collaborator Dennis Crookes standing inside installation for 'Spaces From Yesterday: The Hallway' at Oakland's Royal NoneSuch Gallery.\" width=\"640\" height=\"870\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Collaborators1-1020x1387.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Collaborators1-160x218.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Collaborators1-800x1088.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Collaborators1-768x1044.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Collaborators1-1920x2611.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Collaborators1-1180x1605.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Collaborators1-960x1305.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Collaborators1-240x326.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Collaborators1-375x510.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Collaborators1-520x707.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Amy M. Ho with collaborator Dennis Crookes standing inside installation for ‘Spaces From Yesterday: The Hallway’ at Oakland’s Royal NoneSuch Gallery. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>How has your work at San Quentin influenced your own art practice?\u003c/strong>\u003c/p>\n\u003cp>A big part of going inside for me has been interacting with the people that I meet there; a big part of the art program in general is treating people like human beings.\u003c/p>\n\u003cp>In that way I really got to know a lot of people that I work with and hear their stories of their lives before prison. It became obvious that these memories were really special to them. As an artist I was interested in capturing or preserving their stories in a way.\u003c/p>\n\u003cp>I started writing them down, but I’m not a writer. It was easier for me to think in a visual way. I decided to build installations around these stories.\u003c/p>\n\u003cp>There are a lot of projects that exist where artists work with incarcerated people as a group, but I can only think of a couple where artists work with incarcerated people on a personal and individual level. I really wanted \u003cem>Spaces From Yesterday\u003c/em> to be about these very specific people that I had met. Instead of making work \u003cem>about\u003c/em> them, the whole premise of the project is individual collaborations.\u003c/p>\n\u003cp>It’s important for me to have their work represented in each show. I use the word collaboration to describe it, but it’s more like an exchange — we’re inspiring each other to make work. The process — the storytelling and conversational part of it — is really important to me, not just the final work.\u003c/p>\n\u003cfigure id=\"attachment_13741080\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13741080\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/w2w-edited-amy.jpg\" alt=\"Amy M. Ho at the Real Time & Space studios.\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-edited-amy.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-edited-amy-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-edited-amy-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-edited-amy-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-edited-amy-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-edited-amy-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-edited-amy-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-edited-amy-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-edited-amy-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-edited-amy-520x293.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Amy M. Ho at the Real Time & Space studios. \u003ccite>(Photo: Christina Campbell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>You’re the studio director of \u003ca href=\"http://www.realtimeandspace.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Real Time & Space\u003c/a> (RTS), a former print shop in Oakland’s Chinatown that’s home to 15 artists’ studios (yours included) and a residency program. What does it mean for you to be part of a studio community and manage a space like RTS?\u003c/strong>\u003c/p>\n\u003cp>I kind of see RTS as my home now; it’s a place to go back to where I know for sure that I’m going to have friends and people who care about me. I feel incredibly lucky that I’ve met so many people who have worked in or done residencies at RTS. Those are the people I look to for inspiration or advice.\u003c/p>\n\u003cp>It’s also a huge contrast to San Quentin. It’s a super supportive and really strong community. At San Quentin we kind of have that in the art classroom, but it’s a prison — it’s not supportive, the atmosphere is inherently negative. To have something else in my life that’s so positive is a good balance.\u003c/p>\n\u003cfigure id=\"attachment_13747032\" class=\"wp-caption aligncenter\" style=\"max-width: 1080px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13747032\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/VoicesSQ.jpg\" alt=\"An anonymous quote from 'Voices from San Quentin,' April 2017.\" width=\"1080\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/VoicesSQ.jpg 1080w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/VoicesSQ-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/VoicesSQ-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/VoicesSQ-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/VoicesSQ-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/VoicesSQ-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/VoicesSQ-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/VoicesSQ-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/VoicesSQ-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/VoicesSQ-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/VoicesSQ-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/VoicesSQ-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/VoicesSQ-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/VoicesSQ-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/VoicesSQ-150x150.jpg 150w\" sizes=\"(max-width: 1080px) 100vw, 1080px\">\u003cfigcaption class=\"wp-caption-text\">An anonymous quote from ‘Voices from San Quentin,’ April 2017. \u003ccite>(Via Instagram)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What else are you working on that you’re excited about?\u003c/strong>\u003c/p>\n\u003cp>I have this Instagram project happening right now in collaboration with Ronell “Rauch” Draper called \u003ca href=\"https://www.instagram.com/voices_from_san_quentin/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Voices from San Quentin\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>Right around Trump’s election when a lot of people were protesting, \u003ca href=\"https://ww2.kqed.org/arts/2017/01/20/local-artists-organize-100-day-calendar-of-creative-resistance/\" target=\"_blank\" rel=\"noopener noreferrer\">100 Days Action\u003c/a> started and I asked the guys [in San Quentin] if there was anything they’d like to do to participate. Rauch said he wished there was a forum for them to speak freely. We came up with the idea to do it via Instagram. There’s a bit of censorship — the prison gave us a few guidelines about what they can and can’t say. But Rauch collects all the quotes from people inside and he gives it me and I post it online.\u003c/p>\n\u003cp>\u003cstrong>Do you have any “women you watch”?\u003c/strong>\u003c/p>\n\u003cp>I really admire the work that Nigel Poor’s doing inside San Quentin. In the radio programs she’s done inside, she works with the men as peers and not as someone who’s superior.\u003c/p>\n\u003cp>\u003ci>[Editor’s note: The \u003ca href=\"https://www.earhustlesq.com/episodes/2017/7/12/looking-out\" target=\"_blank\" rel=\"noopener noreferrer\">third episode of Poor’s current San Quentin project\u003c/a>, the podcast ‘\u003ci>Earhustle\u003c/i>,’ features Ho’s ‘Voices from San Quentin’ collaborator, Ronell “Rauch” Draper.]\u003c/i>\u003c/p>\n\u003cp>\u003cstrong>What does your ideal future look like for women artists in the Bay Area?\u003c/strong>\u003c/p>\n\u003cp>This is something I’ve been thinking about lately, but I’m not sure what the answer is exactly. I think my gut reaction is to say that women would be treated as equals to men. But I want the world to change to be more accommodating to women and the way that they approach the world. If you’re aggressive and put yourself out there and are pushing your own agenda, the art world responds to that. I don’t know what the opposite of that looks like. But in my ideal future the world doesn’t hold those expectations for artists.\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>\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 \u003c/a>series page, including photo galleries, interviews, and videos.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Do you know a Bay Area artist who is doing amazing things? \u003ca href=\"https://www.instagram.com/kqed_arts/\" target=\"_blank\" rel=\"noopener noreferrer\">We want to hear from you!\u003c/a> Highlight her efforts using \u003ca href=\"https://www.instagram.com/explore/tags/baybrilliant/\" target=\"_blank\" rel=\"noopener noreferrer\">#BayBrilliant\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "In her collaborations with incarcerated artists at San Quentin, Amy M. Ho turns inmates' memories of specific places into carefully constructed multimedia installations.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Welcome to KQED Arts’ \u003ca href=\"https://ww2.kqed.org/arts/series/women-to-watch/\" target=\"_blank\" rel=\"noopener noreferrer\">Women to Watch\u003c/a>, 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/em>\u003c/p>\n\u003cp>San Francisco-based visual artist \u003ca href=\"http://www.amymho.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Amy M. Ho\u003c/a> builds installations that explore the psychology of space. Her work asks: How does a built environment make a person feel, both physically and emotionally?\u003c/p>\n\u003cp>The installations often start as models of real or imagined spaces. Rendered in white paper, rooms, tables and chairs become ghostly. Light slants through open doorways, but also through the doors themselves, revealing their material nature. Ho photographs the models and projects those images into existing or specially made architectural spaces, rendering the once small-scale paper constructions eerily life-sized (or larger).\u003c/p>\n\u003cfigure id=\"attachment_13741261\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13741261\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/Ho.SpacesFromYesterdayTheGarage.2016.SingleChannelProjectionWoodFabric.96x84x144_2-e1501027736506.jpg\" alt=\"Installation view of 'Spaces from Yesterday: The Garage,' created with Bobby Dean Evans Jr.\" width=\"1200\" height=\"838\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Spaces from Yesterday: The Garage,’ created with Bobby Dean Evans Jr. \u003ccite>(Courtesy of Chandra Cerrito Contemporary; Photo by Chris Fraser)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In her ongoing series \u003ci>Spaces From Yesterday\u003c/i>, Ho collaborates with incarcerated artists from San Quentin State Prison — where she has worked with the \u003ca href=\"http://williamjamesassociation.org/\" target=\"_blank\" rel=\"noopener noreferrer\">William James Association\u003c/a> since 2012 — to recreate inmates’ memories of specific places. In each iteration of the project, which Ho purposefully identifies as a two-person show, her collaborator’s illustration of the same space hangs alongside Ho’s installation.\u003c/p>\n\u003cp>In this and all of her work, uncanny projections of psychologically significant spaces coexist with carefully constructed physical structures, blending real and imagined spaces, image and object, and personal memory with the artist’s abstractions.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/q32-E_P-i_g'\n title='//www.youtube.com/embed/q32-E_P-i_g'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>How did you start working with incarcerated artists at San Quentin?\u003c/strong>\u003c/p>\n\u003cp>At one point when I was in college I thought I would be a human rights activist. But the activist lifestyle seems really stressful to me — you’re always fighting and you won’t necessarily see any immediate change. I really believe in expanding human rights but I wasn’t sure I could live that lifestyle.\u003c/p>\n\u003cp>Some time after grad school, I still cared about these issues and I wondered how I could participate in prison reform. [Oakland-based curator, artist and writer] \u003ca href=\"http://kevinbchen.com/home.html\" target=\"_blank\" rel=\"noopener noreferrer\">Kevin Chen\u003c/a> put me in touch with the William James Association. When I started, the program had no money and people were volunteering at San Quentin for free. In the last three years \u003ca href=\"http://arts.ca.gov/initiatives/aic.php\" target=\"_blank\" rel=\"noopener noreferrer\">the California Arts Council slowly started refunding the “Arts in Corrections” program\u003c/a> — now it’s up to $8 million a year.\u003c/p>\n\u003cfigure id=\"attachment_13741260\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13741260\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/Collaborators1-1020x1387.jpg\" alt=\"Amy M. Ho with collaborator Dennis Crookes standing inside installation for 'Spaces From Yesterday: The Hallway' at Oakland's Royal NoneSuch Gallery.\" width=\"640\" height=\"870\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Collaborators1-1020x1387.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Collaborators1-160x218.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Collaborators1-800x1088.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Collaborators1-768x1044.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Collaborators1-1920x2611.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Collaborators1-1180x1605.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Collaborators1-960x1305.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Collaborators1-240x326.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Collaborators1-375x510.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Collaborators1-520x707.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Amy M. Ho with collaborator Dennis Crookes standing inside installation for ‘Spaces From Yesterday: The Hallway’ at Oakland’s Royal NoneSuch Gallery. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>How has your work at San Quentin influenced your own art practice?\u003c/strong>\u003c/p>\n\u003cp>A big part of going inside for me has been interacting with the people that I meet there; a big part of the art program in general is treating people like human beings.\u003c/p>\n\u003cp>In that way I really got to know a lot of people that I work with and hear their stories of their lives before prison. It became obvious that these memories were really special to them. As an artist I was interested in capturing or preserving their stories in a way.\u003c/p>\n\u003cp>I started writing them down, but I’m not a writer. It was easier for me to think in a visual way. I decided to build installations around these stories.\u003c/p>\n\u003cp>There are a lot of projects that exist where artists work with incarcerated people as a group, but I can only think of a couple where artists work with incarcerated people on a personal and individual level. I really wanted \u003cem>Spaces From Yesterday\u003c/em> to be about these very specific people that I had met. Instead of making work \u003cem>about\u003c/em> them, the whole premise of the project is individual collaborations.\u003c/p>\n\u003cp>It’s important for me to have their work represented in each show. I use the word collaboration to describe it, but it’s more like an exchange — we’re inspiring each other to make work. The process — the storytelling and conversational part of it — is really important to me, not just the final work.\u003c/p>\n\u003cfigure id=\"attachment_13741080\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13741080\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/w2w-edited-amy.jpg\" alt=\"Amy M. Ho at the Real Time & Space studios.\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-edited-amy.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-edited-amy-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-edited-amy-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-edited-amy-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-edited-amy-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-edited-amy-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-edited-amy-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-edited-amy-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-edited-amy-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-edited-amy-520x293.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Amy M. Ho at the Real Time & Space studios. \u003ccite>(Photo: Christina Campbell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>You’re the studio director of \u003ca href=\"http://www.realtimeandspace.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Real Time & Space\u003c/a> (RTS), a former print shop in Oakland’s Chinatown that’s home to 15 artists’ studios (yours included) and a residency program. What does it mean for you to be part of a studio community and manage a space like RTS?\u003c/strong>\u003c/p>\n\u003cp>I kind of see RTS as my home now; it’s a place to go back to where I know for sure that I’m going to have friends and people who care about me. I feel incredibly lucky that I’ve met so many people who have worked in or done residencies at RTS. Those are the people I look to for inspiration or advice.\u003c/p>\n\u003cp>It’s also a huge contrast to San Quentin. It’s a super supportive and really strong community. At San Quentin we kind of have that in the art classroom, but it’s a prison — it’s not supportive, the atmosphere is inherently negative. To have something else in my life that’s so positive is a good balance.\u003c/p>\n\u003cfigure id=\"attachment_13747032\" class=\"wp-caption aligncenter\" style=\"max-width: 1080px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13747032\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/VoicesSQ.jpg\" alt=\"An anonymous quote from 'Voices from San Quentin,' April 2017.\" width=\"1080\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/VoicesSQ.jpg 1080w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/VoicesSQ-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/VoicesSQ-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/VoicesSQ-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/VoicesSQ-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/VoicesSQ-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/VoicesSQ-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/VoicesSQ-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/VoicesSQ-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/VoicesSQ-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/VoicesSQ-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/VoicesSQ-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/VoicesSQ-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/VoicesSQ-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/VoicesSQ-150x150.jpg 150w\" sizes=\"(max-width: 1080px) 100vw, 1080px\">\u003cfigcaption class=\"wp-caption-text\">An anonymous quote from ‘Voices from San Quentin,’ April 2017. \u003ccite>(Via Instagram)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What else are you working on that you’re excited about?