window.__IS_SSR__=true
window.__INITIAL_STATE__={
"attachmentsReducer": {
"audio_0": {
"type": "attachments",
"id": "audio_0",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background0.jpg"
}
}
},
"audio_1": {
"type": "attachments",
"id": "audio_1",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background1.jpg"
}
}
},
"audio_2": {
"type": "attachments",
"id": "audio_2",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background2.jpg"
}
}
},
"audio_3": {
"type": "attachments",
"id": "audio_3",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background3.jpg"
}
}
},
"audio_4": {
"type": "attachments",
"id": "audio_4",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background4.jpg"
}
}
},
"placeholder": {
"type": "attachments",
"id": "placeholder",
"imgSizes": {
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-160x107.jpg",
"width": 160,
"height": 107,
"mimeType": "image/jpeg"
},
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-800x533.jpg",
"width": 800,
"height": 533,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-768x512.jpg",
"width": 768,
"height": 512,
"mimeType": "image/jpeg"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1020x680.jpg",
"width": 1020,
"height": 680,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1536x1024.jpg",
"width": 1536,
"height": 1024,
"mimeType": "image/jpeg"
},
"fd-lrg": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1536x1024.jpg",
"width": 1536,
"height": 1024,
"mimeType": "image/jpeg"
},
"fd-med": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1020x680.jpg",
"width": 1020,
"height": 680,
"mimeType": "image/jpeg"
},
"fd-sm": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-800x533.jpg",
"width": 800,
"height": 533,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"xxsmall": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-160x107.jpg",
"width": 160,
"height": 107,
"mimeType": "image/jpeg"
},
"xsmall": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"small": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"xlarge": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1020x680.jpg",
"width": 1020,
"height": 680,
"mimeType": "image/jpeg"
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1920x1280.jpg",
"width": 1920,
"height": 1280,
"mimeType": "image/jpeg"
},
"guest-author-32": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 32,
"height": 32,
"mimeType": "image/jpeg"
},
"guest-author-50": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 50,
"height": 50,
"mimeType": "image/jpeg"
},
"guest-author-64": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 64,
"height": 64,
"mimeType": "image/jpeg"
},
"guest-author-96": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 96,
"height": 96,
"mimeType": "image/jpeg"
},
"guest-author-128": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 128,
"height": 128,
"mimeType": "image/jpeg"
},
"detail": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 160,
"height": 160,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1.jpg",
"width": 2000,
"height": 1333
}
}
},
"arts_11568332": {
"type": "attachments",
"id": "arts_11568332",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11568332",
"found": true
},
"parent": 11565578,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/05/Tabitha-Soren-darkroom-e1495754895807-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/05/Tabitha-Soren-darkroom-e1495754895807-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/05/Tabitha-Soren-darkroom-e1495754895807-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/05/Tabitha-Soren-darkroom-e1495754895807-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/05/Tabitha-Soren-darkroom-e1495754895807-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/05/Tabitha-Soren-darkroom-e1495754895807-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/05/Tabitha-Soren-darkroom-e1495754895807.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/05/Tabitha-Soren-darkroom-e1495754895807-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/05/Tabitha-Soren-darkroom-e1495754895807-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/05/Tabitha-Soren-darkroom-e1495754895807-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/05/Tabitha-Soren-darkroom-e1495754895807-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/05/Tabitha-Soren-darkroom-e1495754895807-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/05/Tabitha-Soren-darkroom-e1495754895807-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/05/Tabitha-Soren-darkroom-e1495754895807-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/05/Tabitha-Soren-darkroom-e1495754895807-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/05/Tabitha-Soren-darkroom-e1495754895807-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/05/Tabitha-Soren-darkroom-e1495754895807-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/05/Tabitha-Soren-darkroom-e1495754895807-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/05/Tabitha-Soren-darkroom-e1495754895807-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/05/Tabitha-Soren-darkroom-e1495754895807-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/05/Tabitha-Soren-darkroom-e1495754895807-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1462912122,
"modified": 1462912148,
"caption": "Tabitha Soren outside her darkroom in Berkeley.",
"description": "Tabitha Soren outside her darkroom in Berkeley.",
"title": "Tabitha Soren darkroom",
"credit": "Photo: Kevin L. Jones/KQED",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13301015": {
"type": "attachments",
"id": "arts_13301015",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13301015",
"found": true
},
"parent": 13300920,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Zito-520x325.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 325
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Zito-160x100.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 100
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Zito-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Zito-375x234.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 234
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Zito.jpg",
"width": 906,
"height": 566
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Zito-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Zito-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Zito-800x500.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 500
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Zito-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Zito-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Zito-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Zito-768x480.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 480
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Zito-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Zito-240x150.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 150
}
},
"publishDate": 1495698089,
"modified": 1495698344,
"caption": "Barry Zito, a man who we personally witnessed pulled from a game in the first inning after walking in a run, now thinks he's found the 'secret to life': songwriting.",
"description": "Barry Zito, a man who we personally witnessed pulled from a game in the first inning after walking in a run, now thinks he's found the 'secret to life': songwriting.",
"title": "Zito",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13284585": {
"type": "attachments",
"id": "arts_13284585",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13284585",
"found": true
},
"parent": 0,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/UndocYouthIG.MAIN_-520x325.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 325
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/UndocYouthIG.MAIN_-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/UndocYouthIG.MAIN_-160x100.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 100
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/UndocYouthIG.MAIN_-960x600.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 600
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/UndocYouthIG.MAIN_-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/UndocYouthIG.MAIN_-375x234.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 234
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/UndocYouthIG.MAIN_.jpg",
"width": 1920,
"height": 1200
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/UndocYouthIG.MAIN_-1020x638.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 638
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/UndocYouthIG.MAIN_-1180x738.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 738
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/UndocYouthIG.MAIN_-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/UndocYouthIG.MAIN_-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/UndocYouthIG.MAIN_-800x500.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 500
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/UndocYouthIG.MAIN_-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/UndocYouthIG.MAIN_-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/UndocYouthIG.MAIN_-1920x1200.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1200
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/UndocYouthIG.MAIN_-1180x738.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 738
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/UndocYouthIG.MAIN_-1920x1200.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1200
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/UndocYouthIG.MAIN_-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/UndocYouthIG.MAIN_-768x480.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 480
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/UndocYouthIG.MAIN_-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/UndocYouthIG.MAIN_-240x150.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 150
}
},
"publishDate": 1495487176,
"modified": 1495487248,
"caption": "Alejandra (right), an undocumented high school student in Oakland, with a friend. ",
"description": "Alejandra (right), an undocumented high school student in Oakland, with a friend. ",
"title": "UndocYouthIG.MAIN",
"credit": "Courtesy Undocumented Lives",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13281419": {
"type": "attachments",
"id": "arts_13281419",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13281419",
"found": true
},
"parent": 13279959,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/KQED_Josh_Faught_5_COVER-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/KQED_Josh_Faught_5_COVER-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/KQED_Josh_Faught_5_COVER-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/KQED_Josh_Faught_5_COVER-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/KQED_Josh_Faught_5_COVER-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/KQED_Josh_Faught_5_COVER-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/KQED_Josh_Faught_5_COVER.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/KQED_Josh_Faught_5_COVER-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/KQED_Josh_Faught_5_COVER-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/KQED_Josh_Faught_5_COVER-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/KQED_Josh_Faught_5_COVER-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/KQED_Josh_Faught_5_COVER-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/KQED_Josh_Faught_5_COVER-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/KQED_Josh_Faught_5_COVER-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/KQED_Josh_Faught_5_COVER-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/KQED_Josh_Faught_5_COVER-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/KQED_Josh_Faught_5_COVER-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/KQED_Josh_Faught_5_COVER-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/KQED_Josh_Faught_5_COVER-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/KQED_Josh_Faught_5_COVER-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/KQED_Josh_Faught_5_COVER-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1495441676,
"modified": 1495441743,
"caption": "Josh Faught in his South San Francisco studio.",
"description": "Josh Faught in his South San Francisco studio.",
"title": "KQED_Josh_Faught_5_COVER",
"credit": "Photo by Graham Holoch/KQED",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"news_11467103": {
"type": "attachments",
"id": "news_11467103",
"meta": {
"index": "attachments_1716263798",
"site": "news",
"id": "11467103",
"found": true
},
"parent": 11466985,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2017/05/they_call_us_monsters-press-01-520x347.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 347
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2017/05/they_call_us_monsters-press-01-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2017/05/they_call_us_monsters-press-01-160x107.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 107
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2017/05/they_call_us_monsters-press-01-960x640.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 640
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2017/05/they_call_us_monsters-press-01-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2017/05/they_call_us_monsters-press-01-375x250.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 250
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2017/05/they_call_us_monsters-press-01.jpg",
"width": 5472,
"height": 3648
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2017/05/they_call_us_monsters-press-01-1020x680.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 680
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2017/05/they_call_us_monsters-press-01-1180x787.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 787
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2017/05/they_call_us_monsters-press-01-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2017/05/they_call_us_monsters-press-01-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2017/05/they_call_us_monsters-press-01-800x533.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 533
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2017/05/they_call_us_monsters-press-01-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2017/05/they_call_us_monsters-press-01-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2017/05/they_call_us_monsters-press-01-1920x1280.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1280
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2017/05/they_call_us_monsters-press-01-1180x787.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 787
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2017/05/they_call_us_monsters-press-01-1920x1280.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1280
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2017/05/they_call_us_monsters-press-01-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2017/05/they_call_us_monsters-press-01-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2017/05/they_call_us_monsters-press-01-240x160.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 160
}
},
"publishDate": 1495227589,
"modified": 1495231929,
"caption": "Juan, Jarad and Antonio at \"The Compound,\" a high-security Los Angeles facility for juvenile offenders.",
"description": null,
"title": "they_call_us_monsters-press-01",
"credit": "BMP Films",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13263479": {
"type": "attachments",
"id": "arts_13263479",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13263479",
"found": true
},
"parent": 13263478,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/gettyimages-679290702_wide-04c9e69a4a62818ad7574c09f6e74c4ab6859fa9-520x292.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 292
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/gettyimages-679290702_wide-04c9e69a4a62818ad7574c09f6e74c4ab6859fa9-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/gettyimages-679290702_wide-04c9e69a4a62818ad7574c09f6e74c4ab6859fa9-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/gettyimages-679290702_wide-04c9e69a4a62818ad7574c09f6e74c4ab6859fa9-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/gettyimages-679290702_wide-04c9e69a4a62818ad7574c09f6e74c4ab6859fa9-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/gettyimages-679290702_wide-04c9e69a4a62818ad7574c09f6e74c4ab6859fa9-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/gettyimages-679290702_wide-04c9e69a4a62818ad7574c09f6e74c4ab6859fa9.jpg",
"width": 3491,
"height": 1963
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/gettyimages-679290702_wide-04c9e69a4a62818ad7574c09f6e74c4ab6859fa9-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/gettyimages-679290702_wide-04c9e69a4a62818ad7574c09f6e74c4ab6859fa9-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/gettyimages-679290702_wide-04c9e69a4a62818ad7574c09f6e74c4ab6859fa9-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/gettyimages-679290702_wide-04c9e69a4a62818ad7574c09f6e74c4ab6859fa9-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/gettyimages-679290702_wide-04c9e69a4a62818ad7574c09f6e74c4ab6859fa9-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/gettyimages-679290702_wide-04c9e69a4a62818ad7574c09f6e74c4ab6859fa9-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/gettyimages-679290702_wide-04c9e69a4a62818ad7574c09f6e74c4ab6859fa9-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/gettyimages-679290702_wide-04c9e69a4a62818ad7574c09f6e74c4ab6859fa9-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/gettyimages-679290702_wide-04c9e69a4a62818ad7574c09f6e74c4ab6859fa9-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/gettyimages-679290702_wide-04c9e69a4a62818ad7574c09f6e74c4ab6859fa9-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/gettyimages-679290702_wide-04c9e69a4a62818ad7574c09f6e74c4ab6859fa9-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/gettyimages-679290702_wide-04c9e69a4a62818ad7574c09f6e74c4ab6859fa9-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/gettyimages-679290702_wide-04c9e69a4a62818ad7574c09f6e74c4ab6859fa9-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/gettyimages-679290702_wide-04c9e69a4a62818ad7574c09f6e74c4ab6859fa9-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1495215557,
"modified": 1495215557,
"caption": null,
"description": "Jean-Michel Basquiat's untitled painting of a skull is displayed behind an official with Sotheby's, which offered the media a preview earlier this month. On Thursday, the work sold for $110.5 million — the highest sum ever paid at auction for a work by a U.S. artis",
"title": "Jean-Michel Basquiat's untitled painting of a skull is displayed behind an official with Sotheby's, which offered the media a preview earlier this month. On Thursday, the work sold for $110.5 million — the highest sum ever paid at auction for a work by a U.S. artist.",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13257849": {
"type": "attachments",
"id": "arts_13257849",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13257849",
"found": true
},
"parent": 13257619,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/OGToldMe-520x347.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 347
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/OGToldMe-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/OGToldMe-160x107.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 107
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/OGToldMe-960x640.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 640
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/OGToldMe-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/OGToldMe-375x250.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 250
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/OGToldMe.jpg",
"width": 1280,
"height": 853
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/OGToldMe-1020x680.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 680
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/OGToldMe-1180x786.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 786
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/OGToldMe-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/OGToldMe-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/OGToldMe-800x533.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 533
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/OGToldMe-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/OGToldMe-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/OGToldMe-1180x786.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 786
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/OGToldMe-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/OGToldMe-768x512.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 512
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/OGToldMe-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/OGToldMe-240x160.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 160
}
},
"publishDate": 1495148306,
"modified": 1495148347,
"caption": "Pendarvis Harshaw, author of 'OG Told Me.'",
"description": "Pendarvis Harshaw, author of 'OG Told Me.'",
"title": "OGToldMe",
"credit": "Kevin Allen",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13257616": {
"type": "attachments",
"id": "arts_13257616",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13257616",
"found": true
},
"parent": 13232565,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/nathan_byrne-COVER-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/nathan_byrne-COVER-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/nathan_byrne-COVER-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/nathan_byrne-COVER-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/nathan_byrne-COVER-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/nathan_byrne-COVER-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/nathan_byrne-COVER.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/nathan_byrne-COVER-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/nathan_byrne-COVER-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/nathan_byrne-COVER-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/nathan_byrne-COVER-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/nathan_byrne-COVER-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/nathan_byrne-COVER-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/nathan_byrne-COVER-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/nathan_byrne-COVER-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/nathan_byrne-COVER-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/nathan_byrne-COVER-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/nathan_byrne-COVER-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/nathan_byrne-COVER-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/nathan_byrne-COVER-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/nathan_byrne-COVER-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1495143533,
"modified": 1495143568,
"caption": "Nathan Byrne, Detail view of 'I Wish I Knew For True,' 2017. ",
"description": "Nathan Byrne, Detail view of 'I Wish I Knew For True,' 2017. ",
"title": "nathan_byrne-COVER",
"credit": "Courtesy of Recology San Francisco",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13244664": {
"type": "attachments",
"id": "arts_13244664",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13244664",
"found": true
},
"parent": 13234846,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Emily-Mast_ENDE-Like-a-New-Beginning_Still-1_2014_PhotoCredit_Martin-Dicicco-COVERB-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Emily-Mast_ENDE-Like-a-New-Beginning_Still-1_2014_PhotoCredit_Martin-Dicicco-COVERB-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Emily-Mast_ENDE-Like-a-New-Beginning_Still-1_2014_PhotoCredit_Martin-Dicicco-COVERB-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Emily-Mast_ENDE-Like-a-New-Beginning_Still-1_2014_PhotoCredit_Martin-Dicicco-COVERB-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Emily-Mast_ENDE-Like-a-New-Beginning_Still-1_2014_PhotoCredit_Martin-Dicicco-COVERB-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Emily-Mast_ENDE-Like-a-New-Beginning_Still-1_2014_PhotoCredit_Martin-Dicicco-COVERB-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Emily-Mast_ENDE-Like-a-New-Beginning_Still-1_2014_PhotoCredit_Martin-Dicicco-COVERB.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Emily-Mast_ENDE-Like-a-New-Beginning_Still-1_2014_PhotoCredit_Martin-Dicicco-COVERB-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Emily-Mast_ENDE-Like-a-New-Beginning_Still-1_2014_PhotoCredit_Martin-Dicicco-COVERB-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Emily-Mast_ENDE-Like-a-New-Beginning_Still-1_2014_PhotoCredit_Martin-Dicicco-COVERB-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Emily-Mast_ENDE-Like-a-New-Beginning_Still-1_2014_PhotoCredit_Martin-Dicicco-COVERB-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Emily-Mast_ENDE-Like-a-New-Beginning_Still-1_2014_PhotoCredit_Martin-Dicicco-COVERB-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Emily-Mast_ENDE-Like-a-New-Beginning_Still-1_2014_PhotoCredit_Martin-Dicicco-COVERB-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Emily-Mast_ENDE-Like-a-New-Beginning_Still-1_2014_PhotoCredit_Martin-Dicicco-COVERB-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Emily-Mast_ENDE-Like-a-New-Beginning_Still-1_2014_PhotoCredit_Martin-Dicicco-COVERB-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Emily-Mast_ENDE-Like-a-New-Beginning_Still-1_2014_PhotoCredit_Martin-Dicicco-COVERB-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Emily-Mast_ENDE-Like-a-New-Beginning_Still-1_2014_PhotoCredit_Martin-Dicicco-COVERB-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Emily-Mast_ENDE-Like-a-New-Beginning_Still-1_2014_PhotoCredit_Martin-Dicicco-COVERB-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Emily-Mast_ENDE-Like-a-New-Beginning_Still-1_2014_PhotoCredit_Martin-Dicicco-COVERB-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Emily-Mast_ENDE-Like-a-New-Beginning_Still-1_2014_PhotoCredit_Martin-Dicicco-COVERB-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Emily-Mast_ENDE-Like-a-New-Beginning_Still-1_2014_PhotoCredit_Martin-Dicicco-COVERB-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1494983049,
"modified": 1494983090,
"caption": "Emily Mast, Still from 'ENDE (Like a New Beginning),' 2014.",
"description": "Emily Mast, Still from 'ENDE (Like a New Beginning),' 2014.",
"title": "Emily-Mast_ENDE-Like-a-New-Beginning_Still-1_2014_PhotoCredit_Martin-Dicicco-COVERB",
"credit": "Photo by Martin Dicicco",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13243284": {
"type": "attachments",
"id": "arts_13243284",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13243284",
"found": true
},
"parent": 13232561,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/COVER-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/COVER-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/COVER-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/COVER-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/COVER-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/COVER-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/COVER.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/COVER-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/COVER-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/COVER-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/COVER-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/COVER-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/COVER-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/COVER-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/COVER-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/COVER-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/COVER-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/COVER-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/COVER-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/COVER-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/COVER-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1494963691,
"modified": 1494964252,
"caption": "Maryam Yousif, 'CHebba Bent Bladi,' 2017.",
"description": "Maryam Yousif, 'CHebba Bent Bladi,' 2017.",
"title": "COVER",
"credit": "Courtesy of the artist and CTRL+SHFT",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13235760": {
"type": "attachments",
"id": "arts_13235760",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13235760",
"found": true
},
"parent": 13235759,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/lr-in-search-of-a-new-home_enl-517cc63bb32d5023f4ddb9c5170a4df7f048b566-520x414.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 414
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/lr-in-search-of-a-new-home_enl-517cc63bb32d5023f4ddb9c5170a4df7f048b566-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/lr-in-search-of-a-new-home_enl-517cc63bb32d5023f4ddb9c5170a4df7f048b566-160x127.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 127
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/lr-in-search-of-a-new-home_enl-517cc63bb32d5023f4ddb9c5170a4df7f048b566-960x764.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 764
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/lr-in-search-of-a-new-home_enl-517cc63bb32d5023f4ddb9c5170a4df7f048b566-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/lr-in-search-of-a-new-home_enl-517cc63bb32d5023f4ddb9c5170a4df7f048b566-375x298.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 298
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/lr-in-search-of-a-new-home_enl-517cc63bb32d5023f4ddb9c5170a4df7f048b566.jpg",
"width": 1200,
"height": 955
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/lr-in-search-of-a-new-home_enl-517cc63bb32d5023f4ddb9c5170a4df7f048b566-1020x812.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 812
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/lr-in-search-of-a-new-home_enl-517cc63bb32d5023f4ddb9c5170a4df7f048b566-1180x939.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 939
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/lr-in-search-of-a-new-home_enl-517cc63bb32d5023f4ddb9c5170a4df7f048b566-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/lr-in-search-of-a-new-home_enl-517cc63bb32d5023f4ddb9c5170a4df7f048b566-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/lr-in-search-of-a-new-home_enl-517cc63bb32d5023f4ddb9c5170a4df7f048b566-800x637.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 637
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/lr-in-search-of-a-new-home_enl-517cc63bb32d5023f4ddb9c5170a4df7f048b566-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/lr-in-search-of-a-new-home_enl-517cc63bb32d5023f4ddb9c5170a4df7f048b566-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/lr-in-search-of-a-new-home_enl-517cc63bb32d5023f4ddb9c5170a4df7f048b566-1180x939.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 939
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/lr-in-search-of-a-new-home_enl-517cc63bb32d5023f4ddb9c5170a4df7f048b566-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/lr-in-search-of-a-new-home_enl-517cc63bb32d5023f4ddb9c5170a4df7f048b566-768x611.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 611
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/lr-in-search-of-a-new-home_enl-517cc63bb32d5023f4ddb9c5170a4df7f048b566-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/lr-in-search-of-a-new-home_enl-517cc63bb32d5023f4ddb9c5170a4df7f048b566-240x191.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 191
}
},
"publishDate": 1494873487,
"modified": 1494873906,
"caption": "'In Search of a New Home' is part of Eric Almanza's series of oil paintings depicting the border wall with Mexico.",
"description": "'In Search of a New Home' is part of Eric Almanza's series of oil paintings depicting the border wall with Mexico.",
"title": "In Search of a New Home is part of Eric Almanza's series of oil paintings depicting the border wall with Mexico.",
"credit": "Courtesy of Eric Almanza",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13388208": {
"type": "attachments",
"id": "arts_13388208",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13388208",
"found": true
},
"parent": 13215329,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Summer-of-Love_Concert-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Summer-of-Love_Concert-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Summer-of-Love_Concert-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Summer-of-Love_Concert-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Summer-of-Love_Concert-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Summer-of-Love_Concert-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Summer-of-Love_Concert.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Summer-of-Love_Concert-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Summer-of-Love_Concert-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Summer-of-Love_Concert-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Summer-of-Love_Concert-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Summer-of-Love_Concert-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Summer-of-Love_Concert-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Summer-of-Love_Concert-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Summer-of-Love_Concert-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Summer-of-Love_Concert-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Summer-of-Love_Concert-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Summer-of-Love_Concert-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Summer-of-Love_Concert-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Summer-of-Love_Concert-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Summer-of-Love_Concert-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1496860719,