\u003c/strong>\u003c/p>\n\u003cp>I have this Instagram project happening right now in collaboration with Ronell “Rauch” Draper called \u003ca href=\"https://www.instagram.com/voices_from_san_quentin/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Voices from San Quentin\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>Right around Trump’s election when a lot of people were protesting, \u003ca href=\"https://ww2.kqed.org/arts/2017/01/20/local-artists-organize-100-day-calendar-of-creative-resistance/\" target=\"_blank\" rel=\"noopener noreferrer\">100 Days Action\u003c/a> started and I asked the guys [in San Quentin] if there was anything they’d like to do to participate. Rauch said he wished there was a forum for them to speak freely. We came up with the idea to do it via Instagram. There’s a bit of censorship — the prison gave us a few guidelines about what they can and can’t say. But Rauch collects all the quotes from people inside and he gives it me and I post it online.\u003c/p>\n\u003cp>\u003cstrong>Do you have any “women you watch”?\u003c/strong>\u003c/p>\n\u003cp>I really admire the work that Nigel Poor’s doing inside San Quentin. In the radio programs she’s done inside, she works with the men as peers and not as someone who’s superior.\u003c/p>\n\u003cp>\u003ci>[Editor’s note: The \u003ca href=\"https://www.earhustlesq.com/episodes/2017/7/12/looking-out\" target=\"_blank\" rel=\"noopener noreferrer\">third episode of Poor’s current San Quentin project\u003c/a>, the podcast ‘\u003ci>Earhustle\u003c/i>,’ features Ho’s ‘Voices from San Quentin’ collaborator, Ronell “Rauch” Draper.]\u003c/i>\u003c/p>\n\u003cp>\u003cstrong>What does your ideal future look like for women artists in the Bay Area?\u003c/strong>\u003c/p>\n\u003cp>This is something I’ve been thinking about lately, but I’m not sure what the answer is exactly. I think my gut reaction is to say that women would be treated as equals to men. But I want the world to change to be more accommodating to women and the way that they approach the world. If you’re aggressive and put yourself out there and are pushing your own agenda, the art world responds to that. I don’t know what the opposite of that looks like. But in my ideal future the world doesn’t hold those expectations for artists.\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>\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 \u003c/a>series page, including photo galleries, interviews, and videos.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Do you know a Bay Area artist who is doing amazing things? \u003ca href=\"https://www.instagram.com/kqed_arts/\" target=\"_blank\" rel=\"noopener noreferrer\">We want to hear from you!\u003c/a> Highlight her efforts using \u003ca href=\"https://www.instagram.com/explore/tags/baybrilliant/\" target=\"_blank\" rel=\"noopener noreferrer\">#BayBrilliant\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Cy and Ariana's Picks: Poets on Art, Drawing on Everything, and Jazz for a Summer's Day",
"headTitle": "Cy and Ariana’s Picks: Poets on Art, Drawing on Everything, and Jazz for a Summer’s Day | KQED",
"content": "\u003cp>This week we welcome back as co-host KQED Youth Media Manager and music geek Ariana Proehl. Despite the fact that it’s summer, we are overstocked with cool stuff: We didn’t have a chance to talk about the incredible John Luther Adams festival, running July 26–30 at SFJAZZ (and outdoors, at \u003ca href=\"https://sfjazz.org/events/sessions/2017/jla/inuksuit\" target=\"_blank\" rel=\"noopener noreferrer\">Sutro Baths\u003c/a>). It looks like a huge deal, with a world premiere by the Alaskan composer on the schedule — \u003ca href=\"https://sfjazz.org/johnlutheradams\" target=\"_blank\" rel=\"noopener noreferrer\">details here.\u003c/a> And there’s no place better to be for families than at the free 30th annual Berkeley Kite Festival, running July 29-30 at the Berkeley Marina. \u003ca href=\"http://www.highlinekites.com/pages.php?pageid=21\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>. Now on with the show.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=C2EJ5_HOiDA\u003c/p>\n\u003cp>\u003cstrong>Aug. 11–13:\u003c/strong> \u003ca href=\"https://summerfest.sanjosejazz.org/\" target=\"_blank\" rel=\"noopener noreferrer\">San Jose Jazz Sumer Fest\u003c/a> always features a lot of salsa — and this year, the woman from Benin, Angélique Kidjo, does her own tribute to the musical style. The gifted Cuban singer Daymé Arocena also delivers her intoxicating mix of rumba, Santeria and jazz, and the Bay Area’s dance kings, the Pacific Mambo Orchestra, is also there. But the festival embraces all kinds of music, with a strong hit of R&B and funk this year, with Maceo Parker, George Clinton and Parliament Funkadelic representing the past, and East Bay band The Seshen exemplifying the future. Traditional jazz lovers will be happy to catch bassist Eddie Gomez (in a quintet with George Cables, Randy Brecker, Javon Jackson and Jimmy Cobb), and B3 organ jazz master Dr. Lonnie Smith. \u003ca href=\"https://summerfest.sanjosejazz.org/?gclid=CJOr1_3qp9UCFRKXfgodwYcOXg\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=kwPEFVHZTmE\u003c/p>\n\u003cp>\u003cstrong>Aug. 4\u003c/strong>: One extra jazz note as the gifted ukulele player Taimane, who gets a huge sound with her three finger technique, follows her San Jose Jazz performance with a gig at Don Quixote’s in Felton, in the Santa Cruz Mountains, on Aug. 15. \u003ca href=\"http://www.bandsintown.com/event/14825388-taimane-gardner-felton-don-quixotes-international-music-hall-2017?artist=Taimane+Gardner\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>. And then she’s at Freight and Salvage in Berkeley on Aug. 16. \u003ca href=\"http://thefreight.org/taimane-special-guest-ruslan-sirota\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13748743\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13748743\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/Duhirwe-Rushemeza-II-800x775.jpg\" alt=\"Work by Duhirwe Rushemeza part of the show 'Ease of Fiction' at MOAD in San Francisco\" width=\"800\" height=\"775\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Duhirwe-Rushemeza-II-800x775.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Duhirwe-Rushemeza-II-160x155.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Duhirwe-Rushemeza-II-768x744.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Duhirwe-Rushemeza-II-1020x988.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Duhirwe-Rushemeza-II-1180x1143.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Duhirwe-Rushemeza-II-960x930.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Duhirwe-Rushemeza-II-240x232.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Duhirwe-Rushemeza-II-375x363.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Duhirwe-Rushemeza-II-520x504.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Duhirwe-Rushemeza-II-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Duhirwe-Rushemeza-II.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Work by Duhirwe Rushemeza, part of the show ‘Ease of Fiction’ at MOAD in San Francisco. \u003ccite>(Photo: Courtesy of Museum of the African Diaspora (MOAD))\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Aug 3, 10 and 17: Who better to interpret challenging visual arts than poets? That’s the idea behind \u003cem>Community Voices: Poets Speak\u003c/em> at the \u003c/strong>\u003ca href=\"http://www.moadsf.org/\" target=\"_blank\" rel=\"noopener noreferrer\">The Museum of the African Diaspora\u003c/a> (MOAD) — where every week a new poet offers their insights into the exhibition \u003cem>The Ease of Fiction\u003c/em>, which presents the work of four African artists living in the United States. Poet Arisa White is the curator for the series, tapping fellow Bay Area members of Cave Canem (Latin for “beware the dog”), a poetry fellowship for African-American poets. As Ariana notes, what a beautiful and fun way to experience visual art — with a poet as your guide. Details for upcoming evenings (featuring Oakland poet George Higgens and former San Francisco Poet Laureate devorah major) \u003ca href=\"https://www.moadsf.org/event/community-voices-poets-speak/\" target=\"_blank\" rel=\"noopener noreferrer\">are here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=zuNMmaU1XGw\u003c/p>\n\u003cp>\u003cstrong>Continuing through Aug. 5:\u003c/strong> Music at Menlo, now underway, is just the nicest little chamber festival you can imagine, with concerts and seminars, international stars and student ensembles lecturing and playing in intimate concert halls. A stone’s throw from Facebook HQ, the annual festival \u003ca href=\"https://ww2.kqed.org/arts/2017/07/11/for-chamber-music-in-silicon-valley-hoodies-and-haydn-dont-mix/\" target=\"_blank\" rel=\"noopener noreferrer\">hasn’t exactly seen the tech-worker crowd embrace it yet\u003c/a>, but that’s a side note when the music is of such high quality. This year’s theme is \u003cem>The Glorious Violin\u003c/em>, featuring violin music from the Baroque to brand new works. \u003ca href=\"https://musicatmenlo.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=hAN8LnK960o\u003c/p>\n\u003cp>\u003cstrong>Aug. 1, 2, 8, and 15:\u003c/strong> Boz Scaggs began his career in the dawn of the “San Francisco Sound” playing in the Steve Miller Band, later scoring hits in the ’70s with blue-eyed soul and disco favorites. Ariana says she bonded with a boyfriend in her youth over the soulful groove of “Lowdown,” and Scaggs is still mixing it up in 2017, with a new album featuring his takes on songs by Fats Domino (see the video for “A Fool to Care” above), Al Green, and even the Spinners. Even though he owns Slim’s music club in San Francisco, Scaggs plays the Luther Burbank Center in Santa Rosa on Aug. 1, Monterey’s Golden State Theater on Aug. 2, Saratoga’s Mountain Winery Aug. 8, and Livermore’s Wente Winery Aug. 15. Details \u003ca href=\"http://www.bozscaggs.com/tour.html\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=7ywYnk0-xUY\u003c/p>\n\u003cp>\u003cstrong>Continuing through Aug. 18\u003c/strong>: Shantell Martin is an artist who likes to draw on everything — metaphorically and literally. She grew up in a public housing complex in East London, where she drew behind the curtains and on the floor under her bed to avoid getting in trouble. Now, galleries are eager to have her use her Sharpies on their walls, because she’s become an international art star. Her style is a bit like Keith Haring, with a more whimsical streak. Her newest show is \u003cem>Charge Your Self\u003c/em>, and speckled among the googly eyes of the faces she draws are affirmations like “Share your voice. Use your magic.” Ariana says she got a lot of energy from the show. We both felt charged up. \u003ca href=\"http://www.blouinartinfo.com/news/story/2383359/charge-your-self-by-shantell-martin-at-chandran-gallery-san\" target=\"_blank\" rel=\"noopener noreferrer\">Details for Martin’s show at Chandran Gallery in Union Square are here.\u003c/a>\u003c/p>\n\u003cp>Thanks, Ariana!\u003c/p>\n\u003cfigure id=\"attachment_13748662\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13748662\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-2-800x550.jpg\" alt=\"Ariana Proehl and Cy Musiker at the Chandran Gallery for the Shantell Martin show\" width=\"800\" height=\"550\">\u003cfigcaption class=\"wp-caption-text\">Ariana Proehl and Cy Musiker at the Chandran Gallery for the Shantell Martin show. \u003ccite>(Photo: Courtesy of Chandran Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"excerpt": "Do List co-hosts Cy Musiker and Ariana Proehl talk about San Jose's Jazz Fest, a poetry and art show at MoAD, Music at Menlo, a show by Shantell Martin and more.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This week we welcome back as co-host KQED Youth Media Manager and music geek Ariana Proehl. Despite the fact that it’s summer, we are overstocked with cool stuff: We didn’t have a chance to talk about the incredible John Luther Adams festival, running July 26–30 at SFJAZZ (and outdoors, at \u003ca href=\"https://sfjazz.org/events/sessions/2017/jla/inuksuit\" target=\"_blank\" rel=\"noopener noreferrer\">Sutro Baths\u003c/a>). It looks like a huge deal, with a world premiere by the Alaskan composer on the schedule — \u003ca href=\"https://sfjazz.org/johnlutheradams\" target=\"_blank\" rel=\"noopener noreferrer\">details here.\u003c/a> And there’s no place better to be for families than at the free 30th annual Berkeley Kite Festival, running July 29-30 at the Berkeley Marina. \u003ca href=\"http://www.highlinekites.com/pages.php?pageid=21\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>. Now on with the show.\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/C2EJ5_HOiDA'\n title='//www.youtube.com/embed/C2EJ5_HOiDA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Aug. 11–13:\u003c/strong> \u003ca href=\"https://summerfest.sanjosejazz.org/\" target=\"_blank\" rel=\"noopener noreferrer\">San Jose Jazz Sumer Fest\u003c/a> always features a lot of salsa — and this year, the woman from Benin, Angélique Kidjo, does her own tribute to the musical style. The gifted Cuban singer Daymé Arocena also delivers her intoxicating mix of rumba, Santeria and jazz, and the Bay Area’s dance kings, the Pacific Mambo Orchestra, is also there. But the festival embraces all kinds of music, with a strong hit of R&B and funk this year, with Maceo Parker, George Clinton and Parliament Funkadelic representing the past, and East Bay band The Seshen exemplifying the future. Traditional jazz lovers will be happy to catch bassist Eddie Gomez (in a quintet with George Cables, Randy Brecker, Javon Jackson and Jimmy Cobb), and B3 organ jazz master Dr. Lonnie Smith. \u003ca href=\"https://summerfest.sanjosejazz.org/?gclid=CJOr1_3qp9UCFRKXfgodwYcOXg\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\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/kwPEFVHZTmE'\n title='//www.youtube.com/embed/kwPEFVHZTmE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Aug. 4\u003c/strong>: One extra jazz note as the gifted ukulele player Taimane, who gets a huge sound with her three finger technique, follows her San Jose Jazz performance with a gig at Don Quixote’s in Felton, in the Santa Cruz Mountains, on Aug. 15. \u003ca href=\"http://www.bandsintown.com/event/14825388-taimane-gardner-felton-don-quixotes-international-music-hall-2017?artist=Taimane+Gardner\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>. And then she’s at Freight and Salvage in Berkeley on Aug. 16. \u003ca href=\"http://thefreight.org/taimane-special-guest-ruslan-sirota\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13748743\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13748743\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/Duhirwe-Rushemeza-II-800x775.jpg\" alt=\"Work by Duhirwe Rushemeza part of the show 'Ease of Fiction' at MOAD in San Francisco\" width=\"800\" height=\"775\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Duhirwe-Rushemeza-II-800x775.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Duhirwe-Rushemeza-II-160x155.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Duhirwe-Rushemeza-II-768x744.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Duhirwe-Rushemeza-II-1020x988.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Duhirwe-Rushemeza-II-1180x1143.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Duhirwe-Rushemeza-II-960x930.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Duhirwe-Rushemeza-II-240x232.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Duhirwe-Rushemeza-II-375x363.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Duhirwe-Rushemeza-II-520x504.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Duhirwe-Rushemeza-II-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Duhirwe-Rushemeza-II.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Work by Duhirwe Rushemeza, part of the show ‘Ease of Fiction’ at MOAD in San Francisco. \u003ccite>(Photo: Courtesy of Museum of the African Diaspora (MOAD))\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Aug 3, 10 and 17: Who better to interpret challenging visual arts than poets? That’s the idea behind \u003cem>Community Voices: Poets Speak\u003c/em> at the \u003c/strong>\u003ca href=\"http://www.moadsf.org/\" target=\"_blank\" rel=\"noopener noreferrer\">The Museum of the African Diaspora\u003c/a> (MOAD) — where every week a new poet offers their insights into the exhibition \u003cem>The Ease of Fiction\u003c/em>, which presents the work of four African artists living in the United States. Poet Arisa White is the curator for the series, tapping fellow Bay Area members of Cave Canem (Latin for “beware the dog”), a poetry fellowship for African-American poets. As Ariana notes, what a beautiful and fun way to experience visual art — with a poet as your guide. Details for upcoming evenings (featuring Oakland poet George Higgens and former San Francisco Poet Laureate devorah major) \u003ca href=\"https://www.moadsf.org/event/community-voices-poets-speak/\" target=\"_blank\" rel=\"noopener noreferrer\">are here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/zuNMmaU1XGw'\n title='//www.youtube.com/embed/zuNMmaU1XGw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Continuing through Aug. 5:\u003c/strong> Music at Menlo, now underway, is just the nicest little chamber festival you can imagine, with concerts and seminars, international stars and student ensembles lecturing and playing in intimate concert halls. A stone’s throw from Facebook HQ, the annual festival \u003ca href=\"https://ww2.kqed.org/arts/2017/07/11/for-chamber-music-in-silicon-valley-hoodies-and-haydn-dont-mix/\" target=\"_blank\" rel=\"noopener noreferrer\">hasn’t exactly seen the tech-worker crowd embrace it yet\u003c/a>, but that’s a side note when the music is of such high quality. This year’s theme is \u003cem>The Glorious Violin\u003c/em>, featuring violin music from the Baroque to brand new works. \u003ca href=\"https://musicatmenlo.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\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/hAN8LnK960o'\n title='//www.youtube.com/embed/hAN8LnK960o'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Aug. 1, 2, 8, and 15:\u003c/strong> Boz Scaggs began his career in the dawn of the “San Francisco Sound” playing in the Steve Miller Band, later scoring hits in the ’70s with blue-eyed soul and disco favorites. Ariana says she bonded with a boyfriend in her youth over the soulful groove of “Lowdown,” and Scaggs is still mixing it up in 2017, with a new album featuring his takes on songs by Fats Domino (see the video for “A Fool to Care” above), Al Green, and even the Spinners. Even though he owns Slim’s music club in San Francisco, Scaggs plays the Luther Burbank Center in Santa Rosa on Aug. 1, Monterey’s Golden State Theater on Aug. 2, Saratoga’s Mountain Winery Aug. 8, and Livermore’s Wente Winery Aug. 15. Details \u003ca href=\"http://www.bozscaggs.com/tour.html\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\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/7ywYnk0-xUY'\n title='//www.youtube.com/embed/7ywYnk0-xUY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Continuing through Aug. 18\u003c/strong>: Shantell Martin is an artist who likes to draw on everything — metaphorically and literally. She grew up in a public housing complex in East London, where she drew behind the curtains and on the floor under her bed to avoid getting in trouble. Now, galleries are eager to have her use her Sharpies on their walls, because she’s become an international art star. Her style is a bit like Keith Haring, with a more whimsical streak. Her newest show is \u003cem>Charge Your Self\u003c/em>, and speckled among the googly eyes of the faces she draws are affirmations like “Share your voice. Use your magic.” Ariana says she got a lot of energy from the show. We both felt charged up. \u003ca href=\"http://www.blouinartinfo.com/news/story/2383359/charge-your-self-by-shantell-martin-at-chandran-gallery-san\" target=\"_blank\" rel=\"noopener noreferrer\">Details for Martin’s show at Chandran Gallery in Union Square are here.\u003c/a>\u003c/p>\n\u003cp>Thanks, Ariana!\u003c/p>\n\u003cfigure id=\"attachment_13748662\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13748662\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-2-800x550.jpg\" alt=\"Ariana Proehl and Cy Musiker at the Chandran Gallery for the Shantell Martin show\" width=\"800\" height=\"550\">\u003cfigcaption class=\"wp-caption-text\">Ariana Proehl and Cy Musiker at the Chandran Gallery for the Shantell Martin show. \u003ccite>(Photo: Courtesy of Chandran Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The first day of school can be boring. Usually it’s the teacher going over the syllabus, setting ground rules and taking attendance.\u003c/p>\n\u003cp>But \u003cem>\u003ca href=\"https://ybca.org/whats-on/escuela-de-arte-util\" target=\"_blank\" rel=\"noopener noreferrer\">Escuela de Arte Útil\u003c/a>\u003c/em> isn’t your typical school.\u003c/p>\n\u003cp>Held in a big gallery space at the Yerba Buena Center for the Arts, the Escuela is part of a retrospective exhibit of the work of Cuban political artist Tania Bruguera, called \u003cem>Talking to Power/Hablándolé al Poder\u003c/em>.\u003c/p>\n\u003cp>While regular museum-goers explore the past 30 years of Bruguera’s work, more than 50 art students sit on a bright orange carpet in the middle of the gallery to learn about Bruguera’s unique brand of political art: \u003cem>arte útil\u003c/em> or “useful art.”\u003cbr>\n[audio src=\"http://www.kqed.org/.stream/anon/radio/RDnews/2017/07/TaniaBrugueraFeature.mp3\" Image=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/RS26068_Tania-6-qut-e1500931524463.jpg\" Title=\"Blacklisted Cuban Artist Brings Extreme Political Art to Bay\" program=\"pARTicipate\"]\u003c/p>\n\u003cp>“It’s not art to make things work better,” Bruguera tells the class. “We don’t want to improve the way things are. We actually want to change what is going on.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Think of it like political art on steroids. Unlike a lot of political art, which seeks to raise awareness about issues, Bruguera says true \u003cem>arte útil\u003c/em> projects actually create new realities for the communities they serve.\u003c/p>\n\u003cp>For instance, Bruguera created an alternative Cuban newspaper in the early 1990s in opposition to Cuba’s state-controlled media. A few years ago, she \u003ca href=\"http://www.nytimes.com/2011/05/19/nyregion/as-art-tania-bruguera-lives-like-a-poor-immigrant.html\" target=\"_blank\" rel=\"noopener noreferrer\">spent a year\u003c/a> living on minimum wage in a tiny apartment in New York with undocumented immigrants, working with other artists to provide services to immigrants from across the city.\u003c/p>\n\u003cp>“We don’t want to just create conversations,” Bruguera says after class. “We also want to create a parallel institution that works differently so people can see, ‘Oh, actually things do not have to be this way.’”\u003c/p>\n\u003cfigure id=\"attachment_13733151\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13733151\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/RS26071_Tania-3-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS26071_Tania-3-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS26071_Tania-3-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS26071_Tania-3-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS26071_Tania-3-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS26071_Tania-3-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS26071_Tania-3-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS26071_Tania-3-qut-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS26071_Tania-3-qut-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS26071_Tania-3-qut-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS26071_Tania-3-qut-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">More than 50 students gather in the middle of a YBCA gallery to learn about “arte útil” from Cuban artist Tania Bruguera. \u003ccite>(Ryan Levi/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But some students in class are confused as to why an artist would be doing work usually handled by journalists or social service providers.\u003c/p>\n\u003cp>“Why do we need art at all if the whole point is operational?” one student asks from the back of the class. “If you’re going to make houses for homeless people, why is it even \u003cem>arte útil\u003c/em>? Why not just \u003cem>útil\u003c/em>?”\u003c/p>\n\u003cp>Bruguera answers by comparing herself to a hypothetical engineer who has discovered the perfect energy source that’s clean, cheap and plentiful. The engineer shares his discovery with the world to make everyone’s lives better.\u003c/p>\n\u003cp>Bruguera says no one would expect the engineer to stop calling himself an engineer as a result of these game-changing efforts. “Why do I have to stop calling myself an artist?” she says.\u003c/p>\n\u003ch3>Political art as an extreme sport\u003c/h3>\n\u003cp>Bruguera’s views have gotten her into trouble with the authorities.\u003c/p>\n\u003cp>In late 2014, she was \u003ca href=\"http://www.latimes.com/entertainment/arts/la-et-cm-tania-brugueras-cuba-20150108-column.html#page=1\" target=\"_blank\" rel=\"noopener noreferrer\">arrested \u003c/a>by Cuban police for trying to stage a performance in Havana’s Plaza de la Revolución. It was a few weeks after the U.S. and Cuba had announced the two countries were opening up relations, and Bruguera wanted to see if this meant greater freedom of speech would be coming to Cuba.\u003c/p>\n\u003cp>The idea was to set up a microphone in the Plaza de la Revolución and give members of the public one minute to say whatever they wanted. She was denied a permit to use the plaza but planned to go ahead anyway. At 5 a.m. on the day the performance was set to occur, she was arrested.\u003c/p>\n\u003cfigure id=\"attachment_13733168\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13733168\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/RS26062_Tania-1-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS26062_Tania-1-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS26062_Tania-1-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS26062_Tania-1-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS26062_Tania-1-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS26062_Tania-1-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS26062_Tania-1-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS26062_Tania-1-qut-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS26062_Tania-1-qut-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS26062_Tania-1-qut-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS26062_Tania-1-qut-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tania Bruguera lectures about “arte útil” at the Yerba Buena Center for the Arts. In late 2014, she was arrested and detained for trying to hold a free speech performance in Havana’s Revolution Plaza. \u003ccite>(Ryan Levi/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“They want you to feel completely crushed by something so insignificant that you don’t even dare to imagine something bigger,” Bruguera says of the Cuban government. “Just by putting a microphone out there, they took away my passport for eight months.”\u003c/p>\n\u003cp>During those months, Bruguera says she was repeatedly taken in by Cuban police and subjected to \u003ca href=\"https://www.theguardian.com/artanddesign/2015/oct/13/frieze-tania-bruguera-artist-cuba-torture-interview\" target=\"_blank\" rel=\"noopener noreferrer\">intense interrogations\u003c/a>. She says they interrogated her more than 30 times, sometimes several times in a single week.\u003c/p>\n\u003cp>“It is very tiring, and it’s scary,” she says of the repeated interrogations. “Even if they give you water, you don’t want to drink it. It’s extremely hard.”\u003c/p>\n\u003cp>Bruguera says as a result of that experience, she has been forbidden to show her work or even enter any cultural institution in Cuba.\u003c/p>\n\u003cp>But that hasn’t stopped the artist from continuing to play a role in the political conversation. Last year, she nominated herself for president of Cuba in 2018, even though it’s a communist one-party state.\u003c/p>\n\u003cp>“I think a successful artist is a stubborn artist,” she says. “A stubborn person who pushes back against unjust laws.”\u003c/p>\n\u003cp>https://youtu.be/dRtTH7fHjEk\u003c/p>\n\u003ch3>Arte Útil in the Bay\u003c/h3>\n\u003cp>Bruguera may take political art to its extremes, but she’s not the only person who has embraced \u003cem>arte útil\u003c/em> and the idea that art can affect real change for real people.\u003c/p>\n\u003cp>Four years ago, she founded the \u003cem>\u003ca href=\"http://www.arte-util.org/about/activities/\" target=\"_blank\" rel=\"noopener noreferrer\">Asociación de Arte Útil\u003c/a>\u003c/em>, an international association dedicated to connecting \u003cem>arte útil\u003c/em> practitioners and sharing their work. The association maintains \u003ca href=\"http://www.arte-util.org/projects/\" target=\"_blank\" rel=\"noopener noreferrer\">an archive\u003c/a> with hundreds of \u003cem>arte útil\u003c/em> projects dating back more than 100 years.\u003c/p>\n\u003cp>Many of those projects have come out of the Bay Area, like the \u003ca href=\"http://www.arte-util.org/projects/anti-eviction-mapping-project/\" target=\"_blank\" rel=\"noopener noreferrer\">Anti-Eviction Mapping Project\u003c/a> and several projects from \u003ca href=\"http://www.arte-util.org/?s=sherk&x=0&y=0\" target=\"_blank\" rel=\"noopener noreferrer\">Bonnie Ora Sherk\u003c/a>.\u003c/p>\n\u003cp>In 1974, Sherk began work on \u003cem>Crossroads Community (The Farm)\u003c/em>, which became a community farm full of animals, gardens and educational programming for kids built around the Chavez/Highway 101 interchange in San Francisco. She’s also the force behind \u003cem>A Living Library\u003c/em>, an ongoing project where Sherk transforms blighted public areas across the city into eco-friendly community spaces.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=BC12cyynH1g\u003c/p>\n\u003cp>“I have dug up lots of asphalt and concrete and planted thousands of trees and made beautiful learning’s zones and gardens that have transformed acres of very sterile barren land,” Sherk says of her own \u003cem>arte útil\u003c/em> projects.\u003c/p>\n\u003cp>Sherk says it’s actually getting harder to do some of these kinds of projects in the Bay Area because of bureaucratic roadblocks.\u003c/p>\n\u003cp>That makes Bruguera’s \u003cem>Escuela de Arte Útil\u003c/em> at the Yerba Buena Center for the Arts even more important for people who want to see this kind of work continue to thrive.\u003c/p>\n\u003cp>Bruguera expects her students to complete their own Bay Area \u003cem>arte útil\u003c/em> project at the end of the summer. At least one group is looking at trying to make an impact with the area’s homeless population.\u003c/p>\n\u003cp>“Hopefully these people won’t just disappear and say, ‘Oh, I had a class in 2017, and it was interesting,’” Bruguera says of her students. “Hopefully they will start practicing \u003cem>arte útil\u003c/em> and putting their knowledge into practice.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Maybe they’ll even get arrested for their art one day, too.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The first day of school can be boring. Usually it’s the teacher going over the syllabus, setting ground rules and taking attendance.\u003c/p>\n\u003cp>But \u003cem>\u003ca href=\"https://ybca.org/whats-on/escuela-de-arte-util\" target=\"_blank\" rel=\"noopener noreferrer\">Escuela de Arte Útil\u003c/a>\u003c/em> isn’t your typical school.\u003c/p>\n\u003cp>Held in a big gallery space at the Yerba Buena Center for the Arts, the Escuela is part of a retrospective exhibit of the work of Cuban political artist Tania Bruguera, called \u003cem>Talking to Power/Hablándolé al Poder\u003c/em>.\u003c/p>\n\u003cp>While regular museum-goers explore the past 30 years of Bruguera’s work, more than 50 art students sit on a bright orange carpet in the middle of the gallery to learn about Bruguera’s unique brand of political art: \u003cem>arte útil\u003c/em> or “useful art.”\u003cbr>\n\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Think of it like political art on steroids. Unlike a lot of political art, which seeks to raise awareness about issues, Bruguera says true \u003cem>arte útil\u003c/em> projects actually create new realities for the communities they serve.\u003c/p>\n\u003cp>For instance, Bruguera created an alternative Cuban newspaper in the early 1990s in opposition to Cuba’s state-controlled media. A few years ago, she \u003ca href=\"http://www.nytimes.com/2011/05/19/nyregion/as-art-tania-bruguera-lives-like-a-poor-immigrant.html\" target=\"_blank\" rel=\"noopener noreferrer\">spent a year\u003c/a> living on minimum wage in a tiny apartment in New York with undocumented immigrants, working with other artists to provide services to immigrants from across the city.\u003c/p>\n\u003cp>“We don’t want to just create conversations,” Bruguera says after class. “We also want to create a parallel institution that works differently so people can see, ‘Oh, actually things do not have to be this way.’”\u003c/p>\n\u003cfigure id=\"attachment_13733151\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13733151\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/RS26071_Tania-3-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS26071_Tania-3-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS26071_Tania-3-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS26071_Tania-3-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS26071_Tania-3-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS26071_Tania-3-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS26071_Tania-3-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS26071_Tania-3-qut-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS26071_Tania-3-qut-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS26071_Tania-3-qut-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS26071_Tania-3-qut-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">More than 50 students gather in the middle of a YBCA gallery to learn about “arte útil” from Cuban artist Tania Bruguera. \u003ccite>(Ryan Levi/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But some students in class are confused as to why an artist would be doing work usually handled by journalists or social service providers.\u003c/p>\n\u003cp>“Why do we need art at all if the whole point is operational?” one student asks from the back of the class. “If you’re going to make houses for homeless people, why is it even \u003cem>arte útil\u003c/em>? Why not just \u003cem>útil\u003c/em>?”\u003c/p>\n\u003cp>Bruguera answers by comparing herself to a hypothetical engineer who has discovered the perfect energy source that’s clean, cheap and plentiful. The engineer shares his discovery with the world to make everyone’s lives better.\u003c/p>\n\u003cp>Bruguera says no one would expect the engineer to stop calling himself an engineer as a result of these game-changing efforts. “Why do I have to stop calling myself an artist?” she says.\u003c/p>\n\u003ch3>Political art as an extreme sport\u003c/h3>\n\u003cp>Bruguera’s views have gotten her into trouble with the authorities.\u003c/p>\n\u003cp>In late 2014, she was \u003ca href=\"http://www.latimes.com/entertainment/arts/la-et-cm-tania-brugueras-cuba-20150108-column.html#page=1\" target=\"_blank\" rel=\"noopener noreferrer\">arrested \u003c/a>by Cuban police for trying to stage a performance in Havana’s Plaza de la Revolución. It was a few weeks after the U.S. and Cuba had announced the two countries were opening up relations, and Bruguera wanted to see if this meant greater freedom of speech would be coming to Cuba.\u003c/p>\n\u003cp>The idea was to set up a microphone in the Plaza de la Revolución and give members of the public one minute to say whatever they wanted. She was denied a permit to use the plaza but planned to go ahead anyway. At 5 a.m. on the day the performance was set to occur, she was arrested.\u003c/p>\n\u003cfigure id=\"attachment_13733168\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13733168\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/RS26062_Tania-1-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS26062_Tania-1-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS26062_Tania-1-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS26062_Tania-1-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS26062_Tania-1-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS26062_Tania-1-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS26062_Tania-1-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS26062_Tania-1-qut-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS26062_Tania-1-qut-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS26062_Tania-1-qut-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS26062_Tania-1-qut-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tania Bruguera lectures about “arte útil” at the Yerba Buena Center for the Arts. In late 2014, she was arrested and detained for trying to hold a free speech performance in Havana’s Revolution Plaza. \u003ccite>(Ryan Levi/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“They want you to feel completely crushed by something so insignificant that you don’t even dare to imagine something bigger,” Bruguera says of the Cuban government. “Just by putting a microphone out there, they took away my passport for eight months.”