"modified": 1496860853,
"caption": "An attendee dances at the Fantasy Fair and Magic Mountain Music Festival, held June 1967 at the Cushing Memorial Amphitheatre on Mount Tamalpais, Mill Valley",
"description": "An attendee dances at the Fantasy Fair and Magic Mountain Music Festival, held June 1967 at the Cushing Memorial Amphitheatre on Mount Tamalpais, Mill Valley",
"title": "Summer of Love_02",
"credit": "Photo: Elaine Mayes",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
}
},
"audioPlayerReducer": {
"postId": "stream_live",
"isPaused": true,
"isPlaying": false,
"pfsActive": false,
"pledgeModalIsOpen": true,
"playerDrawerIsOpen": false,
"liveAudioPlayStartedAt": 0,
"liveAudioPlayContext": ""
},
"authorsReducer": {
"byline_arts_13263478": {
"type": "authors",
"id": "byline_arts_13263478",
"meta": {
"override": true
},
"slug": "byline_arts_13263478",
"name": "Colin Dwyer",
"isLoading": false
},
"shotchkiss": {
"type": "authors",
"id": "61",
"meta": {
"index": "authors_1716337520",
"id": "61",
"found": true
},
"name": "Sarah Hotchkiss",
"firstName": "Sarah",
"lastName": "Hotchkiss",
"slug": "shotchkiss",
"email": "shotchkiss@kqed.org",
"display_author_email": true,
"staff_mastheads": [
"arts"
],
"title": "Senior Editor",
"bio": "Sarah Hotchkiss is a San Francisco \u003ca href=\"http://www.sarahhotchkiss.com\">artist\u003c/a> and arts writer. In 2019, she received the Dorothea & Leo Rabkin Foundation grant for visual art journalism and in 2020 she received a Society of Professional Journalists, Northern California award for excellence in arts and culture reporting.",
"avatar": "https://secure.gravatar.com/avatar/bc662df144b3d27fd8b1b6f1c2a420d34e91e53154d411bb7ad353cc8b6cea8d?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "",
"roles": [
"editor"
]
},
{
"site": "arts",
"roles": [
"Contributor",
"administrator"
]
},
{
"site": "artschool",
"roles": [
"administrator"
]
},
{
"site": "news",
"roles": [
"editor"
]
},
{
"site": "pop",
"roles": [
"administrator"
]
},
{
"site": "bayareabites",
"roles": [
"editor"
]
},
{
"site": "spark",
"roles": [
"editor"
]
},
{
"site": "checkplease",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Sarah Hotchkiss | KQED",
"description": "Senior Editor",
"ogImgSrc": "https://secure.gravatar.com/avatar/bc662df144b3d27fd8b1b6f1c2a420d34e91e53154d411bb7ad353cc8b6cea8d?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/bc662df144b3d27fd8b1b6f1c2a420d34e91e53154d411bb7ad353cc8b6cea8d?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/shotchkiss"
},
"kjones": {
"type": "authors",
"id": "93",
"meta": {
"index": "authors_1716337520",
"id": "93",
"found": true
},
"name": "Kevin L. Jones",
"firstName": "Kevin",
"lastName": "Jones",
"slug": "kjones",
"email": "kjones@kqed.org",
"display_author_email": false,
"staff_mastheads": [],
"title": null,
"bio": null,
"avatar": "https://secure.gravatar.com/avatar/12c65b5633ed39d0a59bb7f497eff645?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"subscriber"
]
},
{
"site": "styleguide",
"roles": [
"contributor"
]
},
{
"site": "artschool",
"roles": [
"subscriber"
]
},
{
"site": "news",
"roles": [
"subscriber"
]
},
{
"site": "pop",
"roles": [
"subscriber"
]
}
],
"headData": {
"title": "Kevin L. Jones | KQED",
"description": null,
"ogImgSrc": "https://secure.gravatar.com/avatar/12c65b5633ed39d0a59bb7f497eff645?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/12c65b5633ed39d0a59bb7f497eff645?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/kjones"
},
"gmeline": {
"type": "authors",
"id": "185",
"meta": {
"index": "authors_1716337520",
"id": "185",
"found": true
},
"name": "Gabe Meline",
"firstName": "Gabe",
"lastName": "Meline",
"slug": "gmeline",
"email": "gmeline@kqed.org",
"display_author_email": true,
"staff_mastheads": [
"arts"
],
"title": "Senior Editor, KQED Arts & Culture",
"bio": "Gabe Meline entered journalism at age 15 making photocopied zines, and has since earned awards from the Edward R. Murrow Awards, the Society for Professional Journalists, the Online Journalism Awards, the Association of Alternative Newsweeklies and the California Newspaper Publishers Association. Prior to KQED, he was the editor of the \u003cem>North Bay Bohemian\u003c/em> and a touring musician. He lives with his wife and daughter in his hometown of Santa Rosa, CA.",
"avatar": "https://secure.gravatar.com/avatar/5bebe57be0d8bc2dd318934feb47299e2d2d10cba28d09d8d7afb389a2ce2bdd?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "",
"roles": [
"editor"
]
},
{
"site": "arts",
"roles": [
"administrator"
]
},
{
"site": "artschool",
"roles": [
"editor"
]
},
{
"site": "news",
"roles": [
"author"
]
},
{
"site": "pop",
"roles": [
"editor"
]
},
{
"site": "bayareabites",
"roles": [
"editor"
]
},
{
"site": "food",
"roles": [
"editor"
]
},
{
"site": "liveblog",
"roles": [
"editor"
]
},
{
"site": "hiphop",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Gabe Meline | KQED",
"description": "Senior Editor, KQED Arts & Culture",
"ogImgSrc": "https://secure.gravatar.com/avatar/5bebe57be0d8bc2dd318934feb47299e2d2d10cba28d09d8d7afb389a2ce2bdd?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/5bebe57be0d8bc2dd318934feb47299e2d2d10cba28d09d8d7afb389a2ce2bdd?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/gmeline"
},
"rachael-myrow": {
"type": "authors",
"id": "251",
"meta": {
"index": "authors_1716337520",
"id": "251",
"found": true
},
"name": "Rachael Myrow",
"firstName": "Rachael",
"lastName": "Myrow",
"slug": "rachael-myrow",
"email": "rmyrow@kqed.org",
"display_author_email": true,
"staff_mastheads": [
"news"
],
"title": "Senior Editor of KQED's Silicon Valley News Desk",
"bio": "• I write and edit stories about how Silicon Valley power and policies shape everyday life in California. I’m also passionate about making Bay Area history and culture more accessible to a broad public. • I’ve been a journalist for most of my life, starting in high school with The Franklin Press in Los Angeles, where I grew up. While earning my first degree in English at UC Berkeley, I got my start in public radio at KALX-FM. After completing a second degree in journalism at Cal, I landed my first professional job at Marketplace, then moved on to KPCC (now LAist), and then KQED, where I hosted The California Report for more than seven years. • My reporting has appeared on NPR, The World, WBUR’s \u003ci>Here & Now\u003c/i>, and the BBC. I also guest host for KQED’s \u003ci>Forum\u003c/i>, as well as the Commonwealth Club in San Francisco. • I speak periodically on media, democracy and technology issues, and do voiceover work for documentaries and educational video projects. • Outside of the studio, you'll find me hiking Bay Area trails and whipping up Insta-ready meals in my kitchen. • I do not accept gifts, money, or favors from anyone connected to my reporting, I don't pay people for information, and I do not support or donate to political causes. • I strive to treat the people I report on with fairness, honesty, and respect. I also recognize there are often multiple sides to a story and work to verify information through multiple sources and documentation. If I get something wrong, I correct it.",
"avatar": "https://secure.gravatar.com/avatar/3ed8a3c5f26025e4a805ba634cda8cd764906b97438a6d9ce216b044e340da4e?s=600&d=blank&r=g",
"twitter": "rachaelmyrow",
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": "https://www.linkedin.com/in/rachaelmyrow/",
"sites": [
{
"site": "arts",
"roles": [
"administrator"
]
},
{
"site": "news",
"roles": [
"edit_others_posts",
"editor"
]
},
{
"site": "futureofyou",
"roles": [
"editor"
]
},
{
"site": "bayareabites",
"roles": [
"editor"
]
},
{
"site": "stateofhealth",
"roles": [
"editor"
]
},
{
"site": "science",
"roles": [
"editor"
]
},
{
"site": "food",
"roles": [
"editor"
]
},
{
"site": "forum",
"roles": [
"editor"
]
},
{
"site": "liveblog",
"roles": [
"author"
]
}
],
"headData": {
"title": "Rachael Myrow | KQED",
"description": "Senior Editor of KQED's Silicon Valley News Desk",
"ogImgSrc": "https://secure.gravatar.com/avatar/3ed8a3c5f26025e4a805ba634cda8cd764906b97438a6d9ce216b044e340da4e?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/3ed8a3c5f26025e4a805ba634cda8cd764906b97438a6d9ce216b044e340da4e?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/rachael-myrow"
},
"eholmes": {
"type": "authors",
"id": "8623",
"meta": {
"index": "authors_1716337520",
"id": "8623",
"found": true
},
"name": "Emily Holmes",
"firstName": "Emily",
"lastName": "Holmes",
"slug": "eholmes",
"email": "emily@artpractical.com",
"display_author_email": false,
"staff_mastheads": [],
"title": null,
"bio": "\u003ca href=\"http://www.emilykholmes.com/\" target=\"_blank\" rel=\"noopener\">Emily Holmes \u003c/a>is a Sacramento-based writer and editor.",
"avatar": "https://secure.gravatar.com/avatar/3415140cdd1ccd2cb8e99eb21568553a?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"contributor"
]
}
],
"headData": {
"title": "Emily Holmes | KQED",
"description": null,
"ogImgSrc": "https://secure.gravatar.com/avatar/3415140cdd1ccd2cb8e99eb21568553a?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/3415140cdd1ccd2cb8e99eb21568553a?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/eholmes"
},
"runterberger": {
"type": "authors",
"id": "11302",
"meta": {
"index": "authors_1716337520",
"id": "11302",
"found": true
},
"name": "Richie Unterberger",
"firstName": "Richie",
"lastName": "Unterberger",
"slug": "runterberger",
"email": "richie@richieunterberger.com",
"display_author_email": false,
"staff_mastheads": [],
"title": null,
"bio": "Richie Unterberger has written a dozen rock history books, including volumes on the Velvet Underground, the Who, and the Beatles. He teaches community education rock history courses at the College of Marin and the Fromm Institute in San Francisco. Read more of his work at www.richieunterberger.com/wordpress.",
"avatar": "https://secure.gravatar.com/avatar/a39c81cd6643bc782cfa0bf46a2a5a4c?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"author"
]
}
],
"headData": {
"title": "Richie Unterberger | KQED",
"description": null,
"ogImgSrc": "https://secure.gravatar.com/avatar/a39c81cd6643bc782cfa0bf46a2a5a4c?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/a39c81cd6643bc782cfa0bf46a2a5a4c?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/runterberger"
},
"sburke": {
"type": "authors",
"id": "11323",
"meta": {
"index": "authors_1716337520",
"id": "11323",
"found": true
},
"name": "Sarah Burke",
"firstName": null,
"lastName": null,
"slug": "sburke",
"email": "sarahlburke@gmail.com",
"display_author_email": false,
"staff_mastheads": [],
"title": null,
"bio": "Sarah Burke is a journalist, critic, and curator living and working in Oakland, California. She is a regular contributor to KQED's Culture Cue, for which she writes about topics at the intersection of art, culture, and identity. Her work has been recognized with first place awards from the American Association of Alternative Newsmedia and The Society of Professional Journalists. Previously, she served as Managing Editor at the \u003cem>East Bay Express\u003c/em>. Find her on twitter at \u003ca href=\"https://twitter.com/sarahlubyburke\">@sarahlubyburke. \u003c/a>",
"avatar": "https://secure.gravatar.com/avatar/5b8e5916a3929fc7156c3fa4463cc365?s=600&d=blank&r=g",
"twitter": "sarahlubyburke",
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"contributor"
]
}
],
"headData": {
"title": "Sarah Burke | KQED",
"description": null,
"ogImgSrc": "https://secure.gravatar.com/avatar/5b8e5916a3929fc7156c3fa4463cc365?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/5b8e5916a3929fc7156c3fa4463cc365?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/sburke"
},
"scraig": {
"type": "authors",
"id": "11327",
"meta": {
"index": "authors_1716337520",
"id": "11327",
"found": true
},
"name": "Sarah Craig",
"firstName": "Sarah",
"lastName": "Craig",
"slug": "scraig",
"email": "scraig@KQED.org",
"display_author_email": false,
"staff_mastheads": [],
"title": "KQED Contributor",
"bio": "Sarah Craig is a freelance radio reporter and documentary photographer. She is currently working on \u003cem>Dreams of Dust\u003c/em>, @dreamsofdust, a multimedia project that documents stories of climate migration in California’s Central Valley, previously funded by the California Humanities. Her completed projects include \u003cem>\u003ca href=\"http://www.facesoffracking.org/\" target=\"_blank\" rel=\"nofollow noopener noreferrer\">Faces of Fracking\u003c/a>,\u003c/em> an investigation into the impact of fracking on the people and places of California, and \u003cem>\u003ca href=\"http://sarahcraig.visura.co/gulf-disaster-2\" target=\"_blank\" rel=\"nofollow noopener noreferrer\">The Gulf Disaster\u003c/a>,\u003c/em> stories on the lives of fishermen in the aftermath of the BP spill. Her work has been published by Marketplace, KQED's Bay Curious and Q'ed Up podcasts, KQED's California Report Magazine, KALW's Crosscurrents, Grist.org, High Country News, Earth Island Journal, and others. Sarah received a B.A. in Geography at Vassar College and attended the \u003ca href=\"http://www.salt.edu/\" target=\"_blank\" rel=\"nofollow noopener noreferrer\">Salt Institute of Documentary Studies\u003c/a> in Portland, ME. She recently received an Excellence in Journalism Award from the NorCal Society of Professional Journalists for her documentary radio piece, \u003ca href=\"http://kalw.org/post/215-will-water-come#stream/0\">\"Will the Water Come.\"\u003c/a> Email: scraig@kqed.org Twitter: @sarahcraigmedia Website: sarahcraigmedia.com",
"avatar": "https://secure.gravatar.com/avatar/97f17950c828429d3df9f2907412a50b?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "news",
"roles": [
"subscriber"
]
},
{
"site": "science",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Sarah Craig | KQED",
"description": "KQED Contributor",
"ogImgSrc": "https://secure.gravatar.com/avatar/97f17950c828429d3df9f2907412a50b?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/97f17950c828429d3df9f2907412a50b?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/scraig"
}
},
"pagesReducer": {
"arts_category_visualarts": {
"type": "terms",
"id": "arts_70",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "70",
"score": 14.403156
},
"featImg": null,
"name": "Visual Arts",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Visual Arts Archives | KQED Arts",
"ogDescription": null
},
"ttid": 71,
"slug": "visualarts",
"isLoading": false,
"title": "Visual Arts",
"pageMeta": {
"site": "arts",
"WpPageTemplate": "page-topic-editorial",
"currentPage": 99
},
"blocks": [
{
"blockName": "kqed/post-list",
"attrs": {
"layout": "cardArticle2",
"query": "posts/arts?category=visualarts",
"seeMore": false,
"paginated": true,
"page": 99
}
},
{
"blockName": "kqed/ad"
}
]
}
},
"pfsSessionReducer": {},
"postsReducer": {
"stream_live": {
"type": "live",
"id": "stream_live",
"audioUrl": "https://streams.kqed.org/kqedradio",
"title": "Live Stream",
"excerpt": "Live Stream information currently unavailable.",
"link": "/radio",
"featImg": "",
"label": {
"name": "KQED Live",
"link": "/"
}
},
"stream_kqedNewscast": {
"type": "posts",
"id": "stream_kqedNewscast",
"audioUrl": "https://www.kqed.org/.stream/anon/radio/RDnews/newscast.mp3?_=1",
"title": "KQED Newscast",
"featImg": "",
"label": {
"name": "88.5 FM",
"link": "/"
}
},
"arts_13304649": {
"type": "posts",
"id": "arts_13304649",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13304649",
"score": null,
"sort": [
1495836943000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1495836943,
"format": "audio",
"title": "Tabitha Soren Captures the Other Side of Baseball in New Book",
"headTitle": "Tabitha Soren Captures the Other Side of Baseball in New Book | KQED",
"content": "\u003cp>During her eight years with MTV News, Tabitha Soren brought journalistic gravitas to a network that focused on celebrity and drama. Her interview with Tupac Shakur still stands as one of his most insightful, and her coverage of Bill Clinton’s 1992 presidential campaign earned MTV News a Peabody Award. \u003c/p>\n\u003cp>After leaving MTV in 1998, Soren moved to the Bay Area with her husband, the author Michael Lewis. While he worked on books like \u003ci>The New New Thing,\u003c/i> Soren attended Stanford on a fellowship, spending most of her time in the fine arts department. She decided she wanted to become a photographer — pursuing art with her camera instead of news, Soren said, allowed her to be more honest.\u003c/p>\n\u003cp>“It’s coming from my heart instead of my head. Journalism was about searching for an objective truth, and my artwork is searching for an emotional truth,” Soren said.\u003c/p>\n\u003cp>In 2003, Soren attended the Oakland Athletics’ Spring Training camp while her husband researched the team for his book \u003cem>Moneyball\u003c/em>. Though she wasn’t a fan of baseball at the time, seeing the team’s new recruits inspired her to start a massive project. \u003c/p>\n\u003cfigure id=\"attachment_11565939\" class=\"wp-caption alignright\" style=\"max-width: 457px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/SOREN_Stockton_Ports_0132-457x600.jpg\" alt=\"Tin Type of a player on the Stockton Ports\" width=\"457\" height=\"600\" class=\"size-medium wp-image-11565939\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/SOREN_Stockton_Ports_0132-457x600.jpg 457w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/SOREN_Stockton_Ports_0132-400x525.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/SOREN_Stockton_Ports_0132.jpg 640w\" sizes=\"(max-width: 457px) 100vw, 457px\">\u003cfigcaption class=\"wp-caption-text\">Tintype of a player on the Stockton Ports. \u003ccite>(Photo: Tabitha Soren)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I met a draft class who was arriving at Spring Training for the very first time,” Soren said. “And I saw all these kids with their faces full of hope, all going to work towards playing on a major league team, and I thought, ‘Wow, wouldn’t this be great to shoot their picture every year and see how their faces change, because they can’t remain this hopeful.'” \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That idea, born 14 years ago, comes to fruition with her newest book of photographs, \u003cem>Fantasy Life\u003c/em>. Her idea of chronicling the players losing faith in the game didn’t pan out; the changes weren’t as visual as she hoped. But what Soren did find was a whole other world built around what she once thought was America’s most boring pastime. \u003c/p>\n\u003cp>“Even the guys in the dugout, they looked so bored in half of my pictures, making sculptures out of peanut shells or tobacco cans,” Soren said. “You know, the things that go on in there are not scintillating.”\u003c/p>\n\u003cp>But Soren found a way to bring out the more artistic qualities of the game. She experimented with tintype, a technology first developed in the 1860s. It made for beautiful images that, unlike other sports photographs, didn’t depend on action or celebrity. \u003ci>Fantasy Life\u003c/i> collects the best of those tintypes as well as an assortment of other photos she took at games — both major and minor league — all over the state. \u003c/p>\n\u003cp>For baseball fans, \u003ci>Fantasy Life\u003c/i> provides a look at star players you won’t get from ESPN, and that’s thanks to Billy Beane, the executive vice president of baseball operations for the Oakland A’s, who gave Soren complete access to the team during her 14-year project. Beane said he’s not much of an art fan, but that there was plenty for him to appreciate in Soren’s photographs.\u003c/p>\n\u003cp>“When I was able to look back at her exhibition, and knowing all the time she put into it — I’m going “God, she’s putting a lot of time into it this. What are going to be the results?” But looking back at it now, it sort of acts as a time capsule,” Beane said. \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=\"alignright size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Read more about Soren’s baseball photos \u003ca href=\"https://ww2.kqed.org/arts/2016/05/10/tabitha-sorens-fantasy-life-processes-baseball-through-artistic-filter/\" target=\"_blank\" rel=\"noopener\">in our previous story.\u003c/a> Nearly 200 photos from \u003cb>Fantasy Life\u003c/b> will be on display at San Francisco City Hall from July 20–Dec. 15, 2017, across two floors — including many players from the San Francisco Giants — and admission is free.\u003c/i>\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 662,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 14
},
"modified": 1705030523,
"excerpt": "The former MTV News Reporter has been a fine arts photographer for almost 15 years and her newest book, 'Fantasy Life,' takes a new perspective on sports photography.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The former MTV News Reporter has been a fine arts photographer for almost 15 years and her newest book, 'Fantasy Life,' takes a new perspective on sports photography.",
"title": "Tabitha Soren Captures the Other Side of Baseball in New Book | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Tabitha Soren Captures the Other Side of Baseball in New Book",
"datePublished": "2017-05-26T15:15:43-07:00",
"dateModified": "2024-01-11T19:35:23-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "tabitha-soren-captures-the-other-side-of-baseball-in-new-book",
"status": "publish",
"audioUrl": "https://www.kqed.org/.stream/anon/radio//2017/05/20170526atcrmag.mp3",
"sticky": false,
"guestFields": "0",
"path": "/arts/13304649/tabitha-soren-captures-the-other-side-of-baseball-in-new-book",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>During her eight years with MTV News, Tabitha Soren brought journalistic gravitas to a network that focused on celebrity and drama. Her interview with Tupac Shakur still stands as one of his most insightful, and her coverage of Bill Clinton’s 1992 presidential campaign earned MTV News a Peabody Award. \u003c/p>\n\u003cp>After leaving MTV in 1998, Soren moved to the Bay Area with her husband, the author Michael Lewis. While he worked on books like \u003ci>The New New Thing,\u003c/i> Soren attended Stanford on a fellowship, spending most of her time in the fine arts department. She decided she wanted to become a photographer — pursuing art with her camera instead of news, Soren said, allowed her to be more honest.\u003c/p>\n\u003cp>“It’s coming from my heart instead of my head. Journalism was about searching for an objective truth, and my artwork is searching for an emotional truth,” Soren said.\u003c/p>\n\u003cp>In 2003, Soren attended the Oakland Athletics’ Spring Training camp while her husband researched the team for his book \u003cem>Moneyball\u003c/em>. Though she wasn’t a fan of baseball at the time, seeing the team’s new recruits inspired her to start a massive project. \u003c/p>\n\u003cfigure id=\"attachment_11565939\" class=\"wp-caption alignright\" style=\"max-width: 457px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/SOREN_Stockton_Ports_0132-457x600.jpg\" alt=\"Tin Type of a player on the Stockton Ports\" width=\"457\" height=\"600\" class=\"size-medium wp-image-11565939\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/SOREN_Stockton_Ports_0132-457x600.jpg 457w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/SOREN_Stockton_Ports_0132-400x525.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/SOREN_Stockton_Ports_0132.jpg 640w\" sizes=\"(max-width: 457px) 100vw, 457px\">\u003cfigcaption class=\"wp-caption-text\">Tintype of a player on the Stockton Ports. \u003ccite>(Photo: Tabitha Soren)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I met a draft class who was arriving at Spring Training for the very first time,” Soren said. “And I saw all these kids with their faces full of hope, all going to work towards playing on a major league team, and I thought, ‘Wow, wouldn’t this be great to shoot their picture every year and see how their faces change, because they can’t remain this hopeful.'” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That idea, born 14 years ago, comes to fruition with her newest book of photographs, \u003cem>Fantasy Life\u003c/em>. Her idea of chronicling the players losing faith in the game didn’t pan out; the changes weren’t as visual as she hoped. But what Soren did find was a whole other world built around what she once thought was America’s most boring pastime. \u003c/p>\n\u003cp>“Even the guys in the dugout, they looked so bored in half of my pictures, making sculptures out of peanut shells or tobacco cans,” Soren said. “You know, the things that go on in there are not scintillating.”\u003c/p>\n\u003cp>But Soren found a way to bring out the more artistic qualities of the game. She experimented with tintype, a technology first developed in the 1860s. It made for beautiful images that, unlike other sports photographs, didn’t depend on action or celebrity. \u003ci>Fantasy Life\u003c/i> collects the best of those tintypes as well as an assortment of other photos she took at games — both major and minor league — all over the state. \u003c/p>\n\u003cp>For baseball fans, \u003ci>Fantasy Life\u003c/i> provides a look at star players you won’t get from ESPN, and that’s thanks to Billy Beane, the executive vice president of baseball operations for the Oakland A’s, who gave Soren complete access to the team during her 14-year project. Beane said he’s not much of an art fan, but that there was plenty for him to appreciate in Soren’s photographs.\u003c/p>\n\u003cp>“When I was able to look back at her exhibition, and knowing all the time she put into it — I’m going “God, she’s putting a lot of time into it this. What are going to be the results?” But looking back at it now, it sort of acts as a time capsule,” Beane said. \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=\"alignright size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Read more about Soren’s baseball photos \u003ca href=\"https://ww2.kqed.org/arts/2016/05/10/tabitha-sorens-fantasy-life-processes-baseball-through-artistic-filter/\" target=\"_blank\" rel=\"noopener\">in our previous story.\u003c/a> Nearly 200 photos from \u003cb>Fantasy Life\u003c/b> will be on display at San Francisco City Hall from July 20–Dec. 15, 2017, across two floors — including many players from the San Francisco Giants — and admission is free.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13304649/tabitha-soren-captures-the-other-side-of-baseball-in-new-book",
"authors": [
"93"
],
"categories": [
"arts_235",
"arts_70"
],
"tags": [
"arts_1037",
"arts_1118",
"arts_596"
],
"featImg": "arts_11568332",
"label": "arts"
},
"arts_13300920": {
"type": "posts",
"id": "arts_13300920",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13300920",
"score": null,
"sort": [
1495756852000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 140
},
"blocks": [],
"publishDate": 1495756852,
"format": "audio",
"title": "Suzie & Gabe’s Picks: A World Series Singer, Mid-Century Design, and 50 Years of 'Sgt. Peppers'",
"headTitle": "Suzie & Gabe’s Picks: A World Series Singer, Mid-Century Design, and 50 Years of ‘Sgt. Peppers’ | KQED",
"content": "\u003cp>\u003cstrong>Correction: The tribute to ‘Sgt. Peppers’ now takes place one night only, on Saturday, June 3. (Not Thursday and Friday as stated.) \u003ca href=\"http://www.undercoverpresents.com/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/strong>\u003c/p>\n\u003cp>Festival season is heating up, with an upcoming deluge of bands playing in the hot sun for thousands of dehydrated teenagers; Cy gets back next week and he’ll give us the rundown. Meanwhile, we’ve got a couple comedy festivals in this week’s show: \u003ca href=\"https://www.clusterfest.com/?utm_source=ASG-AdWords&utm_medium=Search&utm_term=General&utm_content=Branded&utm_campaign=Clusterfest\" target=\"_blank\" rel=\"noopener\">Comedy Clusterfest\u003c/a>, running June 2–4 at the Civic Center, and Chris Hardwick’s \u003ca href=\"https://www.facebook.com/id10tfest/\" target=\"_blank\" rel=\"noopener\">IdIOtfest\u003c/a> running June 24 and 25 at the Shoreline Amphitheater. Also, a quick mention for an exhibit of work from the late San Francisco artist Rex Ray, which runs through June 30 at Gallery 16; \u003ca href=\"https://www.gallery16.com/rex-ray-we-are-all-made-of-light\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>. And now on with the show.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Ux5ogOeD3Uc\u003c/p>\n\u003cp>\u003cstrong>May 28\u003c/strong>: Before he basically won the World Series for the Giants in 2012 and finally earned his obscenely high salary, Barry Zito was used to being booed. Like, for years. Which is why, when the pitcher retired from the game, he said it had helped him “develop the thick skin” he’d need for songwriting, and added: “If you hear a song of mine, I hope you’ll be honest about what you think.” Well, Barry, honestly, it’s not bad at all. The lefty takes the stage with his guitar for his homespun songs — and maybe a few curveballs — on May 28; \u003ca href=\"http://www.slimspresents.com/event/an-evening-with-barry-zito-gamh/\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13301142\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/LET-video-shoot-RachelSchut-800x500.jpg\" alt=\"Rachel Schutz, who plays Elisabeth in 'Les Enfants Terribles' for Opera Parallele.\" width=\"800\" height=\"500\" class=\"size-medium wp-image-13301142\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/LET-video-shoot-RachelSchut-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/LET-video-shoot-RachelSchut-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/LET-video-shoot-RachelSchut-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/LET-video-shoot-RachelSchut-1020x637.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/LET-video-shoot-RachelSchut-1180x737.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/LET-video-shoot-RachelSchut-960x600.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/LET-video-shoot-RachelSchut-240x150.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/LET-video-shoot-RachelSchut-375x234.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/LET-video-shoot-RachelSchut-520x325.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/LET-video-shoot-RachelSchut.jpg 1391w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rachel Schutz, who plays Elisabeth in ‘Les Enfants Terribles’ for Opera Parallele. \u003ccite>(Opera Parallele)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>May 26–28\u003c/strong>: Opera Parallele presents a new production of Philip Glass’ \u003cstrong>\u003cem>Les Enfants Terribles\u003c/em>\u003c/strong>, hot on the heels of Glass’ 80th birthday. This is a company that presents contemporary opera that doesn’t often get performed — they brought us Terence Blanchard’s ‘Champion’ last year, and recently Jake Heggie’s ‘Dead Man Walking.’ \u003cem>Les Enfants Terribles\u003c/em> is from 1996, and though this production has a multidimensional film aspect to the set design, it keeps the original accompaniment of just three pianos — ‘cause that’s \u003cem>so\u003c/em> Philip Glass. \u003cem>Les Enfants Terribles\u003c/em> is at the San Francisco Conservatory of Music; \u003ca href=\"https://operaparallele.org/les-enfants-terribles/\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13301143\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Mina-800x500.jpg\" alt=\"Mina Momeni.\" width=\"800\" height=\"500\" class=\"size-medium wp-image-13301143\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Mina.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Mina-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Mina-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Mina-240x150.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Mina-375x234.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Mina-520x325.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mina Momeni.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>June 2–3\u003c/strong>: It was 50 years ago that \u003cem>\u003cstrong>Sgt. Pepper’s Lonely Hearts Club Band\u003c/strong>\u003c/em> was released, and to mark the milestone, Undercover Presents hosts two nights of the entire album played front-to-band, wildly reimagined by 15 different bands. As an example: the vocalist for “When I’m Sixty Four” is Mina Momeni (above), from Tehran — who, since women in Iran are forbidden from pursuing singing careers due to religious restrictions, will be singing through a pre-recorded track accompanied by a string quartet from the Awesöme Orchestra Collective. I spoke with Musical Director Joe Bagale about his drastic reinterpretations — including jazz, hip-hop, Indiana ragas and more — and he told me there was one famous moment on the album he didn’t want to mess with: the long, final piano chord, which lasts for almost 45 seconds. “I tried strings, and I tried a synthesizer treatment,” he told me, “but in the end, I couldn’t do anything better than a bunch of pianos.” \u003ca href=\"http://www.undercoverpresents.com/\" target=\"_blank\" rel=\"noopener\">Details on the shows here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13113829\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Swinger_COVER-800x450.jpg\" alt=\"Henry Dreyfuss and James Conner, 'The Swinger,' Land Camera Model 20 for Polaroid, 1965.