\u003c/p>\n\u003cp>During those months, Bruguera says she was repeatedly taken in by Cuban police and subjected to \u003ca href=\"https://www.theguardian.com/artanddesign/2015/oct/13/frieze-tania-bruguera-artist-cuba-torture-interview\" target=\"_blank\" rel=\"noopener noreferrer\">intense interrogations\u003c/a>. She says they interrogated her more than 30 times, sometimes several times in a single week.\u003c/p>\n\u003cp>“It is very tiring, and it’s scary,” she says of the repeated interrogations. “Even if they give you water, you don’t want to drink it. It’s extremely hard.”\u003c/p>\n\u003cp>Bruguera says as a result of that experience, she has been forbidden to show her work or even enter any cultural institution in Cuba.\u003c/p>\n\u003cp>But that hasn’t stopped the artist from continuing to play a role in the political conversation. Last year, she nominated herself for president of Cuba in 2018, even though it’s a communist one-party state.\u003c/p>\n\u003cp>“I think a successful artist is a stubborn artist,” she says. “A stubborn person who pushes back against unjust laws.”\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/dRtTH7fHjEk'\n title='//www.youtube.com/embed/dRtTH7fHjEk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Arte Útil in the Bay\u003c/h3>\n\u003cp>Bruguera may take political art to its extremes, but she’s not the only person who has embraced \u003cem>arte útil\u003c/em> and the idea that art can affect real change for real people.\u003c/p>\n\u003cp>Four years ago, she founded the \u003cem>\u003ca href=\"http://www.arte-util.org/about/activities/\" target=\"_blank\" rel=\"noopener noreferrer\">Asociación de Arte Útil\u003c/a>\u003c/em>, an international association dedicated to connecting \u003cem>arte útil\u003c/em> practitioners and sharing their work. The association maintains \u003ca href=\"http://www.arte-util.org/projects/\" target=\"_blank\" rel=\"noopener noreferrer\">an archive\u003c/a> with hundreds of \u003cem>arte útil\u003c/em> projects dating back more than 100 years.\u003c/p>\n\u003cp>Many of those projects have come out of the Bay Area, like the \u003ca href=\"http://www.arte-util.org/projects/anti-eviction-mapping-project/\" target=\"_blank\" rel=\"noopener noreferrer\">Anti-Eviction Mapping Project\u003c/a> and several projects from \u003ca href=\"http://www.arte-util.org/?s=sherk&x=0&y=0\" target=\"_blank\" rel=\"noopener noreferrer\">Bonnie Ora Sherk\u003c/a>.\u003c/p>\n\u003cp>In 1974, Sherk began work on \u003cem>Crossroads Community (The Farm)\u003c/em>, which became a community farm full of animals, gardens and educational programming for kids built around the Chavez/Highway 101 interchange in San Francisco. She’s also the force behind \u003cem>A Living Library\u003c/em>, an ongoing project where Sherk transforms blighted public areas across the city into eco-friendly community spaces.\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/BC12cyynH1g'\n title='//www.youtube.com/embed/BC12cyynH1g'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“I have dug up lots of asphalt and concrete and planted thousands of trees and made beautiful learning’s zones and gardens that have transformed acres of very sterile barren land,” Sherk says of her own \u003cem>arte útil\u003c/em> projects.\u003c/p>\n\u003cp>Sherk says it’s actually getting harder to do some of these kinds of projects in the Bay Area because of bureaucratic roadblocks.\u003c/p>\n\u003cp>That makes Bruguera’s \u003cem>Escuela de Arte Útil\u003c/em> at the Yerba Buena Center for the Arts even more important for people who want to see this kind of work continue to thrive.\u003c/p>\n\u003cp>Bruguera expects her students to complete their own Bay Area \u003cem>arte útil\u003c/em> project at the end of the summer. At least one group is looking at trying to make an impact with the area’s homeless population.\u003c/p>\n\u003cp>“Hopefully these people won’t just disappear and say, ‘Oh, I had a class in 2017, and it was interesting,’” Bruguera says of her students. “Hopefully they will start practicing \u003cem>arte útil\u003c/em> and putting their knowledge into practice.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Maybe they’ll even get arrested for their art one day, too.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Wanna See SFMOMA's Art Collection? Text Them",
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"content": "\u003cp>\u003cspan style=\"font-weight: 400\">\u003ca href=\"https://www.sfmoma.org/\" target=\"_blank\" rel=\"noopener noreferrer\">SFMOMA \u003c/a>has some 34,000 pieces of art in its collection. But the museum has room to show only about 5 percent of it. Wanna see the rest? Text them. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This is how it works: Text the number 57251 with the message “send me” and a request. For example, “send me love” or “send me flowers.” You can even insert an emoji. I tried it on a Friday afternoon and so inserted a beer emoji and hit \"send.\"\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Once the SFMOMA text bot receives that text, it turns it into keywords to search,” explained \u003ca href=\"https://www.sfmoma.org/author/keir-winesmith/\" target=\"_blank\" rel=\"noopener noreferrer\">Keir Winesmith\u003c/a>, the head of digital at SFMOMA. \u003c/span>\u003c/p>\n\u003cp>[audio src=\"http://www.kqed.org/.stream/anon/radio/RDnews/2017/08/SFMOMAtext.mp3\" /]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In my case, the bot searched the museum’s database of artwork to find all the pieces that have the word “beer” in their description. \u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We get back some number of works, often a hundred or two hundred if it’s a really common phrase,” Winesmith said.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It sent \u003c/span>\u003cspan style=\"font-weight: 400\">me\u003c/span>\u003cspan style=\"font-weight: 400\"> a photo of an artwork by \u003ca href=\"http://tommarioni.com/gallery/about/\" target=\"_blank\" rel=\"noopener noreferrer\">Tom Marioni\u003c/a>. It shows shelves lined with beers and an old-timey refrigerator in front of it. The work is called “FREE BEER (The Act of Drinking Beer with Friends is the Highest Form of Art).”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">While the text bot took only a week to program, it builds on a decade of work by the archivists. During that time, SFMOMA digitized about half of its 34,000 artworks to include a description and photo. The text bot culls through that data. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Winesmith said the idea behind the text bot was to reach new audiences. They wanted to reach people who might not know about SFMOMA or might not feel comfortable going to museums. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We wanted to do it in a way where they didn’t need to know art history, they didn’t know art language,” Winesmith said. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">They simply need to know how to text. To get the broadest reach, SFMOMA shied away from developing an app, which requires a smartphone. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">SFMOMA’s text project is part of a larger trend among arts organizations, says \u003ca href=\"http://www.americansforthearts.org/about-americans-for-the-arts/staff/graham-dunstan\" target=\"_blank\" rel=\"noopener noreferrer\">Graham Dunstan\u003c/a>. He's the vice president of marketing at \u003ca href=\"http://www.americansforthearts.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Americans for the Arts\u003c/a>. Bringing in new audiences has been a challenge for many arts organizations and increasingly, they’re experimenting with technology to do it. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I think for so long arts organizations have said, ‘Hey we have a 7 p.m. performance' or a ‘limited exhibition engagement,’ ” said Dunstan. “But these kinds of uses of technology allow people to participate the way they want to participate.” \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">At the same time, projects like the SFMOMA text bot can help drive ticket sales. Dunstan lives in New York and said he kind of forgot about SFMOMA. But after trying out the bot, he put the museum on his list to visit the next time he’s in San Francisco. \u003c/span>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We get back some number of works, often a hundred or two hundred if it’s a really common phrase,” Winesmith said.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It sent \u003c/span>\u003cspan style=\"font-weight: 400\">me\u003c/span>\u003cspan style=\"font-weight: 400\"> a photo of an artwork by \u003ca href=\"http://tommarioni.com/gallery/about/\" target=\"_blank\" rel=\"noopener noreferrer\">Tom Marioni\u003c/a>. It shows shelves lined with beers and an old-timey refrigerator in front of it. The work is called “FREE BEER (The Act of Drinking Beer with Friends is the Highest Form of Art).”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">While the text bot took only a week to program, it builds on a decade of work by the archivists. During that time, SFMOMA digitized about half of its 34,000 artworks to include a description and photo. The text bot culls through that data. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Winesmith said the idea behind the text bot was to reach new audiences. They wanted to reach people who might not know about SFMOMA or might not feel comfortable going to museums. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We wanted to do it in a way where they didn’t need to know art history, they didn’t know art language,” Winesmith said. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">They simply need to know how to text. To get the broadest reach, SFMOMA shied away from developing an app, which requires a smartphone. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">SFMOMA’s text project is part of a larger trend among arts organizations, says \u003ca href=\"http://www.americansforthearts.org/about-americans-for-the-arts/staff/graham-dunstan\" target=\"_blank\" rel=\"noopener noreferrer\">Graham Dunstan\u003c/a>. He's the vice president of marketing at \u003ca href=\"http://www.americansforthearts.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Americans for the Arts\u003c/a>. Bringing in new audiences has been a challenge for many arts organizations and increasingly, they’re experimenting with technology to do it. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I think for so long arts organizations have said, ‘Hey we have a 7 p.m. performance' or a ‘limited exhibition engagement,’ ” said Dunstan. “But these kinds of uses of technology allow people to participate the way they want to participate.” \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">At the same time, projects like the SFMOMA text bot can help drive ticket sales. Dunstan lives in New York and said he kind of forgot about SFMOMA. But after trying out the bot, he put the museum on his list to visit the next time he’s in San Francisco. \u003c/span>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>Welcome to KQED Arts’ \u003ca href=\"https://ww2.kqed.org/arts/series/women-to-watch/\" target=\"_blank\" rel=\"noopener noreferrer\">Women to Watch\u003c/a>, 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/em>\u003c/p>\n\u003cp>Blasphemous. Corrupt. Taboo. All of these are labels Taravat Talepasand toys with in her unapologetic artwork, which blends iconography from both Iranian and American cultures to create something entirely new and provocative, from \u003ca href=\"http://www.taravattalepasand.com/new-gallery/2015/4/13/hf0n2882jxz5u9fzu7ru02u70mqy0q\">a bust of Khomeini\u003c/a> with hits of LSD as his eyes to an \u003ca href=\"http://www.taravattalepasand.com/new-gallery-2/l3inmyky7gv96jj07ritpjww1m44md\">authentic Persian rug covered in Kim Kardashian emojis\u003c/a>.\u003c/p>\n\u003cp>We caught up with Taravat to talk about growing up in America as an Iranian, how drugs inform some of her art, and why Kim Kardashian is such a powerful symbol for both the U.S. and Iran.\u003c/p>\n\u003cp>https://youtu.be/aiAPD6GEYA8\u003c/p>\n\u003cp>\u003cb>You’ve described the experience of growing up Iranian in America as “arduous and awkward.” How so?\u003c/b>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Being born into this world, in America, after the Iranian Revolution in 1979 to émigré Iranians should answer your question. And let’s not forget the exacerbating ’80s during the Iraq/Iran War, followed by Desert Storm in the early 1990s. I’ve been living a life of constant questioning, with discrimination and outright hatred towards anyone that remotely looked Middle Eastern. To describe my life growing up as an Iranian in America as “arduous and awkward” is me just being nice. Trust me; it was much worse than you could ever imagine.\u003c/p>\n\u003cp>\u003cb>You’ve also talked about the struggle that a lot of first-generation Americans face — embracing one culture is seen as the dismissal of the other; being too Iranian for the Americans, too American for the Iranians. When and how did you learn how to reconcile both aspects of your identity?\u003c/b>\u003c/p>\n\u003cp>It’s incredibly frustrating to be called American-Iranian or Iranian-America, being told that you are more American than Iranian, or that, since you weren’t born in Iran, you are less Iranian. Who has the right to tell a person who they are or how they should define their nationality? I decide who I am and who I want to be.\u003c/p>\n\u003cp>I learned to reconcile with this by age 4, during my first visit to Iran, and every summer after that, up until my last visit during the Arab Spring. I am first and foremost Iranian, by blood and by traditional, cultural, and moral upbringing. Being American for me used to be for its freedom, but that crumbled when Trump was elected.\u003c/p>\n\u003cfigure id=\"attachment_13729098\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/Profile_Picture_Taravat_2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13729098\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/Profile_Picture_Taravat_2-1020x822.jpg\" alt=\"\" width=\"640\" height=\"516\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Profile_Picture_Taravat_2-1020x822.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Profile_Picture_Taravat_2-160x129.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Profile_Picture_Taravat_2-800x644.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Profile_Picture_Taravat_2-768x619.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Profile_Picture_Taravat_2-1180x950.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Profile_Picture_Taravat_2-960x773.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Profile_Picture_Taravat_2-240x193.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Profile_Picture_Taravat_2-375x302.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Profile_Picture_Taravat_2-520x419.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Profile_Picture_Taravat_2.jpg 1280w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: Lindsay Upson Photography\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Much of your work deals with taboos in both Iranian and American culture. You’ve said that the two cultures are actually more similar than one might expect. Can you talk a bit about that?\u003c/b>\u003c/p>\n\u003cp>It is so easy to discuss the vast differences between the two countries and its cultures. So why not inspect a little deeper? Are there any glitches and similarities?\u003c/p>\n\u003cp>I found an interesting article in \u003cem>The Economist\u003c/em> about the meth epidemic, which describes that dealers had been targeting women in Iran, specifically in hair salons. What is fascinating — but also outright terrifying — is the hook that was used to entice these women to smoke meth: a means to lose weight. It reminds me of the 1950s and ’60s, when pill popping was considered feminine.\u003c/p>\n\u003cp>Why is Iran in the top four countries in the world for plastic surgery? Why am I constantly seeing exposed women on billboards and other public advertisements? Consumerism, illegal substances, and beauty ideals are all commonalities between Iranian and American culture. There was a time when I felt it was important to focus my work in locating and describing these similarities once and for all.\u003c/p>\n\u003cfigure id=\"attachment_13729099\" class=\"wp-caption alignleft\" style=\"max-width: 640px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/Profile-Picture_Taravat_1.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13729099\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/Profile-Picture_Taravat_1-1020x1183.jpeg\" alt=\"\" width=\"640\" height=\"742\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Profile-Picture_Taravat_1-1020x1183.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Profile-Picture_Taravat_1-160x186.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Profile-Picture_Taravat_1-800x928.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Profile-Picture_Taravat_1-768x890.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Profile-Picture_Taravat_1-960x1113.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Profile-Picture_Taravat_1-240x278.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Profile-Picture_Taravat_1-375x435.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Profile-Picture_Taravat_1-520x603.jpeg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Profile-Picture_Taravat_1.jpeg 1104w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: Aaron Hewitt Photography\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Your work, which sometimes involves hits of acid, hash oil, and meth pipes, has been called “blasphemous drug art.” What do you want people to take away from your use of illegal substances as material?\u003c/b>\u003c/p>\n\u003cp>Provocation has always been a form of allegory in my work. My portrayal of Muslim leaders is knowingly flippant — a gesture that would surely be censored in Iran, though in America the risks are fewer. The inclusion of illicit materials takes the provocation further by both parodying the image of Khomeini and making his image complicit in contraband activities, all at the hand of a woman no less.\u003c/p>\n\u003cp>The choice of medium becomes crucial. It confidently declares “not only do I have the power to recreate your image” — to own it, in some way — “I will also consume it” — adding insult to insult — “and get high off it.”\u003c/p>\n\u003cp>\u003cb>You’ve had art shows all around the world — you’ve even had an exhibition in Alabama, of all places. How did people from that community react to your work?