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13113829\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Swinger_COVER-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Swinger_COVER-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Swinger_COVER-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Swinger_COVER-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Swinger_COVER.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Swinger_COVER-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Swinger_COVER-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Swinger_COVER-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Swinger_COVER-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Swinger_COVER-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Henry Dreyfuss and James Conner, ‘The Swinger,’ Land Camera Model 20 for Polaroid, 1965. \u003ccite>(Courtesy of the Cantor Arts Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Through Aug. 21\u003c/strong>: In the South Bay, there’s an interesting exhibit at the Cantor Arts Center called \u003cem>\u003cstrong>Creativity on the Line: Design for the Corporate World\u003c/strong>\u003c/em>. And if you’re a fan of mid-century modern, it’ll make you look at things like airport seating and classroom furniture in a whole different way. Focusing on products and pamphlets, it includes designers such as Paul Rand, Charles and Ray Eames, and Dieter Rams. As explored in \u003ca href=\"https://ww2.kqed.org/arts/2017/04/26/creativity-on-the-line-mines-the-cracks-in-sleek-mid-century-surfaces/\">KQED Arts’ review by Sarah Hotchkiss\u003c/a>, the show really gets to the tense relationship between corporations and artists, where designers were told to be creative but not \u003cem>too\u003c/em> creative. In Silicon Valley, where we know Apple’s design was heavily influenced by Dieter Rams, it has an extra resonance. \u003ca href=\"http://events.stanford.edu/events/646/64601/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=P465Y7M0YjQ\u003c/p>\n\u003cp>\u003cstrong>May 31–June 25\u003c/strong>: A new play premieres this week, centered around a meeting between a young journalist and the brilliant musician Gil Scott-Heron. \u003cem>\u003cstrong>Grandeur\u003c/strong>\u003c/em> is a world premiere from the Magic Theatre, the work of playwright Han Ong. It’s hard to think of Gil Scott Heron without thinking of \u003ca href=\"http://www.newyorker.com/magazine/2010/08/09/new-york-is-killing-me\" target=\"_blank\" rel=\"noopener\">this heartbreaking \u003cem>New Yorker\u003c/em> profile on him in 2010\u003c/a>, so a play about his relationship with journalists has plenty to draw upon. I \u003ca href=\"http://citysound.bohemian.com/2010/03/18/live-review-gil-scott-heron-at-yoshis-2/\" target=\"_blank\" rel=\"noopener\">saw Gil Scott-Heron\u003c/a> at his last appearance in San Francisco, and \u003ca href=\"http://citysound.bohemian.com/2010/03/18/live-review-gil-scott-heron-at-yoshis-2/\" target=\"_blank\" rel=\"noopener\">he was remarkably good\u003c/a> — and with a huge adoring crowd, so there should be plenty of interest in this play. It’s directed by the Magic’s Artistic Director Loretta Greco, and has a cast led by the great Carl Lumbly. \u003ca href=\"http://magictheatre.org/season/season\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>. \u003c/p>\n\u003cp>\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\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 877,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 10
},
"modified": 1705030529,
"excerpt": "This week's picks for The Do List include Barry Zito (singing!), Philip Glass’ 'Les Enfants Terribles,' a Beatles Tribute, a world-premiere play about Gil Scott-Heron and more.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "This week's picks for The Do List include Barry Zito (singing!), Philip Glass’ 'Les Enfants Terribles,' a Beatles Tribute, a world-premiere play about Gil Scott-Heron and more.",
"title": "Suzie & Gabe’s Picks: A World Series Singer, Mid-Century Design, and 50 Years of 'Sgt. Peppers' | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Suzie & Gabe’s Picks: A World Series Singer, Mid-Century Design, and 50 Years of 'Sgt. Peppers'",
"datePublished": "2017-05-25T17:00:52-07:00",
"dateModified": "2024-01-11T19:35:29-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "barry-zito-philip-glass-gil-scott-heron-grandeur-clusterfest-dieter-rams",
"status": "publish",
"audioUrl": "https://www.kqed.org/.stream/anon/radio//thedolist/2017/05/TDL20170526.mp3",
"sticky": false,
"guestFields": "0",
"path": "/arts/13300920/barry-zito-philip-glass-gil-scott-heron-grandeur-clusterfest-dieter-rams",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Correction: The tribute to ‘Sgt. Peppers’ now takes place one night only, on Saturday, June 3. (Not Thursday and Friday as stated.) \u003ca href=\"http://www.undercoverpresents.com/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/strong>\u003c/p>\n\u003cp>Festival season is heating up, with an upcoming deluge of bands playing in the hot sun for thousands of dehydrated teenagers; Cy gets back next week and he’ll give us the rundown. Meanwhile, we’ve got a couple comedy festivals in this week’s show: \u003ca href=\"https://www.clusterfest.com/?utm_source=ASG-AdWords&utm_medium=Search&utm_term=General&utm_content=Branded&utm_campaign=Clusterfest\" target=\"_blank\" rel=\"noopener\">Comedy Clusterfest\u003c/a>, running June 2–4 at the Civic Center, and Chris Hardwick’s \u003ca href=\"https://www.facebook.com/id10tfest/\" target=\"_blank\" rel=\"noopener\">IdIOtfest\u003c/a> running June 24 and 25 at the Shoreline Amphitheater. Also, a quick mention for an exhibit of work from the late San Francisco artist Rex Ray, which runs through June 30 at Gallery 16; \u003ca href=\"https://www.gallery16.com/rex-ray-we-are-all-made-of-light\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>. And 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/Ux5ogOeD3Uc'\n title='//www.youtube.com/embed/Ux5ogOeD3Uc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>May 28\u003c/strong>: Before he basically won the World Series for the Giants in 2012 and finally earned his obscenely high salary, Barry Zito was used to being booed. Like, for years. Which is why, when the pitcher retired from the game, he said it had helped him “develop the thick skin” he’d need for songwriting, and added: “If you hear a song of mine, I hope you’ll be honest about what you think.” Well, Barry, honestly, it’s not bad at all. The lefty takes the stage with his guitar for his homespun songs — and maybe a few curveballs — on May 28; \u003ca href=\"http://www.slimspresents.com/event/an-evening-with-barry-zito-gamh/\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13301142\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/LET-video-shoot-RachelSchut-800x500.jpg\" alt=\"Rachel Schutz, who plays Elisabeth in 'Les Enfants Terribles' for Opera Parallele.\" width=\"800\" height=\"500\" class=\"size-medium wp-image-13301142\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/LET-video-shoot-RachelSchut-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/LET-video-shoot-RachelSchut-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/LET-video-shoot-RachelSchut-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/LET-video-shoot-RachelSchut-1020x637.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/LET-video-shoot-RachelSchut-1180x737.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/LET-video-shoot-RachelSchut-960x600.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/LET-video-shoot-RachelSchut-240x150.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/LET-video-shoot-RachelSchut-375x234.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/LET-video-shoot-RachelSchut-520x325.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/LET-video-shoot-RachelSchut.jpg 1391w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rachel Schutz, who plays Elisabeth in ‘Les Enfants Terribles’ for Opera Parallele. \u003ccite>(Opera Parallele)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>May 26–28\u003c/strong>: Opera Parallele presents a new production of Philip Glass’ \u003cstrong>\u003cem>Les Enfants Terribles\u003c/em>\u003c/strong>, hot on the heels of Glass’ 80th birthday. This is a company that presents contemporary opera that doesn’t often get performed — they brought us Terence Blanchard’s ‘Champion’ last year, and recently Jake Heggie’s ‘Dead Man Walking.’ \u003cem>Les Enfants Terribles\u003c/em> is from 1996, and though this production has a multidimensional film aspect to the set design, it keeps the original accompaniment of just three pianos — ‘cause that’s \u003cem>so\u003c/em> Philip Glass. \u003cem>Les Enfants Terribles\u003c/em> is at the San Francisco Conservatory of Music; \u003ca href=\"https://operaparallele.org/les-enfants-terribles/\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13301143\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Mina-800x500.jpg\" alt=\"Mina Momeni.\" width=\"800\" height=\"500\" class=\"size-medium wp-image-13301143\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Mina.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Mina-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Mina-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Mina-240x150.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Mina-375x234.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Mina-520x325.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mina Momeni.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>June 2–3\u003c/strong>: It was 50 years ago that \u003cem>\u003cstrong>Sgt. Pepper’s Lonely Hearts Club Band\u003c/strong>\u003c/em> was released, and to mark the milestone, Undercover Presents hosts two nights of the entire album played front-to-band, wildly reimagined by 15 different bands. As an example: the vocalist for “When I’m Sixty Four” is Mina Momeni (above), from Tehran — who, since women in Iran are forbidden from pursuing singing careers due to religious restrictions, will be singing through a pre-recorded track accompanied by a string quartet from the Awesöme Orchestra Collective. I spoke with Musical Director Joe Bagale about his drastic reinterpretations — including jazz, hip-hop, Indiana ragas and more — and he told me there was one famous moment on the album he didn’t want to mess with: the long, final piano chord, which lasts for almost 45 seconds. “I tried strings, and I tried a synthesizer treatment,” he told me, “but in the end, I couldn’t do anything better than a bunch of pianos.” \u003ca href=\"http://www.undercoverpresents.com/\" target=\"_blank\" rel=\"noopener\">Details on the shows here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13113829\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Swinger_COVER-800x450.jpg\" alt=\"Henry Dreyfuss and James Conner, 'The Swinger,' Land Camera Model 20 for Polaroid, 1965.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13113829\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Swinger_COVER-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Swinger_COVER-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Swinger_COVER-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Swinger_COVER-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Swinger_COVER.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Swinger_COVER-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Swinger_COVER-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Swinger_COVER-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Swinger_COVER-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Swinger_COVER-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Henry Dreyfuss and James Conner, ‘The Swinger,’ Land Camera Model 20 for Polaroid, 1965. \u003ccite>(Courtesy of the Cantor Arts Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Through Aug. 21\u003c/strong>: In the South Bay, there’s an interesting exhibit at the Cantor Arts Center called \u003cem>\u003cstrong>Creativity on the Line: Design for the Corporate World\u003c/strong>\u003c/em>. And if you’re a fan of mid-century modern, it’ll make you look at things like airport seating and classroom furniture in a whole different way. Focusing on products and pamphlets, it includes designers such as Paul Rand, Charles and Ray Eames, and Dieter Rams. As explored in \u003ca href=\"https://ww2.kqed.org/arts/2017/04/26/creativity-on-the-line-mines-the-cracks-in-sleek-mid-century-surfaces/\">KQED Arts’ review by Sarah Hotchkiss\u003c/a>, the show really gets to the tense relationship between corporations and artists, where designers were told to be creative but not \u003cem>too\u003c/em> creative. In Silicon Valley, where we know Apple’s design was heavily influenced by Dieter Rams, it has an extra resonance. \u003ca href=\"http://events.stanford.edu/events/646/64601/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"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/P465Y7M0YjQ'\n title='//www.youtube.com/embed/P465Y7M0YjQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>May 31–June 25\u003c/strong>: A new play premieres this week, centered around a meeting between a young journalist and the brilliant musician Gil Scott-Heron. \u003cem>\u003cstrong>Grandeur\u003c/strong>\u003c/em> is a world premiere from the Magic Theatre, the work of playwright Han Ong. It’s hard to think of Gil Scott Heron without thinking of \u003ca href=\"http://www.newyorker.com/magazine/2010/08/09/new-york-is-killing-me\" target=\"_blank\" rel=\"noopener\">this heartbreaking \u003cem>New Yorker\u003c/em> profile on him in 2010\u003c/a>, so a play about his relationship with journalists has plenty to draw upon. I \u003ca href=\"http://citysound.bohemian.com/2010/03/18/live-review-gil-scott-heron-at-yoshis-2/\" target=\"_blank\" rel=\"noopener\">saw Gil Scott-Heron\u003c/a> at his last appearance in San Francisco, and \u003ca href=\"http://citysound.bohemian.com/2010/03/18/live-review-gil-scott-heron-at-yoshis-2/\" target=\"_blank\" rel=\"noopener\">he was remarkably good\u003c/a> — and with a huge adoring crowd, so there should be plenty of interest in this play. It’s directed by the Magic’s Artistic Director Loretta Greco, and has a cast led by the great Carl Lumbly. \u003ca href=\"http://magictheatre.org/season/season\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>. \u003c/p>\n\u003cp>\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\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13300920/barry-zito-philip-glass-gil-scott-heron-grandeur-clusterfest-dieter-rams",
"authors": [
"185"
],
"programs": [
"arts_140"
],
"categories": [
"arts_968",
"arts_69",
"arts_967",
"arts_70"
],
"tags": [
"arts_1118",
"arts_596",
"arts_626"
],
"featImg": "arts_13301015",
"label": "arts_140"
},
"arts_13280241": {
"type": "posts",
"id": "arts_13280241",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13280241",
"score": null,
"sort": [
1495717233000
]
},
"guestAuthors": [],
"slug": "undocumented-youth-tell-their-stories-on-instagram",
"title": "Undocumented Youth Tell Their Stories on Instagram",
"publishDate": 1495717233,
"format": "image",
"headTitle": "Undocumented Youth Tell Their Stories on Instagram | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>If you’re like most people, your Instagram feed is populated with food, vacations, selfies and cats. And then there’s the \u003cem>Undocumented Lives\u003c/em> account — containing, as an example, a photograph by Diana Clock, in which a 19-year-old named Bismark stands in front of a college building with a stare at once hopeful and apprehensive. The caption, culled from an interview with Melissa Pandika, shares that Bismark crossed the U.S.-Mexico border at 17 years old, with brother and sister in tow.\u003c/p>\n\u003cp>“We’re terrified of what might happen, but that’s not going to deter us from anything. It just means that I have to take more precautions, and speak to my parents and my siblings about what we can and can’t do anymore,” Bismark is quoted saying. “We’re saving up money, making sure we all know how to confront an ICE agent. … Making sure our house, at least, is somewhere we can feel safe.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/BQy3B7sg6Lk/?taken-by=undocumentedlives\">https://www.instagram.com/p/BQy3B7sg6Lk/?taken-by=undocumentedlives\u003c/a>\u003c/p>\n\u003cp>Bismark — a college student and lead organizer with North Bay Immigrant Youth Union, which advocates for undocumented youth — is one of many undocumented students that Bay Area journalists Clock and Pandika photographed and interviewed over the past year as part of their ongoing project, \u003cem>Undocumented Lives\u003c/em>. Their intention: to provide a platform for undocumented youth to counter conservative narratives about migrants by telling their own stories.\u003c/p>\n\u003cp>“Much of the coverage on undocumented immigrants I had encountered tended to describe them as this faceless, monolithic group,” writes Pandika over email. “I wanted to learn about who these immigrants were, beyond the statistics and political debate, but as individuals, each with unique stories.”\u003c/p>\n\u003cfigure id=\"attachment_13280504\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13280504 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/02-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/02-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/02-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/02-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/02-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/02-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/02-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/02-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/02-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/02-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/02-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cuahuctemoc, an undocumented UC Berkeley graduate. \u003ccite>(Courtesy Undocumented Lives)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Pandika’s own parents lived undocumented in the United States for a short time, and she always had trouble placing herself in their shoes when hearing their stories, she says. When she began the project last year, “I wanted to understand further what it means to be young and undocumented in the U.S. — especially in the face of a possible Trump presidency — and help others do the same.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Pandika and Clock started off by getting to know one student, who they had been introduced to by a friend who teaches high school in Oakland. After getting to know each other and building trust, their first subject then began introducing Pandika and Clock to others. Students also began reaching out to them through the \u003cem>Undocumented Lives\u003c/em> \u003ca href=\"https://www.instagram.com/undocumentedlives/\">Instagram account\u003c/a>.\u003c/p>\n\u003cp>Throughout the project, Panika and Clock have made sure that the youth they work with feel safe and comfortable, as well as being careful not to share too much identifying information. The duo works solely with young immigrants covered by Deferred Action for Childhood Arrivals (DACA), a policy implemented by the Obama administration in 2012 that protects eligible immigrant youth from deportation. Still, Trump promised several times on the campaign trail that he would repeal DACA once in office — and though the policy is still in place, 23-year-old DACA recipient \u003ca href=\"https://www.washingtonpost.com/news/morning-mix/wp/2017/04/19/the-trump-administration-has-deported-a-dreamer-for-first-time-advocates-say/?utm_term=.6ea450954026\">Juan Manuel Montes-Bojorquez \u003c/a>was deported in February without explanation.\u003c/p>\n\u003cp>“I think they feel like they don’t have that many rights, and they need to fight for what rights they do have to make sure that they’re not repealed,” Clock says of the subjects. “I think that’s motivating them to share. That’s exactly why we wanted to do this project, to give them a spotlight.”\u003c/p>\n\u003cfigure id=\"attachment_13280502\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/04-e1495431953208-800x639.jpg\" alt=\"\" width=\"800\" height=\"639\" class=\"size-medium wp-image-13280502\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/04-e1495431953208-800x639.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/04-e1495431953208-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/04-e1495431953208-768x614.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/04-e1495431953208-1020x815.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/04-e1495431953208-1180x943.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/04-e1495431953208-960x767.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/04-e1495431953208-240x192.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/04-e1495431953208-375x300.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/04-e1495431953208-520x415.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/04-e1495431953208.jpg 1333w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kevin, an undocumented UC Berkeley student. \u003ccite>(Courtesy Undocumented Lives)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Undocumented Lives\u003c/em> mostly features high school students, but also includes some college students, as well as a few who have already graduated. The majority interviewed are involved with community organizing and volunteering, while many others go to school during the day and work in the evenings to alleviate difficult financial circumstances at home. Clock and Pandika follow them throughout their day, then interview them about their lives, backstories, fears, and dreams for the future.\u003c/p>\n\u003cp>Pandika and Clock have also published pieces on specific subtleties of the undocumented experience that are often left out of even progressive narratives about immigrants, such as the emotional nuances of being \u003ca href=\"http://fusion.kinja.com/you-have-to-come-out-of-the-closet-twice-what-its-li-1793859267\">both undocumented and queer\u003c/a>, and \u003ca href=\"https://www.vice.com/en_us/article/it-sucks-to-be-undocumented-when-youre-an-average-student\">the excessive pressure put on undocumented students to be the best in their classes\u003c/a>.\u003c/p>\n\u003cp>“These students are not necessarily only valedictorians or criminals,” says Clock. “There are many students who fall in the middle, and they’re just normal students who are trying to go about their lives and doing the best they can.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/BPtWnpgDc7H/?taken-by=undocumentedlives\">https://www.instagram.com/p/BPtWnpgDc7H/?taken-by=undocumentedlives\u003c/a>\u003c/p>\n\u003cp>Included in Pandika and Clock’s \u003ca href=\"http://fusion.kinja.com/you-have-to-come-out-of-the-closet-twice-what-its-li-1793859267\">Fusion piece\u003c/a> about queer undocumented youth, Bismark expands on the particular difficulties of that intersection, which can be difficult to explain to both the queer community and the undocumented community. “I’m a survivor of sexual assault, so if I were to be detained, I would definitely be scared. A lot of folks don’t like to acknowledge the higher rates of assault queer and trans folks face in detention,” Bismark says. “But we can’t hide anymore. We can’t afford that. We’ve been through our time in the closet. It’s time to step up and not be ashamed.”\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>‘Undocumented Lives’ will be exhibited beginning June 2 at UFO Gallery in Berkeley. The show features Clock’s photographs alongside excerpts from Pandika’s interviews. \u003ca href=\"https://www.facebook.com/events/691808990998686/\">Opening reception\u003c/a> on June 2 from 6–10pm; all proceeds benefit \u003ca href=\"https://defineamerican.com/\">Define American\u003c/a>, a nonprofit aimed at changing the conversation around immigration and citizenship.\u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "The 'Undocumented Youth' account allows DACA students to step out of the shadows and advocate for immigration reform.",
"status": "publish",
"parent": 0,
"modified": 1729112032,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 16,
"wordCount": 979
},
"headData": {
"title": "Undocumented Youth Tell Their Stories on Instagram | KQED",
"description": "The 'Undocumented Youth' account allows DACA students to step out of the shadows and advocate for immigration reform.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Undocumented Youth Tell Their Stories on Instagram",
"datePublished": "2017-05-25T06:00:33-07:00",
"dateModified": "2024-10-16T13:53:52-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"path": "/arts/13280241/undocumented-youth-tell-their-stories-on-instagram",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you’re like most people, your Instagram feed is populated with food, vacations, selfies and cats. And then there’s the \u003cem>Undocumented Lives\u003c/em> account — containing, as an example, a photograph by Diana Clock, in which a 19-year-old named Bismark stands in front of a college building with a stare at once hopeful and apprehensive. The caption, culled from an interview with Melissa Pandika, shares that Bismark crossed the U.S.-Mexico border at 17 years old, with brother and sister in tow.\u003c/p>\n\u003cp>“We’re terrified of what might happen, but that’s not going to deter us from anything. It just means that I have to take more precautions, and speak to my parents and my siblings about what we can and can’t do anymore,” Bismark is quoted saying. “We’re saving up money, making sure we all know how to confront an ICE agent. … Making sure our house, at least, is somewhere we can feel safe.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/BQy3B7sg6Lk/?taken-by=undocumentedlives\">https://www.instagram.com/p/BQy3B7sg6Lk/?taken-by=undocumentedlives\u003c/a>\u003c/p>\n\u003cp>Bismark — a college student and lead organizer with North Bay Immigrant Youth Union, which advocates for undocumented youth — is one of many undocumented students that Bay Area journalists Clock and Pandika photographed and interviewed over the past year as part of their ongoing project, \u003cem>Undocumented Lives\u003c/em>. Their intention: to provide a platform for undocumented youth to counter conservative narratives about migrants by telling their own stories.\u003c/p>\n\u003cp>“Much of the coverage on undocumented immigrants I had encountered tended to describe them as this faceless, monolithic group,” writes Pandika over email. “I wanted to learn about who these immigrants were, beyond the statistics and political debate, but as individuals, each with unique stories.”\u003c/p>\n\u003cfigure id=\"attachment_13280504\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13280504 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/02-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/02-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/02-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/02-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/02-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/02-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/02-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/02-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/02-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/02-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/02-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cuahuctemoc, an undocumented UC Berkeley graduate. \u003ccite>(Courtesy Undocumented Lives)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Pandika’s own parents lived undocumented in the United States for a short time, and she always had trouble placing herself in their shoes when hearing their stories, she says. When she began the project last year, “I wanted to understand further what it means to be young and undocumented in the U.S. — especially in the face of a possible Trump presidency — and help others do the same.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Pandika and Clock started off by getting to know one student, who they had been introduced to by a friend who teaches high school in Oakland. After getting to know each other and building trust, their first subject then began introducing Pandika and Clock to others. Students also began reaching out to them through the \u003cem>Undocumented Lives\u003c/em> \u003ca href=\"https://www.instagram.com/undocumentedlives/\">Instagram account\u003c/a>.\u003c/p>\n\u003cp>Throughout the project, Panika and Clock have made sure that the youth they work with feel safe and comfortable, as well as being careful not to share too much identifying information. The duo works solely with young immigrants covered by Deferred Action for Childhood Arrivals (DACA), a policy implemented by the Obama administration in 2012 that protects eligible immigrant youth from deportation. Still, Trump promised several times on the campaign trail that he would repeal DACA once in office — and though the policy is still in place, 23-year-old DACA recipient \u003ca href=\"https://www.washingtonpost.com/news/morning-mix/wp/2017/04/19/the-trump-administration-has-deported-a-dreamer-for-first-time-advocates-say/?utm_term=.6ea450954026\">Juan Manuel Montes-Bojorquez \u003c/a>was deported in February without explanation.\u003c/p>\n\u003cp>“I think they feel like they don’t have that many rights, and they need to fight for what rights they do have to make sure that they’re not repealed,” Clock says of the subjects. “I think that’s motivating them to share. That’s exactly why we wanted to do this project, to give them a spotlight.”\u003c/p>\n\u003cfigure id=\"attachment_13280502\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/04-e1495431953208-800x639.jpg\" alt=\"\" width=\"800\" height=\"639\" class=\"size-medium wp-image-13280502\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/04-e1495431953208-800x639.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/04-e1495431953208-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/04-e1495431953208-768x614.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/04-e1495431953208-1020x815.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/04-e1495431953208-1180x943.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/04-e1495431953208-960x767.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/04-e1495431953208-240x192.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/04-e1495431953208-375x300.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/04-e1495431953208-520x415.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/04-e1495431953208.jpg 1333w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kevin, an undocumented UC Berkeley student. \u003ccite>(Courtesy Undocumented Lives)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Undocumented Lives\u003c/em> mostly features high school students, but also includes some college students, as well as a few who have already graduated. The majority interviewed are involved with community organizing and volunteering, while many others go to school during the day and work in the evenings to alleviate difficult financial circumstances at home. Clock and Pandika follow them throughout their day, then interview them about their lives, backstories, fears, and dreams for the future.\u003c/p>\n\u003cp>Pandika and Clock have also published pieces on specific subtleties of the undocumented experience that are often left out of even progressive narratives about immigrants, such as the emotional nuances of being \u003ca href=\"http://fusion.kinja.com/you-have-to-come-out-of-the-closet-twice-what-its-li-1793859267\">both undocumented and queer\u003c/a>, and \u003ca href=\"https://www.vice.com/en_us/article/it-sucks-to-be-undocumented-when-youre-an-average-student\">the excessive pressure put on undocumented students to be the best in their classes\u003c/a>.\u003c/p>\n\u003cp>“These students are not necessarily only valedictorians or criminals,” says Clock. “There are many students who fall in the middle, and they’re just normal students who are trying to go about their lives and doing the best they can.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/BPtWnpgDc7H/?taken-by=undocumentedlives\">https://www.instagram.com/p/BPtWnpgDc7H/?taken-by=undocumentedlives\u003c/a>\u003c/p>\n\u003cp>Included in Pandika and Clock’s \u003ca href=\"http://fusion.kinja.com/you-have-to-come-out-of-the-closet-twice-what-its-li-1793859267\">Fusion piece\u003c/a> about queer undocumented youth, Bismark expands on the particular difficulties of that intersection, which can be difficult to explain to both the queer community and the undocumented community. “I’m a survivor of sexual assault, so if I were to be detained, I would definitely be scared. A lot of folks don’t like to acknowledge the higher rates of assault queer and trans folks face in detention,” Bismark says. “But we can’t hide anymore. We can’t afford that. We’ve been through our time in the closet. It’s time to step up and not be ashamed.”\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>‘Undocumented Lives’ will be exhibited beginning June 2 at UFO Gallery in Berkeley. The show features Clock’s photographs alongside excerpts from Pandika’s interviews. \u003ca href=\"https://www.facebook.com/events/691808990998686/\">Opening reception\u003c/a> on June 2 from 6–10pm; all proceeds benefit \u003ca href=\"https://defineamerican.com/\">Define American\u003c/a>, a nonprofit aimed at changing the conversation around immigration and citizenship.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13280241/undocumented-youth-tell-their-stories-on-instagram",