\u003c/b>\u003c/p>\n\u003cp>I honestly was grateful for the community’s curiosities and had endless conversations with all types of people, particularly Jordan Amirkhani, who had traveled by train from Tennessee to meet me and pick my brain. That exhibition brought us — two Iranian feminists — together. An artist should be available and open in exhibiting their work anywhere and everywhere in the world.\u003c/p>\n\u003cfigure id=\"attachment_13741040\" class=\"wp-caption alignright\" style=\"max-width: 1080px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13741040\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/w2w-edited-taravot.jpg\" alt=\"Taravat Talepasand\" width=\"1080\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-edited-taravot.jpg 1080w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-edited-taravot-160x284.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-edited-taravot-800x1422.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-edited-taravot-768x1365.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-edited-taravot-1020x1813.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-edited-taravot-960x1707.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-edited-taravot-240x427.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-edited-taravot-375x667.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-edited-taravot-520x924.jpg 520w\" sizes=\"(max-width: 1080px) 100vw, 1080px\">\u003cfigcaption class=\"wp-caption-text\">Taravat Talepasand. \u003ccite>(Photo: Christina Campbell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Two of my favorite pieces of yours are an \u003ca href=\"http://www.taravattalepasand.com/made-in-iran-born-in-america/c0fdl9lh14kdzm881fhjjhrvla9ex2\">authentic Persian rug\u003c/a> featuring overlapping Crying Kim Kardashian emojis and \u003ca href=\"http://www.taravattalepasand.com/made-in-iran-born-in-america/a21s9mzts88y4wusgc6t2fs8iqrb1m\">a denim jacket\u003c/a> that juxtaposes the word “Iran” with Kim Kardashian emojis and candy hearts that say things like “Send Nudes.” Can you talk a bit about why you wanted to use Kim as a symbol?\u003c/b>\u003c/p>\n\u003cp>In 2016, Iran’s Revolutionary Guard, which is an agency tasked with policing domestic culture and heading off the influence of other nations, accused Kim Kardashian of being a secret agent. Kim, an American Spy, ha! All of a sudden, Iranian officials came out describing their distaste for Kim, accusing her of working for Instagram as part of a complicated ploy to target young women and corrupt them with aspirational photos depicting a lifestyle that’s at odds with Islam.\u003c/p>\n\u003cp>The Islamic Revolutionary Guard instituted an online surveillance program called “Project Spider” and started arresting hundreds of women living in Iran for indecent Instagram posts, mostly based on images of them without a headscarf. While the idea of Kim Kardashian as a secret agent might be absurd, the whole ordeal is no laughing matter; women are being targeted for prosecution. To me, the comical illustration of Kim crying described a woman’s response to the rules created for them by men.\u003c/p>\n\u003cp>\u003cb>\u003c/b>\u003cb>What does your ideal future look like for women artists in the Bay Area?\u003c/b>\u003c/p>\n\u003cp>A Women’s Art Museum. Why not? \u003ca href=\"https://www.sfmoma.org/artists-artworks/fisher-collection/\">The Fisher Collection at SFMOMA\u003c/a> has limited works by female artists (except for Agnes Martin, whose work you shouldn’t miss). I hope that our sanctuary city continues to be diverse and that everyone, not only women artists, are able to stay and live in this beautiful city to create and collaborate together.\u003cbr>\n\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>\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 \u003c/a>series page, including photo galleries, interviews, and videos.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Do you know a Bay Area artist who is doing amazing things? \u003ca href=\"https://www.instagram.com/kqed_arts/\" target=\"_blank\" rel=\"noopener noreferrer\">We want to hear from you!\u003c/a> Highlight her efforts using \u003ca href=\"https://www.instagram.com/explore/tags/baybrilliant/\" target=\"_blank\" rel=\"noopener noreferrer\">#BayBrilliant\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Welcome to KQED Arts’ \u003ca href=\"https://ww2.kqed.org/arts/series/women-to-watch/\" target=\"_blank\" rel=\"noopener noreferrer\">Women to Watch\u003c/a>, 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/em>\u003c/p>\n\u003cp>Blasphemous. Corrupt. Taboo. All of these are labels Taravat Talepasand toys with in her unapologetic artwork, which blends iconography from both Iranian and American cultures to create something entirely new and provocative, from \u003ca href=\"http://www.taravattalepasand.com/new-gallery/2015/4/13/hf0n2882jxz5u9fzu7ru02u70mqy0q\">a bust of Khomeini\u003c/a> with hits of LSD as his eyes to an \u003ca href=\"http://www.taravattalepasand.com/new-gallery-2/l3inmyky7gv96jj07ritpjww1m44md\">authentic Persian rug covered in Kim Kardashian emojis\u003c/a>.\u003c/p>\n\u003cp>We caught up with Taravat to talk about growing up in America as an Iranian, how drugs inform some of her art, and why Kim Kardashian is such a powerful symbol for both the U.S. and Iran.\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/aiAPD6GEYA8'\n title='//www.youtube.com/embed/aiAPD6GEYA8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cb>You’ve described the experience of growing up Iranian in America as “arduous and awkward.” How so?\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Being born into this world, in America, after the Iranian Revolution in 1979 to émigré Iranians should answer your question. And let’s not forget the exacerbating ’80s during the Iraq/Iran War, followed by Desert Storm in the early 1990s. I’ve been living a life of constant questioning, with discrimination and outright hatred towards anyone that remotely looked Middle Eastern. To describe my life growing up as an Iranian in America as “arduous and awkward” is me just being nice. Trust me; it was much worse than you could ever imagine.\u003c/p>\n\u003cp>\u003cb>You’ve also talked about the struggle that a lot of first-generation Americans face — embracing one culture is seen as the dismissal of the other; being too Iranian for the Americans, too American for the Iranians. When and how did you learn how to reconcile both aspects of your identity?\u003c/b>\u003c/p>\n\u003cp>It’s incredibly frustrating to be called American-Iranian or Iranian-America, being told that you are more American than Iranian, or that, since you weren’t born in Iran, you are less Iranian. Who has the right to tell a person who they are or how they should define their nationality? I decide who I am and who I want to be.\u003c/p>\n\u003cp>I learned to reconcile with this by age 4, during my first visit to Iran, and every summer after that, up until my last visit during the Arab Spring. I am first and foremost Iranian, by blood and by traditional, cultural, and moral upbringing. Being American for me used to be for its freedom, but that crumbled when Trump was elected.\u003c/p>\n\u003cfigure id=\"attachment_13729098\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/Profile_Picture_Taravat_2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13729098\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/Profile_Picture_Taravat_2-1020x822.jpg\" alt=\"\" width=\"640\" height=\"516\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Profile_Picture_Taravat_2-1020x822.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Profile_Picture_Taravat_2-160x129.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Profile_Picture_Taravat_2-800x644.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Profile_Picture_Taravat_2-768x619.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Profile_Picture_Taravat_2-1180x950.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Profile_Picture_Taravat_2-960x773.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Profile_Picture_Taravat_2-240x193.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Profile_Picture_Taravat_2-375x302.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Profile_Picture_Taravat_2-520x419.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Profile_Picture_Taravat_2.jpg 1280w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: Lindsay Upson Photography\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Much of your work deals with taboos in both Iranian and American culture. You’ve said that the two cultures are actually more similar than one might expect. Can you talk a bit about that?\u003c/b>\u003c/p>\n\u003cp>It is so easy to discuss the vast differences between the two countries and its cultures. So why not inspect a little deeper? Are there any glitches and similarities?\u003c/p>\n\u003cp>I found an interesting article in \u003cem>The Economist\u003c/em> about the meth epidemic, which describes that dealers had been targeting women in Iran, specifically in hair salons. What is fascinating — but also outright terrifying — is the hook that was used to entice these women to smoke meth: a means to lose weight. It reminds me of the 1950s and ’60s, when pill popping was considered feminine.\u003c/p>\n\u003cp>Why is Iran in the top four countries in the world for plastic surgery? Why am I constantly seeing exposed women on billboards and other public advertisements? Consumerism, illegal substances, and beauty ideals are all commonalities between Iranian and American culture. There was a time when I felt it was important to focus my work in locating and describing these similarities once and for all.\u003c/p>\n\u003cfigure id=\"attachment_13729099\" class=\"wp-caption alignleft\" style=\"max-width: 640px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/Profile-Picture_Taravat_1.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13729099\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/Profile-Picture_Taravat_1-1020x1183.jpeg\" alt=\"\" width=\"640\" height=\"742\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Profile-Picture_Taravat_1-1020x1183.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Profile-Picture_Taravat_1-160x186.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Profile-Picture_Taravat_1-800x928.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Profile-Picture_Taravat_1-768x890.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Profile-Picture_Taravat_1-960x1113.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Profile-Picture_Taravat_1-240x278.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Profile-Picture_Taravat_1-375x435.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Profile-Picture_Taravat_1-520x603.jpeg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Profile-Picture_Taravat_1.jpeg 1104w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: Aaron Hewitt Photography\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Your work, which sometimes involves hits of acid, hash oil, and meth pipes, has been called “blasphemous drug art.” What do you want people to take away from your use of illegal substances as material?\u003c/b>\u003c/p>\n\u003cp>Provocation has always been a form of allegory in my work. My portrayal of Muslim leaders is knowingly flippant — a gesture that would surely be censored in Iran, though in America the risks are fewer. The inclusion of illicit materials takes the provocation further by both parodying the image of Khomeini and making his image complicit in contraband activities, all at the hand of a woman no less.\u003c/p>\n\u003cp>The choice of medium becomes crucial. It confidently declares “not only do I have the power to recreate your image” — to own it, in some way — “I will also consume it” — adding insult to insult — “and get high off it.”\u003c/p>\n\u003cp>\u003cb>You’ve had art shows all around the world — you’ve even had an exhibition in Alabama, of all places. How did people from that community react to your work?\u003c/b>\u003c/p>\n\u003cp>I honestly was grateful for the community’s curiosities and had endless conversations with all types of people, particularly Jordan Amirkhani, who had traveled by train from Tennessee to meet me and pick my brain. That exhibition brought us — two Iranian feminists — together. An artist should be available and open in exhibiting their work anywhere and everywhere in the world.\u003c/p>\n\u003cfigure id=\"attachment_13741040\" class=\"wp-caption alignright\" style=\"max-width: 1080px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13741040\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/w2w-edited-taravot.jpg\" alt=\"Taravat Talepasand\" width=\"1080\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-edited-taravot.jpg 1080w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-edited-taravot-160x284.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-edited-taravot-800x1422.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-edited-taravot-768x1365.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-edited-taravot-1020x1813.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-edited-taravot-960x1707.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-edited-taravot-240x427.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-edited-taravot-375x667.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-edited-taravot-520x924.jpg 520w\" sizes=\"(max-width: 1080px) 100vw, 1080px\">\u003cfigcaption class=\"wp-caption-text\">Taravat Talepasand. \u003ccite>(Photo: Christina Campbell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Two of my favorite pieces of yours are an \u003ca href=\"http://www.taravattalepasand.com/made-in-iran-born-in-america/c0fdl9lh14kdzm881fhjjhrvla9ex2\">authentic Persian rug\u003c/a> featuring overlapping Crying Kim Kardashian emojis and \u003ca href=\"http://www.taravattalepasand.com/made-in-iran-born-in-america/a21s9mzts88y4wusgc6t2fs8iqrb1m\">a denim jacket\u003c/a> that juxtaposes the word “Iran” with Kim Kardashian emojis and candy hearts that say things like “Send Nudes.” Can you talk a bit about why you wanted to use Kim as a symbol?\u003c/b>\u003c/p>\n\u003cp>In 2016, Iran’s Revolutionary Guard, which is an agency tasked with policing domestic culture and heading off the influence of other nations, accused Kim Kardashian of being a secret agent. Kim, an American Spy, ha! All of a sudden, Iranian officials came out describing their distaste for Kim, accusing her of working for Instagram as part of a complicated ploy to target young women and corrupt them with aspirational photos depicting a lifestyle that’s at odds with Islam.\u003c/p>\n\u003cp>The Islamic Revolutionary Guard instituted an online surveillance program called “Project Spider” and started arresting hundreds of women living in Iran for indecent Instagram posts, mostly based on images of them without a headscarf. While the idea of Kim Kardashian as a secret agent might be absurd, the whole ordeal is no laughing matter; women are being targeted for prosecution. To me, the comical illustration of Kim crying described a woman’s response to the rules created for them by men.\u003c/p>\n\u003cp>\u003cb>\u003c/b>\u003cb>What does your ideal future look like for women artists in the Bay Area?\u003c/b>\u003c/p>\n\u003cp>A Women’s Art Museum. Why not? \u003ca href=\"https://www.sfmoma.org/artists-artworks/fisher-collection/\">The Fisher Collection at SFMOMA\u003c/a> has limited works by female artists (except for Agnes Martin, whose work you shouldn’t miss). I hope that our sanctuary city continues to be diverse and that everyone, not only women artists, are able to stay and live in this beautiful city to create and collaborate together.\u003cbr>\n\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>\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 \u003c/a>series page, including photo galleries, interviews, and videos.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Do you know a Bay Area artist who is doing amazing things? \u003ca href=\"https://www.instagram.com/kqed_arts/\" target=\"_blank\" rel=\"noopener noreferrer\">We want to hear from you!\u003c/a> Highlight her efforts using \u003ca href=\"https://www.instagram.com/explore/tags/baybrilliant/\" target=\"_blank\" rel=\"noopener noreferrer\">#BayBrilliant\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>How do you make a poster that inspires, organizes and illustrates a social movement? For printmakers Melanie Cervantes and Jesus Barraza, the duo behind the Oakland-based graphic arts collaboration \u003ca href=\"http://dignidadrebelde.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Dignidad Rebelde\u003c/a>, the secret ingredient might be their own love story.\u003c/p>\n\u003cp>For 10 years, Cervantes and Barraza have been mixing colorful ink with political messages addressing workers’ rights, ICE deportations, environmental threats to indigenous people’s land and more. At first, Cervantes says, their artistic styles were like apples and oranges, but as their collaboration strengthened and they taught each other different skills, their work blended into a shared, immediate aesthetic. Now they teach those skills to others, creating platforms for artists and activists to share their own messages in screen printed multiples.\u003c/p>\n\u003cp>Recently, Cervantes was diagnosed with a rare form of lung cancer. As she begins treatment, Cervantes’ and Barraza’s bonds — both with each other and with the communities Dignidad Rebelde serves — have only deepened, with an \u003ca href=\"https://www.youcaring.com/melaniecerantes-828867\" target=\"_blank\" rel=\"noopener noreferrer\">outpouring of support\u003c/a> for her recovery.\u003c/p>\n\u003cp>Watch these inspiring artists put love at the center of everything they do.\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\">\u003cbr>\n\u003cstrong>Watch more from the Represent Video Collection\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" class=\"hzframe\" src=\"https://huzzaz.com/proembed/represent-2?layout=grid&vpp=12&search=1&titleoverlay=1\" height=\"0\" width=\"100%\" frameborder=\"0\" allowtransparency=\"true\" scrolling=\"yes\">\u003c/iframe>\u003cbr>\n[huzzaz_js]\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>How do you make a poster that inspires, organizes and illustrates a social movement? For printmakers Melanie Cervantes and Jesus Barraza, the duo behind the Oakland-based graphic arts collaboration \u003ca href=\"http://dignidadrebelde.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Dignidad Rebelde\u003c/a>, the secret ingredient might be their own love story.\u003c/p>\n\u003cp>For 10 years, Cervantes and Barraza have been mixing colorful ink with political messages addressing workers’ rights, ICE deportations, environmental threats to indigenous people’s land and more. At first, Cervantes says, their artistic styles were like apples and oranges, but as their collaboration strengthened and they taught each other different skills, their work blended into a shared, immediate aesthetic. Now they teach those skills to others, creating platforms for artists and activists to share their own messages in screen printed multiples.\u003c/p>\n\u003cp>Recently, Cervantes was diagnosed with a rare form of lung cancer. As she begins treatment, Cervantes’ and Barraza’s bonds — both with each other and with the communities Dignidad Rebelde serves — have only deepened, with an \u003ca href=\"https://www.youcaring.com/melaniecerantes-828867\" target=\"_blank\" rel=\"noopener noreferrer\">outpouring of support\u003c/a> for her recovery.\u003c/p>\n\u003cp>Watch these inspiring artists put love at the center of everything they do.\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\">\u003cbr>\n\u003cstrong>Watch more from the Represent Video Collection\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "At Legion of Honor, Sarah Lucas Mocks Rodin's Muse",