"authors": [
"11323"
],
"categories": [
"arts_22352",
"arts_70"
],
"tags": [
"arts_1522",
"arts_1118",
"arts_1773",
"arts_596"
],
"featImg": "arts_13284585",
"label": "arts"
},
"arts_13279959": {
"type": "posts",
"id": "arts_13279959",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13279959",
"score": null,
"sort": [
1495479652000
]
},
"guestAuthors": [],
"slug": "bay-area-sculpture-right-now-josh-faught-weaves-monumental-cozies",
"title": "Josh Faught Weaves Queer History and Pop Culture into Monumental Cozies",
"publishDate": 1495479652,
"format": "image",
"headTitle": "Josh Faught Weaves Queer History and Pop Culture into Monumental Cozies | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>In South San Francisco, Josh Faught’s studio is filled with multiple in-progress pieces: a diptych bound for \u003ci>\u003ca href=\"http://mocad.wpengine.com/99cents/\" target=\"_blank\" rel=\"noopener noreferrer\">99 Cents or Less\u003c/a>\u003c/i> at the Museum of Contemporary Art Detroit; additional works for a three-person show opening May 25 at San Francisco’s \u003ca href=\"http://jessicasilvermangallery.com/fused/\" target=\"_blank\" rel=\"noopener noreferrer\">fused\u003c/a>; and countless scraps of fabric and plans for future weavings.\u003c/p>\n\u003cp>“This is such a strange time in my studio,” he says, explaining how, until recently, the space was entirely consumed by one gigantic project — \u003ci>\u003ca href=\"http://www.e-flux.com/announcements/91894/josh-faughtsanctuary/\" target=\"_blank\" rel=\"noopener noreferrer\">Sanctuary\u003c/a>\u003c/i>, a 45-foot tall hand-woven work for Seattle’s Saint Mark’s Episcopal Cathedral.\u003c/p>\n\u003cfigure id=\"attachment_13281425\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13281425\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_15_1200.jpg\" alt=\"Inside Faught's South San Francisco studio.\" width=\"1200\" height=\"801\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_15_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_15_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_15_1200-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_15_1200-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_15_1200-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_15_1200-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_15_1200-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_15_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_15_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_15_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Inside Faught’s South San Francisco studio. \u003ccite>(Photo by Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It took up every piece of square footage I had,” Faught says. He spent a year and a half working on the piece (which is actually “50 feet with the fringe,” he clarifies) before it was installed at the end of January, 2017. Prior to \u003ci>Sanctuary\u003c/i>, Faught’s largest textile work was the result of another commission — as a \u003ca href=\"https://www.sfmoma.org/exhibition/2012-seca-art-award/\" target=\"_blank\" rel=\"noopener noreferrer\">2012 SECA awardee\u003c/a> during SFMOMA’s years of building expansion. But \u003ci>\u003ca href=\"https://www.sfmoma.org/watch/fake-snacks-and-jack-o-lanterns-josh-faught-takes-us-to-the-neptune-society-columbarium/\" target=\"_blank\" rel=\"noopener noreferrer\">BE BOLD For What You Stand For, BE CAREFUL For What You Fall For\u003c/a>\u003c/i>, a site-specific piece installed in the atrium of San Francisco’s Neptune Society Columbarium, was only 20 feet tall.\u003c/p>\n\u003cp>\u003ci>Sanctuary\u003c/i>, which will remain on view in the cathedral for 18 months, contains all the hallmarks of a Josh Faught textile work: hand-dyed cotton, gold lamé, pop culture references, pockets filled with loose objects and references to queer communities of the past.\u003c/p>\n\u003cfigure id=\"attachment_13281423\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13281423\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_12_1200.jpg\" alt=\"Detail from an in-progress piece; Faught in his South San Francisco.\" width=\"1200\" height=\"893\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_12_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_12_1200-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_12_1200-800x595.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_12_1200-768x572.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_12_1200-1020x759.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_12_1200-1180x878.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_12_1200-960x714.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_12_1200-240x179.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_12_1200-375x279.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_12_1200-520x387.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Detail from an in-progress piece; Faught in his South San Francisco. \u003ccite>(Photo by Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lyrics from Belinda Carlisle’s 1987 album \u003ci>Heaven on Earth\u003c/i> run down the right side of the piece, which shifts from red hues to blue ones as the tracks flip from side A to side B. Along the left side, 36 DVDs peek out of woven pockets. “At the end of the day,” Faught says, “that piece is one big DVD cozie for a soap opera called \u003ci>Passions\u003c/i> that I would skip school to watch.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I wanted to do this thing where every year I watch a season [of \u003ci>Passions\u003c/i>] and make something to house the season,” he explains. \u003ci>Passions\u003c/i>, a claustrophobic show known for its Christian undertones and extreme time dilation, played every weekday beginning in 1999; that’s 260 episodes in the first season alone.\u003c/p>\n\u003cfigure id=\"attachment_13281428\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13281428\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_23_1200.jpg\" alt=\"Scenes in Faught's studio.\" width=\"1200\" height=\"905\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_23_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_23_1200-160x121.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_23_1200-800x603.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_23_1200-768x579.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_23_1200-1020x769.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_23_1200-1180x890.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_23_1200-960x724.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_23_1200-240x181.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_23_1200-375x283.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_23_1200-520x392.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Scenes in Faught’s studio. \u003ccite>(Photo by Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bridging \u003ci>Passions\u003c/i> and \u003ci>Heaven on Earth\u003c/i> is a matrix of ephemera from Seattle queer history, the nexus, in Faught’s mind, of those cultural touchstones. “I don’t think anybody would consider \u003ci>Passions\u003c/i> to be a really politicized series,” he says, “but when it’s put adjacent to these archives of this gay club in Seattle that went out of business because the owner was basically running a drug and sex den, yet it was one of the few places that young queer people could come together and experience a sense of community, \u003ci>Passions\u003c/i> automatically gets politicized.”\u003c/p>\n\u003cfigure id=\"attachment_13281427\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13281427\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_22_1200.jpg\" alt=\"Hand-dyed yarn woven on Faught's 8-shaft floor loom; Faught demonstrating the loom's foot pedals.\" width=\"1200\" height=\"893\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_22_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_22_1200-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_22_1200-800x595.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_22_1200-768x572.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_22_1200-1020x759.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_22_1200-1180x878.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_22_1200-960x714.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_22_1200-240x179.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_22_1200-375x279.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_22_1200-520x387.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Hand-dyed yarn woven on Faught’s 8-shaft floor loom; Faught demonstrating the loom’s foot pedals. \u003ccite>(Photo by Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sifting through the printed material left behind by queer communities of the past — either in archives like San Francisco’s \u003ca href=\"http://www.glbthistory.org/archives/\" target=\"_blank\" rel=\"noopener noreferrer\">GLBT Historical Society\u003c/a>, or informal settings like the incredibly fruitful thrift stores of Palm Springs — is an integral part of Faught’s practice. In the studio, he shows us a zine he recreated from an original issue of \u003ci>Hobby Directory\u003c/i>, an international index of “who’s who in hobbies.” For subscribers of the 1940s and 50s, men seeking to connect with other men used hobbies as a coded language of personal ads.\u003c/p>\n\u003cfigure id=\"attachment_13281426\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13281426\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_21_1200.jpg\" alt=\"Faught with his recreated 'Hobby Lobby'; the 1982 'Gay Areas' directory, found in a Vallejo thrift store.\" width=\"1200\" height=\"893\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_21_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_21_1200-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_21_1200-800x595.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_21_1200-768x572.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_21_1200-1020x759.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_21_1200-1180x878.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_21_1200-960x714.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_21_1200-240x179.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_21_1200-375x279.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_21_1200-520x387.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Faught with his recreated ‘Hobby Lobby’; the 1982 ‘Gay Areas’ directory, found in a Vallejo thrift store. \u003ccite>(Photo by Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Interested in photography, color, of birds, travel and historical places. Also in health, diet and reading. Seeks several congenial correspondents, any age,” Faught reads. “It’s just these strange euphemisms: Hairdresser and artist. Interior decorating. Oil painting.”\u003c/p>\n\u003cp>He revels in the linguistic strangeness of these archival documents. For \u003ci>Between a Rock and a Hard Place\u003c/i>, part of the fused show \u003ci>Curious and Curiouser\u003c/i>, the left half of the diptych features words found in the top corners of a 1982 edition of \u003ci>Gay Areas\u003c/i>, “the world’s first gay telephone directory.”\u003c/p>\n\u003cfigure id=\"attachment_13281422\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13281422\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_2_1200.jpg\" alt=\"Faught's 24-shaft floor loom; one half of the diptych 'Between a Rock and a Hard Place,' 2017.\" width=\"1200\" height=\"893\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_2_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_2_1200-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_2_1200-800x595.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_2_1200-768x572.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_2_1200-1020x759.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_2_1200-1180x878.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_2_1200-960x714.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_2_1200-240x179.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_2_1200-375x279.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_2_1200-520x387.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Faught’s 24-shaft floor loom; one half of the diptych ‘Between a Rock and a Hard Place,’ 2017. \u003ccite>(Photo by Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Some of the alphabetical pairings are absurd, others heartbreaking. “Alcohol Treatment Centers — Bars” is followed by “Moms — Renaissance.” Like the \u003ci>Hobby Directory\u003c/i>, \u003ci>Gay Areas\u003c/i> was a directory meant for a specific community — a printed support network. A text banner draping from the top left corner of the piece spells out “CONCESSIONS” in a circus-y font. \u003c/p>\n\u003cp>It could be a sign for a hot dog stand, or a reference to the compromises certain members of society once made and continue to make when it comes to living openly versus living safely. As Faught says, “The construction of identity is full of holes. It’s full of a lot of inconsistencies. And it’s full of a lot of competing impulses.”\u003c/p>\n\u003cp>The right half of the diptych is a Jacquard-woven rendition of a red brick wall, balancing the hours of labor that went into hand-weaving and piecing together of the horizontal strips of text on the left.\u003c/p>\n\u003cfigure id=\"attachment_13281429\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13281429\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_Titanic.jpg\" alt=\"Just a small fraction of Faught's 'Titanic' collection; '10-Minute Clutter Control' in a pocket.\" width=\"1200\" height=\"893\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_Titanic.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_Titanic-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_Titanic-800x595.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_Titanic-768x572.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_Titanic-1020x759.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_Titanic-1180x878.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_Titanic-960x714.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_Titanic-240x179.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_Titanic-375x279.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_Titanic-520x387.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Just a small fraction of Faught’s ‘Titanic’ collection; ’10-Minute Clutter Control’ in a pocket. \u003ccite>(Photo by Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This material mixture of high and low (Faught describes Jacquard weaving as “a really cheesy process”) appears again and again. He hand-dyes his yarns and usually keeps an indigo vat going in the studio, but he also revels in found, extremely kitschy objects. In one of the woven pockets of another work titled \u003cem>I Forget Where I am While I am at Where I am Going\u003c/em>, also part of the fused show, is a copy of \u003ci>10-Minute Clutter Control\u003c/i>, the type of book you’d likely find in an office free pile. Pinned above it is a button that in all probability once belonged to an employee of TGI Fridays.\u003c/p>\n\u003cp>Similarly, his works include references that range from explicitly political messages to more coded — or as Faught would say, coy — affirmations of identity. “I’m really interested right now in that space between politics and activism,” he says. “We need a lot of activism, we need a lot of direct action protest, but I don’t see art always as the thing to do that.”\u003c/p>\n\u003cp>“It can, for sure. But I see my job and my mission as more about finding the places where politics and activism don’t so neatly match up.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>See more of Josh Faught’s work in a three-person show with Julie Béna and Courtney Johnson, ‘Curious and Curiouser,’ opening Thursday, May 25 at San Francisco’s fused (1401 16th Street). For more information, \u003ca href=\"http://jessicasilvermangallery.com/fused/\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/i> \u003c/p>\n\n",