"headTitle": "At Legion of Honor, Sarah Lucas Mocks Rodin’s Muse | KQED",
"content": "\u003cp>If the Legion of Honor’s grandiose marble architecture evokes a regal sincerity plucked from the past, then British sculptor Sarah Lucas’ work, installed through September between the building’s towering columns, functions like a pleasurable punchline.\u003c/p>\n\u003cp>Picture: In the center of the museum’s circular foyer sits a horizontal freezer, upon which lays a cement mold of a lounging figure, ass in the air and cigarette in the anus — as if smoking away the institution’s perceived self-seriousness.\u003c/p>\n\u003cp>Lucas is known for making bawdy sculptures that expose our crude conceptions of gender and bodies, using humor and androgyny to disarm the objectifying male gaze. The celebrated artist’s work appears at the museum for \u003ca href=\"https://legionofhonor.famsf.org/exhibitions/sarah-lucas\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Good Muse\u003c/em>\u003c/a>, on view through Sept. 17, and constitutes her first major exhibition in an American museum.\u003c/p>\n\u003cfigure id=\"attachment_13703456\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13703456\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/DEY5783-e1500925604502.jpg\" alt=\"Installation view of 'Sarah Lucas: Good Muse' at the Legion of Honor.\" width=\"1200\" height=\"801\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Sarah Lucas: Good Muse’ at the Legion of Honor. \u003ccite>(Courtesy of the Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The show is the second of two curated in response to \u003cem>\u003ca href=\"http://legionofhonor.famsf.org/auguste-rodin-centenary-installation\" target=\"_blank\" rel=\"noopener noreferrer\">Auguste Rodin: The Centenary Installation\u003c/a>, \u003c/em>which featured about 50 Rodin pieces from the Fine Arts Museums of San Francisco’s collection in honor of the 100th anniversary of the sculptor’s death. While the Rodin exhibition officially ended on April 9, the majority of the works included remain on view.\u003c/p>\n\u003cp>Rather than giving Lucas her own gallery, curator Claudia Schmuckli strategically placed her pieces throughout the Rodin installation (and in nearby galleries featuring classic paintings), a move that simultaneously breathes fresh life into Rodin’s figures and gives Lucas’ an easy target to mock.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Pairings such as this one always have the potential to be gimmicky, setting up dichotomies — classic and contemporary, male and female, phallocentric and feminist — that foreground spectacle over intellectual provocation. \u003cem>Good Muse\u003c/em> doesn’t necessarily avoid that trap, but dives into it with such deliberate grace that it doesn’t feel cheap.\u003c/p>\n\u003cp>Instead of simply instrumentalizing Lucas’ work as an example of the feminist counter-gaze, \u003cem>Good Muse\u003c/em> unleashes her sculptures to play — amid an environment that underlines its intentions from every angle. With prominent placement in every gallery in which it appears, there’s a clear sense that the Schmuckli takes the work seriously, and is earnest in her intentions of inciting conversation around the way that bodies are eroticized in revered work such as Rodin’s.\u003c/p>\n\u003cfigure id=\"attachment_13703457\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13703457\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/DEY5773-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/DEY5773-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/DEY5773-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/DEY5773-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/DEY5773-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/DEY5773-1920x1281.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/DEY5773-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/DEY5773-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/DEY5773-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/DEY5773-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/DEY5773-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of “Sarah Lucas: Good Muse” at the Legion of Honor. \u003ccite>(Courtesy of the Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the main gallery, small to medium bronze figures by Rodin presented on pedestals exhibit incredible technical prowess and an appreciation for the human form — in all its idealized musculature — as a poetic medium for relaying emotional states. With their tough and shiny surfaces, they feel like everlasting relics destined to forever uphold a static sense of How Bodies Should Be.\u003c/p>\n\u003cp>But between them sit seven \u003cem>Floppy Toilets \u003c/em>by Lucas: scrunched urinals cast in orange and yellow resin sitting atop mini fridges. Translucent and almost glowing in the gallery lights, the sculptures look like Jell-O molds left out in the sun too long. Drooping onto themselves, they resemble the folds in a stomach — a general abstraction of curves and bulges that question what constitutes a body.\u003c/p>\n\u003cp>In the center of this scene, two massive concrete casts of legs in high heels prescribe a femme sense of domination that’s unbothered by the precarity of standing on stilts. And at the back, three toned and naked figures from Rodin’s \u003cem>Gates of Hell\u003c/em>, which he worked on throughout the last two decades of his life, are arranged together in a dramatic pose. Lucas adds three of her own figures: floppy dolls made of stuffed pantyhose hang hilariously from various parts of the historic bronze, inserting a sense of suppleness and flesh that Rodin’s piece leaves out.\u003c/p>\n\u003cfigure id=\"attachment_13732667\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13732667\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/LucasCOVER.jpg\" alt=\"Installation view of 'Sarah Lucas: Good Muse' at the Legion of Honor.\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/LucasCOVER.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/LucasCOVER-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/LucasCOVER-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/LucasCOVER-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/LucasCOVER-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/LucasCOVER-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/LucasCOVER-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/LucasCOVER-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/LucasCOVER-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/LucasCOVER-520x293.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Sarah Lucas: Good Muse’ at the Legion of Honor. \u003ccite>(Courtesy of the Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In that last instance, the interaction between the works begins to feel a little audacious, but in a way that’s difficult not to simply eat up. With sculptures seeping into surrounding galleries, it’s as if Lucas is punking all of Western art historical discourse, showing up to some fancy gala uninvited. It’s an exhilarating curatorial choice that exhibits an admirable sense of humility on the part of the museum. Ultimately, \u003cem>Good Muse \u003c/em>offers up the Legion’s entire collection to questioning through a feminist lens, risking more conservative patrons feeling confused.\u003c/p>\n\u003cp>Perhaps it’s my personal preferences, but the show’s only distracting shortcoming was that I found it difficult to appreciate Rodin’s work in the presence of Lucas’, which, despite being far less realistic, exuded a potent bodily presence that made it hard to look away. The Legion of Honor’s marquee statue is a cast of Rodin’s most famous work, \u003cem>The Thinker\u003c/em>, which appears alone in a grand courtyard at the museum’s entrance. Bent forward in deep thought with his chin on his clenched fist, the statue is an international symbol of male intellect and philosophical inquiry. But I was more struck by Lucas’ \u003cem>INNAMEMORABILIAMBUM, \u003c/em>installed in a corner gallery: A soft figure with crossed arms leans back in a chair, a three-foot erect phallus protruding from its crotch into the air. Just another take.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright 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>\u003c/p>\n\u003cp>\u003cem>‘Good Muse’ is on view at the Legion of Honor in San Francisco through Sept. 17. For more information, \u003ca href=\"http://legionofhonor.famsf.org/exhibitions/sarah-lucas\" target=\"_blank\" rel=\"noopener noreferrer\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Intermingled among the Legion of Honor's Rodin collection, Sarah Lucas' bawdy sculptures function like a pleasurable punchline.",
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"description": "Intermingled among the Legion of Honor's Rodin collection, Sarah Lucas' bawdy sculptures function like a pleasurable punchline.",
"title": "At Legion of Honor, Sarah Lucas Mocks Rodin's Muse | KQED",
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"headline": "At Legion of Honor, Sarah Lucas Mocks Rodin's Muse",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If the Legion of Honor’s grandiose marble architecture evokes a regal sincerity plucked from the past, then British sculptor Sarah Lucas’ work, installed through September between the building’s towering columns, functions like a pleasurable punchline.\u003c/p>\n\u003cp>Picture: In the center of the museum’s circular foyer sits a horizontal freezer, upon which lays a cement mold of a lounging figure, ass in the air and cigarette in the anus — as if smoking away the institution’s perceived self-seriousness.\u003c/p>\n\u003cp>Lucas is known for making bawdy sculptures that expose our crude conceptions of gender and bodies, using humor and androgyny to disarm the objectifying male gaze. The celebrated artist’s work appears at the museum for \u003ca href=\"https://legionofhonor.famsf.org/exhibitions/sarah-lucas\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Good Muse\u003c/em>\u003c/a>, on view through Sept. 17, and constitutes her first major exhibition in an American museum.\u003c/p>\n\u003cfigure id=\"attachment_13703456\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13703456\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/DEY5783-e1500925604502.jpg\" alt=\"Installation view of 'Sarah Lucas: Good Muse' at the Legion of Honor.\" width=\"1200\" height=\"801\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Sarah Lucas: Good Muse’ at the Legion of Honor. \u003ccite>(Courtesy of the Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The show is the second of two curated in response to \u003cem>\u003ca href=\"http://legionofhonor.famsf.org/auguste-rodin-centenary-installation\" target=\"_blank\" rel=\"noopener noreferrer\">Auguste Rodin: The Centenary Installation\u003c/a>, \u003c/em>which featured about 50 Rodin pieces from the Fine Arts Museums of San Francisco’s collection in honor of the 100th anniversary of the sculptor’s death. While the Rodin exhibition officially ended on April 9, the majority of the works included remain on view.\u003c/p>\n\u003cp>Rather than giving Lucas her own gallery, curator Claudia Schmuckli strategically placed her pieces throughout the Rodin installation (and in nearby galleries featuring classic paintings), a move that simultaneously breathes fresh life into Rodin’s figures and gives Lucas’ an easy target to mock.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Pairings such as this one always have the potential to be gimmicky, setting up dichotomies — classic and contemporary, male and female, phallocentric and feminist — that foreground spectacle over intellectual provocation. \u003cem>Good Muse\u003c/em> doesn’t necessarily avoid that trap, but dives into it with such deliberate grace that it doesn’t feel cheap.\u003c/p>\n\u003cp>Instead of simply instrumentalizing Lucas’ work as an example of the feminist counter-gaze, \u003cem>Good Muse\u003c/em> unleashes her sculptures to play — amid an environment that underlines its intentions from every angle. With prominent placement in every gallery in which it appears, there’s a clear sense that the Schmuckli takes the work seriously, and is earnest in her intentions of inciting conversation around the way that bodies are eroticized in revered work such as Rodin’s.\u003c/p>\n\u003cfigure id=\"attachment_13703457\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13703457\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/DEY5773-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/DEY5773-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/DEY5773-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/DEY5773-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/DEY5773-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/DEY5773-1920x1281.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/DEY5773-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/DEY5773-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/DEY5773-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/DEY5773-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/DEY5773-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of “Sarah Lucas: Good Muse” at the Legion of Honor. \u003ccite>(Courtesy of the Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the main gallery, small to medium bronze figures by Rodin presented on pedestals exhibit incredible technical prowess and an appreciation for the human form — in all its idealized musculature — as a poetic medium for relaying emotional states. With their tough and shiny surfaces, they feel like everlasting relics destined to forever uphold a static sense of How Bodies Should Be.\u003c/p>\n\u003cp>But between them sit seven \u003cem>Floppy Toilets \u003c/em>by Lucas: scrunched urinals cast in orange and yellow resin sitting atop mini fridges. Translucent and almost glowing in the gallery lights, the sculptures look like Jell-O molds left out in the sun too long. Drooping onto themselves, they resemble the folds in a stomach — a general abstraction of curves and bulges that question what constitutes a body.\u003c/p>\n\u003cp>In the center of this scene, two massive concrete casts of legs in high heels prescribe a femme sense of domination that’s unbothered by the precarity of standing on stilts. And at the back, three toned and naked figures from Rodin’s \u003cem>Gates of Hell\u003c/em>, which he worked on throughout the last two decades of his life, are arranged together in a dramatic pose. Lucas adds three of her own figures: floppy dolls made of stuffed pantyhose hang hilariously from various parts of the historic bronze, inserting a sense of suppleness and flesh that Rodin’s piece leaves out.\u003c/p>\n\u003cfigure id=\"attachment_13732667\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13732667\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/LucasCOVER.jpg\" alt=\"Installation view of 'Sarah Lucas: Good Muse' at the Legion of Honor.\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/LucasCOVER.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/LucasCOVER-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/LucasCOVER-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/LucasCOVER-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/LucasCOVER-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/LucasCOVER-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/LucasCOVER-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/LucasCOVER-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/LucasCOVER-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/LucasCOVER-520x293.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Sarah Lucas: Good Muse’ at the Legion of Honor. \u003ccite>(Courtesy of the Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In that last instance, the interaction between the works begins to feel a little audacious, but in a way that’s difficult not to simply eat up. With sculptures seeping into surrounding galleries, it’s as if Lucas is punking all of Western art historical discourse, showing up to some fancy gala uninvited. It’s an exhilarating curatorial choice that exhibits an admirable sense of humility on the part of the museum. Ultimately, \u003cem>Good Muse \u003c/em>offers up the Legion’s entire collection to questioning through a feminist lens, risking more conservative patrons feeling confused.\u003c/p>\n\u003cp>Perhaps it’s my personal preferences, but the show’s only distracting shortcoming was that I found it difficult to appreciate Rodin’s work in the presence of Lucas’, which, despite being far less realistic, exuded a potent bodily presence that made it hard to look away. The Legion of Honor’s marquee statue is a cast of Rodin’s most famous work, \u003cem>The Thinker\u003c/em>, which appears alone in a grand courtyard at the museum’s entrance. Bent forward in deep thought with his chin on his clenched fist, the statue is an international symbol of male intellect and philosophical inquiry. But I was more struck by Lucas’ \u003cem>INNAMEMORABILIAMBUM, \u003c/em>installed in a corner gallery: A soft figure with crossed arms leans back in a chair, a three-foot erect phallus protruding from its crotch into the air. Just another take.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright 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>\u003c/p>\n\u003cp>\u003cem>‘Good Muse’ is on view at the Legion of Honor in San Francisco through Sept. 17. For more information, \u003ca href=\"http://legionofhonor.famsf.org/exhibitions/sarah-lucas\" target=\"_blank\" rel=\"noopener noreferrer\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Salvador Dalí's Remains Exhumed, Revealing A Perfectly Arranged Mustache",
"headTitle": "Salvador Dalí’s Remains Exhumed, Revealing A Perfectly Arranged Mustache | KQED",
"content": "\u003cp>The remains of Salvador Dalí were exhumed Thursday night, pulled from their resting place by Spanish officials hoping to confirm whether the surrealist painter fathered a child in an affair. The closed procedure extracted some hair samples, nails, teeth and two long bones from the artist’s embalmed body, the DNA of which might offer the conclusive answer to a high-profile paternity lawsuit long underway.\u003c/p>\n\u003cp>For now, that answer remains elusive — but forensic experts did uncover at least one curious fact when they pulled him briefly from his tomb at the Dalí Museum Theater in Figueres: His iconic mustache remains perfectly intact.\u003c/p>\n\u003cp>“The mustache preserved its classic 10-past-10 position,” Lluís Peñuelas, secretary-general of the Dalí Foundation, \u003ca href=\"https://elpais.com/cultura/2017/07/21/actualidad/1500616779_353229.html\" target=\"_blank\" rel=\"noopener\">told the Spanish newspaper El Pais\u003c/a>. “Checking it was a very exciting moment.”\u003c/p>\n\u003cp>The paper notes the forensic doctor who embalmed Dalí in 1989 was also on hand for Thursday’s operation, which was conducted with a pulley and concluded just hours after it began.\u003c/p>\n\u003cp>It was “a miracle,” Narcís Bardalet told a local radio station, \u003ca href=\"https://www.nytimes.com/2017/07/21/world/europe/salvador-dali-exhumed-paternity.html\" target=\"_blank\" rel=\"noopener\">according to The New York Times\u003c/a>. “Salvador Dalí is forever.”\u003c/p>\n\u003cfigure id=\"attachment_13711790\" class=\"wp-caption aligncenter\" style=\"max-width: 4753px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/gettyimages-820056402-899f1b40e0d43a52a945ef0c006648e338cba8b2.jpg\" alt=\"Tourists visit Salvador Dali's tomb at the Dali Museum Theater in Figueres on Friday, following the exhumation of his remains\" width=\"4753\" height=\"3565\" class=\"size-full wp-image-13711790\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/gettyimages-820056402-899f1b40e0d43a52a945ef0c006648e338cba8b2.jpg 4753w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/gettyimages-820056402-899f1b40e0d43a52a945ef0c006648e338cba8b2-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/gettyimages-820056402-899f1b40e0d43a52a945ef0c006648e338cba8b2-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/gettyimages-820056402-899f1b40e0d43a52a945ef0c006648e338cba8b2-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/gettyimages-820056402-899f1b40e0d43a52a945ef0c006648e338cba8b2-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/gettyimages-820056402-899f1b40e0d43a52a945ef0c006648e338cba8b2-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/gettyimages-820056402-899f1b40e0d43a52a945ef0c006648e338cba8b2-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/gettyimages-820056402-899f1b40e0d43a52a945ef0c006648e338cba8b2-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/gettyimages-820056402-899f1b40e0d43a52a945ef0c006648e338cba8b2-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/gettyimages-820056402-899f1b40e0d43a52a945ef0c006648e338cba8b2-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/gettyimages-820056402-899f1b40e0d43a52a945ef0c006648e338cba8b2-520x390.jpg 520w\" sizes=\"(max-width: 4753px) 100vw, 4753px\">\u003cfigcaption class=\"wp-caption-text\">Tourists visit Salvador Dali’s tomb at the Dali Museum Theater in Figueres on Friday, following the exhumation of his remains \u003ccite>(Lluis Gene/AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He might also be a father. At least, that’s what 61-year-old tarot card reader Pilar Abel alleges, saying Dalí had an affair with her mother back in 1955 — one year before her birth.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The first time I saw him, I was a little girl,” she told reporters three years ago, when she filed her lawsuit for partial claim to Dalí’s estate. “I was out for a walk with my grandmother, and she pointed him out.”\u003c/p>\n\u003cp>\u003ca href=\"http://www.npr.org/2017/06/27/534516129/paternity-suit-salvador-dalis-body-ordered-exhumed\" target=\"_blank\" rel=\"noopener\">As NPR’s Lauren Frayer reported last month\u003c/a>, Dalí was married around that time — though, characteristically, that marriage was a tad unconventional.\u003c/p>\n\u003cp>“He was married at the time to his muse Gala, who lived in a castle, which he visited with written permission only,” Lauren explained. “They had no children. Without an heir, Dalí left his fortune — in the hundreds of millions — to the Spanish state when he died in 1989.”\u003c/p>\n\u003cp>Abel went public with her claim in 2007 and has sought proof since then, saying she wishes to honor her mother’s memory. And her lawyer, Enrique Blanquez, says that proof would also entitle Abel to one-fourth of the Dalí estate, \u003ca href=\"http://hosted.ap.org/dynamic/stories/E/EU_SPAIN_DALI?SITE=AP&SECTION=HOME&TEMPLATE=DEFAULT\">according to The Associated Press\u003c/a>.\u003c/p>\n\u003cp>Peñuelas and the foundation, which manages the artist’s estate, fought the exhumation order \u003ca href=\"http://www.npr.org/sections/thetwo-way/2017/06/26/534411874/salvador-dal-s-body-ordered-exhumed-in-paternity-suit\" target=\"_blank\" rel=\"noopener\">issued by a Madrid judge last month\u003c/a> and vow to continue the fight in court.\u003c/p>\n\u003cp>“[The Foundation] considers the exhumation performed on Salvador Dalí’s remains entirely inappropriate,” the Dalí Foundation said in a statement \u003ca href=\"https://news.artnet.com/art-world/inside-salvador-dali-overnight-exhumation-1029929\" target=\"_blank\" rel=\"noopener\">quoted by Artnet\u003c/a>.\u003c/p>\n\u003cp>“Before agreeing to such an invasive act as the exhumation of Salvador Dalí in a museum, the claimant Pilar Abel Martínez — as proposed by the Foundation and the Spanish State — should have been required to carry out a DNA test to compare her DNA with that of her legal father (deceased) or her brother, to thereby obtain all available evidence that she is not their daughter or sister.”\u003c/p>\n\u003cp>Still, Abel remains convinced the forensic experts now on the case will prove her right — after all, she says, she looks just like him.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“The only thing missing is the mustache,” she says. \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=Salvador+Dal%C3%AD%27s+Remains+Exhumed%2C+Revealing+A+Perfectly+Arranged+Mustache&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The remains of Salvador Dalí were exhumed Thursday night, pulled from their resting place by Spanish officials hoping to confirm whether the surrealist painter fathered a child in an affair. The closed procedure extracted some hair samples, nails, teeth and two long bones from the artist’s embalmed body, the DNA of which might offer the conclusive answer to a high-profile paternity lawsuit long underway.\u003c/p>\n\u003cp>For now, that answer remains elusive — but forensic experts did uncover at least one curious fact when they pulled him briefly from his tomb at the Dalí Museum Theater in Figueres: His iconic mustache remains perfectly intact.\u003c/p>\n\u003cp>“The mustache preserved its classic 10-past-10 position,” Lluís Peñuelas, secretary-general of the Dalí Foundation, \u003ca href=\"https://elpais.com/cultura/2017/07/21/actualidad/1500616779_353229.html\" target=\"_blank\" rel=\"noopener\">told the Spanish newspaper El Pais\u003c/a>. “Checking it was a very exciting moment.”\u003c/p>\n\u003cp>The paper notes the forensic doctor who embalmed Dalí in 1989 was also on hand for Thursday’s operation, which was conducted with a pulley and concluded just hours after it began.\u003c/p>\n\u003cp>It was “a miracle,” Narcís Bardalet told a local radio station, \u003ca href=\"https://www.nytimes.com/2017/07/21/world/europe/salvador-dali-exhumed-paternity.html\" target=\"_blank\" rel=\"noopener\">according to The New York Times\u003c/a>. “Salvador Dalí is forever.”\u003c/p>\n\u003cfigure id=\"attachment_13711790\" class=\"wp-caption aligncenter\" style=\"max-width: 4753px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/gettyimages-820056402-899f1b40e0d43a52a945ef0c006648e338cba8b2.jpg\" alt=\"Tourists visit Salvador Dali's tomb at the Dali Museum Theater in Figueres on Friday, following the exhumation of his remains\" width=\"4753\" height=\"3565\" class=\"size-full wp-image-13711790\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/gettyimages-820056402-899f1b40e0d43a52a945ef0c006648e338cba8b2.jpg 4753w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/gettyimages-820056402-899f1b40e0d43a52a945ef0c006648e338cba8b2-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/gettyimages-820056402-899f1b40e0d43a52a945ef0c006648e338cba8b2-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/gettyimages-820056402-899f1b40e0d43a52a945ef0c006648e338cba8b2-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/gettyimages-820056402-899f1b40e0d43a52a945ef0c006648e338cba8b2-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/gettyimages-820056402-899f1b40e0d43a52a945ef0c006648e338cba8b2-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/gettyimages-820056402-899f1b40e0d43a52a945ef0c006648e338cba8b2-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/gettyimages-820056402-899f1b40e0d43a52a945ef0c006648e338cba8b2-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/gettyimages-820056402-899f1b40e0d43a52a945ef0c006648e338cba8b2-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/gettyimages-820056402-899f1b40e0d43a52a945ef0c006648e338cba8b2-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/gettyimages-820056402-899f1b40e0d43a52a945ef0c006648e338cba8b2-520x390.jpg 520w\" sizes=\"(max-width: 4753px) 100vw, 4753px\">\u003cfigcaption class=\"wp-caption-text\">Tourists visit Salvador Dali’s tomb at the Dali Museum Theater in Figueres on Friday, following the exhumation of his remains \u003ccite>(Lluis Gene/AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He might also be a father. At least, that’s what 61-year-old tarot card reader Pilar Abel alleges, saying Dalí had an affair with her mother back in 1955 — one year before her birth.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The first time I saw him, I was a little girl,” she told reporters three years ago, when she filed her lawsuit for partial claim to Dalí’s estate. “I was out for a walk with my grandmother, and she pointed him out.”\u003c/p>\n\u003cp>\u003ca href=\"http://www.npr.org/2017/06/27/534516129/paternity-suit-salvador-dalis-body-ordered-exhumed\" target=\"_blank\" rel=\"noopener\">As NPR’s Lauren Frayer reported last month\u003c/a>, Dalí was married around that time — though, characteristically, that marriage was a tad unconventional.\u003c/p>\n\u003cp>“He was married at the time to his muse Gala, who lived in a castle, which he visited with written permission only,” Lauren explained. “They had no children. Without an heir, Dalí left his fortune — in the hundreds of millions — to the Spanish state when he died in 1989.”\u003c/p>\n\u003cp>Abel went public with her claim in 2007 and has sought proof since then, saying she wishes to honor her mother’s memory. And her lawyer, Enrique Blanquez, says that proof would also entitle Abel to one-fourth of the Dalí estate, \u003ca href=\"http://hosted.ap.org/dynamic/stories/E/EU_SPAIN_DALI?SITE=AP&SECTION=HOME&TEMPLATE=DEFAULT\">according to The Associated Press\u003c/a>.\u003c/p>\n\u003cp>Peñuelas and the foundation, which manages the artist’s estate, fought the exhumation order \u003ca href=\"http://www.npr.org/sections/thetwo-way/2017/06/26/534411874/salvador-dal-s-body-ordered-exhumed-in-paternity-suit\" target=\"_blank\" rel=\"noopener\">issued by a Madrid judge last month\u003c/a> and vow to continue the fight in court.\u003c/p>\n\u003cp>“[The Foundation] considers the exhumation performed on Salvador Dalí’s remains entirely inappropriate,” the Dalí Foundation said in a statement \u003ca href=\"https://news.artnet.com/art-world/inside-salvador-dali-overnight-exhumation-1029929\" target=\"_blank\" rel=\"noopener\">quoted by Artnet\u003c/a>.\u003c/p>\n\u003cp>“Before agreeing to such an invasive act as the exhumation of Salvador Dalí in a museum, the claimant Pilar Abel Martínez — as proposed by the Foundation and the Spanish State — should have been required to carry out a DNA test to compare her DNA with that of her legal father (deceased) or her brother, to thereby obtain all available evidence that she is not their daughter or sister.”\u003c/p>\n\u003cp>Still, Abel remains convinced the forensic experts now on the case will prove her right — after all, she says, she looks just like him.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“The only thing missing is the mustache,” she says. \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=Salvador+Dal%C3%AD%27s+Remains+Exhumed%2C+Revealing+A+Perfectly+Arranged+Mustache&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Protest art can be found in unexpected places, but it could soon be on license plates with the passage of one California state senator’s bill.\u003c/p>\n\u003cp>SB 309, a bill authored by state senator Hannah-Beth Jackson, would permit the Department of Motor Vehicles to sell a special license plate that showcases pro-choice artwork from a California artist. Proceeds from the plates would fund family planning services through the Family Planning, Access, Care and Treatment (FPACT) program.\u003c/p>\n\u003cp>The special license plate would feature the phrase “California Trusts Women” and artwork from one of three California artists, including Berkeley-based art teacher and illustrator Miriam Klein Stahl, best known for her work in the book series \u003ci>Rad Women.\u003c/i>\u003c/p>\n\u003cp>“The artists all care passionately about this cause and were excited to be part of another groundbreaking, visible part of the resistance,” said Rebecca Griffin, director of NARAL Pro-Choice California. “Of course a lot of people know Miriam Klein Stahl from her great illustrations for the \u003cem>Rad Women\u003c/em> books, which encapsulate the leadership, community and solidarity we want to evoke with the license plates.”\u003c/p>\n\u003cp>Stahl, a longtime teacher at Berkeley High School and co-founder of its Arts & Humanities Academy, was one of the artists recommended to NARAL Pro-Choice California, which is working in coordination with the state to create and distribute these license plates.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Artists, performers, writers and activists are voicing their desire for a world that we could and should have that is feminist, equitable and loving,” said Stahl. “The current political climate is none of those things.”\u003c/p>\n\u003cp>Her design, a paper-cut illustration of two protesting women set against a yellow backdrop, falls in line with the arresting style she put forth in her illustrations for \u003cem>Rad Women Worldwide\u003c/em> and \u003cem>Rad American Women A-Z.\u003c/em>\u003c/p>\n\u003cp>California would be the second state, following Virginia, to offer pro-choice license plates. But 29 states, including Virginia, offer pro-life equivalents — 15 of which use the revenue generated to fund anti-choice groups.\u003c/p>\n\u003cp>“California has a long history of leadership on reproductive rights,” said Sen. Jackson in a press release. “This license plate represents one way that we can demonstrate that we will stay true to our values and the right of every woman to safe, affordable and quality reproductive health care.”\u003c/p>\n\u003cp>The bill has already passed the Senate, and is currently in the State Assembly awaiting committee approval. Upon its enactment and the winning design’s approval from the California Department of Motor Vehicles, 7,500 pre-orders must be collected within 12 months until the special license plates are produced.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Until then, voting will remain open for the winning license plate art through August, Griffin said.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Protest art can be found in unexpected places, but it could soon be on license plates with the passage of one California state senator’s bill.\u003c/p>\n\u003cp>SB 309, a bill authored by state senator Hannah-Beth Jackson, would permit the Department of Motor Vehicles to sell a special license plate that showcases pro-choice artwork from a California artist. Proceeds from the plates would fund family planning services through the Family Planning, Access, Care and Treatment (FPACT) program.\u003c/p>\n\u003cp>The special license plate would feature the phrase “California Trusts Women” and artwork from one of three California artists, including Berkeley-based art teacher and illustrator Miriam Klein Stahl, best known for her work in the book series \u003ci>Rad Women.\u003c/i>\u003c/p>\n\u003cp>“The artists all care passionately about this cause and were excited to be part of another groundbreaking, visible part of the resistance,” said Rebecca Griffin, director of NARAL Pro-Choice California. “Of course a lot of people know Miriam Klein Stahl from her great illustrations for the \u003cem>Rad Women\u003c/em> books, which encapsulate the leadership, community and solidarity we want to evoke with the license plates.”\u003c/p>\n\u003cp>Stahl, a longtime teacher at Berkeley High School and co-founder of its Arts & Humanities Academy, was one of the artists recommended to NARAL Pro-Choice California, which is working in coordination with the state to create and distribute these license plates.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Artists, performers, writers and activists are voicing their desire for a world that we could and should have that is feminist, equitable and loving,” said Stahl. “The current political climate is none of those things.”\u003c/p>\n\u003cp>Her design, a paper-cut illustration of two protesting women set against a yellow backdrop, falls in line with the arresting style she put forth in her illustrations for \u003cem>Rad Women Worldwide\u003c/em> and \u003cem>Rad American Women A-Z.\u003c/em>\u003c/p>\n\u003cp>California would be the second state, following Virginia, to offer pro-choice license plates. But 29 states, including Virginia, offer pro-life equivalents — 15 of which use the revenue generated to fund anti-choice groups.\u003c/p>\n\u003cp>“California has a long history of leadership on reproductive rights,” said Sen. Jackson in a press release. “This license plate represents one way that we can demonstrate that we will stay true to our values and the right of every woman to safe, affordable and quality reproductive health care.”\u003c/p>\n\u003cp>The bill has already passed the Senate, and is currently in the State Assembly awaiting committee approval. Upon its enactment and the winning design’s approval from the California Department of Motor Vehicles, 7,500 pre-orders must be collected within 12 months until the special license plates are produced.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Until then, voting will remain open for the winning license plate art through August, Griffin said.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Bay Area native Richard Misrach has traveled across the United States over the course of his celebrated four-decade career. In that time, he’s captured the \u003ca href=\"http://aperture.org/shop/richard-misrach-on-the-beach\" target=\"_blank\" rel=\"noopener noreferrer\">loneliness that shadows leisure\u003c/a> and the myriad costs of our \u003ca href=\"https://fraenkelgallery.com/tag/petrochemical-america\" target=\"_blank\" rel=\"noopener noreferrer\">petrochemical addiction\u003c/a>, all as an exploration of our fraught relationship to the environment.\u003c/p>\n\u003cp>\u003ca href=\"https://fraenkelgallery.com/exhibitions/the-writing-on-the-wall\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>The Writing on the Wall\u003c/i>\u003c/a>, the latest chapter in Misrach’s long-form \u003cem>\u003ca href=\"https://fraenkelgallery.com/portfolios/desert-cantos\" target=\"_blank\" rel=\"noopener noreferrer\">Desert Cantos\u003c/a>\u003c/em> project, pivots toward photography’s anthropological potential, though the subject is anything but dusty or distant.\u003c/p>\n\u003cfigure id=\"attachment_13690548\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13690548\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/RM-DC-154_Shotgun-practice-he-will-return-Nevada.jpg\" alt=\"Richard Misrach, 'Shotgun practice, "he will return," Nevada,' 2016.\" width=\"2000\" height=\"1499\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RM-DC-154_Shotgun-practice-he-will-return-Nevada.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RM-DC-154_Shotgun-practice-he-will-return-Nevada-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RM-DC-154_Shotgun-practice-he-will-return-Nevada-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RM-DC-154_Shotgun-practice-he-will-return-Nevada-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RM-DC-154_Shotgun-practice-he-will-return-Nevada-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RM-DC-154_Shotgun-practice-he-will-return-Nevada-1920x1439.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RM-DC-154_Shotgun-practice-he-will-return-Nevada-1180x884.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RM-DC-154_Shotgun-practice-he-will-return-Nevada-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RM-DC-154_Shotgun-practice-he-will-return-Nevada-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RM-DC-154_Shotgun-practice-he-will-return-Nevada-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RM-DC-154_Shotgun-practice-he-will-return-Nevada-520x390.jpg 520w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Richard Misrach, ‘Shotgun practice, “he will return,” Nevada,’ 2016. \u003ccite>(Courtesy of Fraenkel Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Textual artifacts made their first appearance in Misrach’s 2005 series \u003ca href=\"http://www.artbook.com/9781597111638.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>Destroy This Memory\u003c/i>\u003c/a>, photographs made in the weeks immediately following Hurricane Katrina. The photographer side-stepped the prevailing media position that exploited survivors’ suffering for profit in favor of a more ethical documentary approach. He photographed the graffiti he encountered scrawled on any surface that wasn’t overwhelmed by flood waters, marks that alternately convey raw anger, hopelessness, dark humor and vows to rebuild.\u003c/p>\n\u003cp>Now, more than a decade on, Misrach once again conveys a moment of national crisis through scribbled interventions that transmit the dismay — or unalloyed joy — produced by the 2016 presidential election.\u003c/p>\n\u003cfigure id=\"attachment_13690542\" class=\"wp-caption aligncenter\" style=\"max-width: 1435px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13690542\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/RM-DC-130_Swastika-Barstow-California-2017.jpg\" alt=\"Richard Misrach, 'Swastika,' Barstow, California, 2017.\" width=\"1435\" height=\"1078\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RM-DC-130_Swastika-Barstow-California-2017.jpg 1435w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RM-DC-130_Swastika-Barstow-California-2017-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RM-DC-130_Swastika-Barstow-California-2017-800x601.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RM-DC-130_Swastika-Barstow-California-2017-768x577.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RM-DC-130_Swastika-Barstow-California-2017-1020x766.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RM-DC-130_Swastika-Barstow-California-2017-1180x886.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RM-DC-130_Swastika-Barstow-California-2017-960x721.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RM-DC-130_Swastika-Barstow-California-2017-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RM-DC-130_Swastika-Barstow-California-2017-375x282.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RM-DC-130_Swastika-Barstow-California-2017-520x391.jpg 520w\" sizes=\"(max-width: 1435px) 100vw, 1435px\">\u003cfigcaption class=\"wp-caption-text\">Richard Misrach, ‘Swastika,’ Barstow, California, 2017. \u003ccite>(Courtesy of Fraenkel Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Returning to familiar locations throughout Nevada, Arizona and Southern California, Misrach photographed sites where people left their opinions in what may be the oldest form of social commentary.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[contextly_sidebar id=”d1f8mlUGvHDgfzn1BdzaXfTcyfivSlsl”]Weathered boulders in the Yucca and Lucerne Valley regions have for years served as canvases for those driven to express whatever mundane or profound thought might cross their mind. A close look at the 32-frame panel that closes Misrach’s Fraenkel installation reveals rocks that have been painted over repeatedly, the stony canvases restored to new in preparation for the next layer of comments. Not everything is obscured, however, and the contrast between innocent pronouncements of undying love against the brutality symbolized by spray-painted swastikas provides a sobering visual experience.\u003c/p>\n\u003cp>Misrach also photographed throughout the Inland Empire, a conservative stronghold still struggling to recover from 2008’s crippling financial downturn. On the interior and exterior walls of planned housing communities that were abandoned, closed fist symbols associated with worldwide liberation movements coexist alongside menacing admonishments ordering those who don’t belong to leave.\u003c/p>\n\u003cfigure id=\"attachment_13690547\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13690547\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/RM-DC-141_-Desolation-Calipatria-California-2011.jpg\" alt=\"Richard Misrach, 'Desolation, Calipatria, California, 2016.\" width=\"2000\" height=\"1503\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RM-DC-141_-Desolation-Calipatria-California-2011.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RM-DC-141_-Desolation-Calipatria-California-2011-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RM-DC-141_-Desolation-Calipatria-California-2011-800x601.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RM-DC-141_-Desolation-Calipatria-California-2011-768x577.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RM-DC-141_-Desolation-Calipatria-California-2011-1020x767.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RM-DC-141_-Desolation-Calipatria-California-2011-1920x1443.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RM-DC-141_-Desolation-Calipatria-California-2011-1180x887.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RM-DC-141_-Desolation-Calipatria-California-2011-960x721.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RM-DC-141_-Desolation-Calipatria-California-2011-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RM-DC-141_-Desolation-Calipatria-California-2011-375x282.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RM-DC-141_-Desolation-Calipatria-California-2011-520x391.jpg 520w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Richard Misrach, ‘Desolation, Calipatria, California, 2016. \u003ccite>(Courtesy of Fraenkel Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At their core, these examples of mark making visualize the relatable human desire to be acknowledged, even if mutual comprehension of what is expressed is impossible, especially amidst an ever-shifting socio-political context.\u003c/p>\n\u003cp>Current political dialogue in the United States, in person and on social media platforms, can barely be called a ‘dialogue.’ We talk past — not to — each other, and the topic is nothing less than the future of the country. Yet a slender reserve persists in trying to understand each other and the positions or beliefs so passionately defended. Perhaps Misrach’s stark photographs afford us the opportunity to witness those with whom we disagree in moments of unfiltered expression. And perhaps the textual traces captured in \u003cem>The Writing on the Wall\u003c/em> will some day act, as the artist suggests, as hieroglyphics that could guide us to a gracious, unified understanding that has eluded us for so long.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Writing on the Wall’ is on view at Fraenkel Gallery in San Francisco through Aug. 16, 2017. \u003ca href=\"https://fraenkelgallery.com/exhibitions/the-writing-on-the-wall\" target=\"_blank\" rel=\"noopener noreferrer\">Click here\u003c/a> for more information.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Richard Misrach photographs present-day politics in scribbled interventions that transmit the dismay -- or unalloyed joy -- produced by the 2016 presidential election.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Bay Area native Richard Misrach has traveled across the United States over the course of his celebrated four-decade career. In that time, he’s captured the \u003ca href=\"http://aperture.org/shop/richard-misrach-on-the-beach\" target=\"_blank\" rel=\"noopener noreferrer\">loneliness that shadows leisure\u003c/a> and the myriad costs of our \u003ca href=\"https://fraenkelgallery.com/tag/petrochemical-america\" target=\"_blank\" rel=\"noopener noreferrer\">petrochemical addiction\u003c/a>, all as an exploration of our fraught relationship to the environment.\u003c/p>\n\u003cp>\u003ca href=\"https://fraenkelgallery.com/exhibitions/the-writing-on-the-wall\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>The Writing on the Wall\u003c/i>\u003c/a>, the latest chapter in Misrach’s long-form \u003cem>\u003ca href=\"https://fraenkelgallery.com/portfolios/desert-cantos\" target=\"_blank\" rel=\"noopener noreferrer\">Desert Cantos\u003c/a>\u003c/em> project, pivots toward photography’s anthropological potential, though the subject is anything but dusty or distant.\u003c/p>\n\u003cfigure id=\"attachment_13690548\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13690548\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/RM-DC-154_Shotgun-practice-he-will-return-Nevada.jpg\" alt=\"Richard Misrach, 'Shotgun practice, "he will return," Nevada,' 2016.\" width=\"2000\" height=\"1499\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RM-DC-154_Shotgun-practice-he-will-return-Nevada.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RM-DC-154_Shotgun-practice-he-will-return-Nevada-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RM-DC-154_Shotgun-practice-he-will-return-Nevada-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RM-DC-154_Shotgun-practice-he-will-return-Nevada-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RM-DC-154_Shotgun-practice-he-will-return-Nevada-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RM-DC-154_Shotgun-practice-he-will-return-Nevada-1920x1439.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RM-DC-154_Shotgun-practice-he-will-return-Nevada-1180x884.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RM-DC-154_Shotgun-practice-he-will-return-Nevada-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RM-DC-154_Shotgun-practice-he-will-return-Nevada-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RM-DC-154_Shotgun-practice-he-will-return-Nevada-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RM-DC-154_Shotgun-practice-he-will-return-Nevada-520x390.jpg 520w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Richard Misrach, ‘Shotgun practice, “he will return,” Nevada,’ 2016. \u003ccite>(Courtesy of Fraenkel Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Textual artifacts made their first appearance in Misrach’s 2005 series \u003ca href=\"http://www.artbook.com/9781597111638.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>Destroy This Memory\u003c/i>\u003c/a>, photographs made in the weeks immediately following Hurricane Katrina. The photographer side-stepped the prevailing media position that exploited survivors’ suffering for profit in favor of a more ethical documentary approach. He photographed the graffiti he encountered scrawled on any surface that wasn’t overwhelmed by flood waters, marks that alternately convey raw anger, hopelessness, dark humor and vows to rebuild.\u003c/p>\n\u003cp>Now, more than a decade on, Misrach once again conveys a moment of national crisis through scribbled interventions that transmit the dismay — or unalloyed joy — produced by the 2016 presidential election.\u003c/p>\n\u003cfigure id=\"attachment_13690542\" class=\"wp-caption aligncenter\" style=\"max-width: 1435px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13690542\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/RM-DC-130_Swastika-Barstow-California-2017.jpg\" alt=\"Richard Misrach, 'Swastika,' Barstow, California, 2017.\" width=\"1435\" height=\"1078\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RM-DC-130_Swastika-Barstow-California-2017.jpg 1435w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RM-DC-130_Swastika-Barstow-California-2017-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RM-DC-130_Swastika-Barstow-California-2017-800x601.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RM-DC-130_Swastika-Barstow-California-2017-768x577.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RM-DC-130_Swastika-Barstow-California-2017-1020x766.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RM-DC-130_Swastika-Barstow-California-2017-1180x886.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RM-DC-130_Swastika-Barstow-California-2017-960x721.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RM-DC-130_Swastika-Barstow-California-2017-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RM-DC-130_Swastika-Barstow-California-2017-375x282.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RM-DC-130_Swastika-Barstow-California-2017-520x391.jpg 520w\" sizes=\"(max-width: 1435px) 100vw, 1435px\">\u003cfigcaption class=\"wp-caption-text\">Richard Misrach, ‘Swastika,’ Barstow, California, 2017. \u003ccite>(Courtesy of Fraenkel Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Returning to familiar locations throughout Nevada, Arizona and Southern California, Misrach photographed sites where people left their opinions in what may be the oldest form of social commentary.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>Weathered boulders in the Yucca and Lucerne Valley regions have for years served as canvases for those driven to express whatever mundane or profound thought might cross their mind. A close look at the 32-frame panel that closes Misrach’s Fraenkel installation reveals rocks that have been painted over repeatedly, the stony canvases restored to new in preparation for the next layer of comments. Not everything is obscured, however, and the contrast between innocent pronouncements of undying love against the brutality symbolized by spray-painted swastikas provides a sobering visual experience.\u003c/p>\n\u003cp>Misrach also photographed throughout the Inland Empire, a conservative stronghold still struggling to recover from 2008’s crippling financial downturn. On the interior and exterior walls of planned housing communities that were abandoned, closed fist symbols associated with worldwide liberation movements coexist alongside menacing admonishments ordering those who don’t belong to leave.\u003c/p>\n\u003cfigure id=\"attachment_13690547\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13690547\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/RM-DC-141_-Desolation-Calipatria-California-2011.jpg\" alt=\"Richard Misrach, 'Desolation, Calipatria, California, 2016.\" width=\"2000\" height=\"1503\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RM-DC-141_-Desolation-Calipatria-California-2011.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RM-DC-141_-Desolation-Calipatria-California-2011-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RM-DC-141_-Desolation-Calipatria-California-2011-800x601.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RM-DC-141_-Desolation-Calipatria-California-2011-768x577.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RM-DC-141_-Desolation-Calipatria-California-2011-1020x767.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RM-DC-141_-Desolation-Calipatria-California-2011-1920x1443.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RM-DC-141_-Desolation-Calipatria-California-2011-1180x887.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RM-DC-141_-Desolation-Calipatria-California-2011-960x721.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RM-DC-141_-Desolation-Calipatria-California-2011-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RM-DC-141_-Desolation-Calipatria-California-2011-375x282.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RM-DC-141_-Desolation-Calipatria-California-2011-520x391.jpg 520w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Richard Misrach, ‘Desolation, Calipatria, California, 2016. \u003ccite>(Courtesy of Fraenkel Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At their core, these examples of mark making visualize the relatable human desire to be acknowledged, even if mutual comprehension of what is expressed is impossible, especially amidst an ever-shifting socio-political context.\u003c/p>\n\u003cp>Current political dialogue in the United States, in person and on social media platforms, can barely be called a ‘dialogue.’ We talk past — not to — each other, and the topic is nothing less than the future of the country. Yet a slender reserve persists in trying to understand each other and the positions or beliefs so passionately defended. Perhaps Misrach’s stark photographs afford us the opportunity to witness those with whom we disagree in moments of unfiltered expression. And perhaps the textual traces captured in \u003cem>The Writing on the Wall\u003c/em> will some day act, as the artist suggests, as hieroglyphics that could guide us to a gracious, unified understanding that has eluded us for so long.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Writing on the Wall’ is on view at Fraenkel Gallery in San Francisco through Aug. 16, 2017. \u003ca href=\"https://fraenkelgallery.com/exhibitions/the-writing-on-the-wall\" target=\"_blank\" rel=\"noopener noreferrer\">Click here\u003c/a> for more information.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"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.",
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"possible": {
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"radiolab": {
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},
"rightnowish": {
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"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
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