"blocks": [],
"excerpt": "The artist weaves references to Belinda Carlisle, pockets filled with loose objects and ephemera from queer communities of the past into his large-scale textile pieces. ",
"status": "publish",
"parent": 0,
"modified": 1726703148,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 20,
"wordCount": 1277
},
"headData": {
"title": "Josh Faught Weaves Queer History and Pop Culture into Monumental Cozies | KQED",
"description": "The artist weaves references to Belinda Carlisle, pockets filled with loose objects and ephemera from queer communities of the past into his large-scale textile pieces. ",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Josh Faught Weaves Queer History and Pop Culture into Monumental Cozies",
"datePublished": "2017-05-22T12:00:52-07:00",
"dateModified": "2024-09-18T16:45:48-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"path": "/arts/13279959/bay-area-sculpture-right-now-josh-faught-weaves-monumental-cozies",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In South San Francisco, Josh Faught’s studio is filled with multiple in-progress pieces: a diptych bound for \u003ci>\u003ca href=\"http://mocad.wpengine.com/99cents/\" target=\"_blank\" rel=\"noopener noreferrer\">99 Cents or Less\u003c/a>\u003c/i> at the Museum of Contemporary Art Detroit; additional works for a three-person show opening May 25 at San Francisco’s \u003ca href=\"http://jessicasilvermangallery.com/fused/\" target=\"_blank\" rel=\"noopener noreferrer\">fused\u003c/a>; and countless scraps of fabric and plans for future weavings.\u003c/p>\n\u003cp>“This is such a strange time in my studio,” he says, explaining how, until recently, the space was entirely consumed by one gigantic project — \u003ci>\u003ca href=\"http://www.e-flux.com/announcements/91894/josh-faughtsanctuary/\" target=\"_blank\" rel=\"noopener noreferrer\">Sanctuary\u003c/a>\u003c/i>, a 45-foot tall hand-woven work for Seattle’s Saint Mark’s Episcopal Cathedral.\u003c/p>\n\u003cfigure id=\"attachment_13281425\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13281425\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_15_1200.jpg\" alt=\"Inside Faught's South San Francisco studio.\" width=\"1200\" height=\"801\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_15_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_15_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_15_1200-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_15_1200-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_15_1200-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_15_1200-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_15_1200-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_15_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_15_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_15_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Inside Faught’s South San Francisco studio. \u003ccite>(Photo by Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It took up every piece of square footage I had,” Faught says. He spent a year and a half working on the piece (which is actually “50 feet with the fringe,” he clarifies) before it was installed at the end of January, 2017. Prior to \u003ci>Sanctuary\u003c/i>, Faught’s largest textile work was the result of another commission — as a \u003ca href=\"https://www.sfmoma.org/exhibition/2012-seca-art-award/\" target=\"_blank\" rel=\"noopener noreferrer\">2012 SECA awardee\u003c/a> during SFMOMA’s years of building expansion. But \u003ci>\u003ca href=\"https://www.sfmoma.org/watch/fake-snacks-and-jack-o-lanterns-josh-faught-takes-us-to-the-neptune-society-columbarium/\" target=\"_blank\" rel=\"noopener noreferrer\">BE BOLD For What You Stand For, BE CAREFUL For What You Fall For\u003c/a>\u003c/i>, a site-specific piece installed in the atrium of San Francisco’s Neptune Society Columbarium, was only 20 feet tall.\u003c/p>\n\u003cp>\u003ci>Sanctuary\u003c/i>, which will remain on view in the cathedral for 18 months, contains all the hallmarks of a Josh Faught textile work: hand-dyed cotton, gold lamé, pop culture references, pockets filled with loose objects and references to queer communities of the past.\u003c/p>\n\u003cfigure id=\"attachment_13281423\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13281423\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_12_1200.jpg\" alt=\"Detail from an in-progress piece; Faught in his South San Francisco.\" width=\"1200\" height=\"893\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_12_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_12_1200-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_12_1200-800x595.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_12_1200-768x572.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_12_1200-1020x759.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_12_1200-1180x878.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_12_1200-960x714.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_12_1200-240x179.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_12_1200-375x279.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_12_1200-520x387.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Detail from an in-progress piece; Faught in his South San Francisco. \u003ccite>(Photo by Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lyrics from Belinda Carlisle’s 1987 album \u003ci>Heaven on Earth\u003c/i> run down the right side of the piece, which shifts from red hues to blue ones as the tracks flip from side A to side B. Along the left side, 36 DVDs peek out of woven pockets. “At the end of the day,” Faught says, “that piece is one big DVD cozie for a soap opera called \u003ci>Passions\u003c/i> that I would skip school to watch.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I wanted to do this thing where every year I watch a season [of \u003ci>Passions\u003c/i>] and make something to house the season,” he explains. \u003ci>Passions\u003c/i>, a claustrophobic show known for its Christian undertones and extreme time dilation, played every weekday beginning in 1999; that’s 260 episodes in the first season alone.\u003c/p>\n\u003cfigure id=\"attachment_13281428\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13281428\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_23_1200.jpg\" alt=\"Scenes in Faught's studio.\" width=\"1200\" height=\"905\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_23_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_23_1200-160x121.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_23_1200-800x603.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_23_1200-768x579.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_23_1200-1020x769.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_23_1200-1180x890.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_23_1200-960x724.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_23_1200-240x181.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_23_1200-375x283.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_23_1200-520x392.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Scenes in Faught’s studio. \u003ccite>(Photo by Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bridging \u003ci>Passions\u003c/i> and \u003ci>Heaven on Earth\u003c/i> is a matrix of ephemera from Seattle queer history, the nexus, in Faught’s mind, of those cultural touchstones. “I don’t think anybody would consider \u003ci>Passions\u003c/i> to be a really politicized series,” he says, “but when it’s put adjacent to these archives of this gay club in Seattle that went out of business because the owner was basically running a drug and sex den, yet it was one of the few places that young queer people could come together and experience a sense of community, \u003ci>Passions\u003c/i> automatically gets politicized.”\u003c/p>\n\u003cfigure id=\"attachment_13281427\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13281427\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_22_1200.jpg\" alt=\"Hand-dyed yarn woven on Faught's 8-shaft floor loom; Faught demonstrating the loom's foot pedals.\" width=\"1200\" height=\"893\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_22_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_22_1200-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_22_1200-800x595.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_22_1200-768x572.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_22_1200-1020x759.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_22_1200-1180x878.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_22_1200-960x714.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_22_1200-240x179.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_22_1200-375x279.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_22_1200-520x387.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Hand-dyed yarn woven on Faught’s 8-shaft floor loom; Faught demonstrating the loom’s foot pedals. \u003ccite>(Photo by Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sifting through the printed material left behind by queer communities of the past — either in archives like San Francisco’s \u003ca href=\"http://www.glbthistory.org/archives/\" target=\"_blank\" rel=\"noopener noreferrer\">GLBT Historical Society\u003c/a>, or informal settings like the incredibly fruitful thrift stores of Palm Springs — is an integral part of Faught’s practice. In the studio, he shows us a zine he recreated from an original issue of \u003ci>Hobby Directory\u003c/i>, an international index of “who’s who in hobbies.” For subscribers of the 1940s and 50s, men seeking to connect with other men used hobbies as a coded language of personal ads.\u003c/p>\n\u003cfigure id=\"attachment_13281426\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13281426\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_21_1200.jpg\" alt=\"Faught with his recreated 'Hobby Lobby'; the 1982 'Gay Areas' directory, found in a Vallejo thrift store.\" width=\"1200\" height=\"893\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_21_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_21_1200-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_21_1200-800x595.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_21_1200-768x572.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_21_1200-1020x759.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_21_1200-1180x878.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_21_1200-960x714.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_21_1200-240x179.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_21_1200-375x279.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_21_1200-520x387.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Faught with his recreated ‘Hobby Lobby’; the 1982 ‘Gay Areas’ directory, found in a Vallejo thrift store. \u003ccite>(Photo by Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Interested in photography, color, of birds, travel and historical places. Also in health, diet and reading. Seeks several congenial correspondents, any age,” Faught reads. “It’s just these strange euphemisms: Hairdresser and artist. Interior decorating. Oil painting.”\u003c/p>\n\u003cp>He revels in the linguistic strangeness of these archival documents. For \u003ci>Between a Rock and a Hard Place\u003c/i>, part of the fused show \u003ci>Curious and Curiouser\u003c/i>, the left half of the diptych features words found in the top corners of a 1982 edition of \u003ci>Gay Areas\u003c/i>, “the world’s first gay telephone directory.”\u003c/p>\n\u003cfigure id=\"attachment_13281422\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13281422\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_2_1200.jpg\" alt=\"Faught's 24-shaft floor loom; one half of the diptych 'Between a Rock and a Hard Place,' 2017.\" width=\"1200\" height=\"893\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_2_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_2_1200-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_2_1200-800x595.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_2_1200-768x572.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_2_1200-1020x759.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_2_1200-1180x878.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_2_1200-960x714.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_2_1200-240x179.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_2_1200-375x279.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_2_1200-520x387.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Faught’s 24-shaft floor loom; one half of the diptych ‘Between a Rock and a Hard Place,’ 2017. \u003ccite>(Photo by Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Some of the alphabetical pairings are absurd, others heartbreaking. “Alcohol Treatment Centers — Bars” is followed by “Moms — Renaissance.” Like the \u003ci>Hobby Directory\u003c/i>, \u003ci>Gay Areas\u003c/i> was a directory meant for a specific community — a printed support network. A text banner draping from the top left corner of the piece spells out “CONCESSIONS” in a circus-y font. \u003c/p>\n\u003cp>It could be a sign for a hot dog stand, or a reference to the compromises certain members of society once made and continue to make when it comes to living openly versus living safely. As Faught says, “The construction of identity is full of holes. It’s full of a lot of inconsistencies. And it’s full of a lot of competing impulses.”\u003c/p>\n\u003cp>The right half of the diptych is a Jacquard-woven rendition of a red brick wall, balancing the hours of labor that went into hand-weaving and piecing together of the horizontal strips of text on the left.\u003c/p>\n\u003cfigure id=\"attachment_13281429\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13281429\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_Titanic.jpg\" alt=\"Just a small fraction of Faught's 'Titanic' collection; '10-Minute Clutter Control' in a pocket.\" width=\"1200\" height=\"893\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_Titanic.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_Titanic-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_Titanic-800x595.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_Titanic-768x572.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_Titanic-1020x759.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_Titanic-1180x878.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_Titanic-960x714.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_Titanic-240x179.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_Titanic-375x279.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_Titanic-520x387.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Just a small fraction of Faught’s ‘Titanic’ collection; ’10-Minute Clutter Control’ in a pocket. \u003ccite>(Photo by Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This material mixture of high and low (Faught describes Jacquard weaving as “a really cheesy process”) appears again and again. He hand-dyes his yarns and usually keeps an indigo vat going in the studio, but he also revels in found, extremely kitschy objects. In one of the woven pockets of another work titled \u003cem>I Forget Where I am While I am at Where I am Going\u003c/em>, also part of the fused show, is a copy of \u003ci>10-Minute Clutter Control\u003c/i>, the type of book you’d likely find in an office free pile. Pinned above it is a button that in all probability once belonged to an employee of TGI Fridays.\u003c/p>\n\u003cp>Similarly, his works include references that range from explicitly political messages to more coded — or as Faught would say, coy — affirmations of identity. “I’m really interested right now in that space between politics and activism,” he says. “We need a lot of activism, we need a lot of direct action protest, but I don’t see art always as the thing to do that.”\u003c/p>\n\u003cp>“It can, for sure. But I see my job and my mission as more about finding the places where politics and activism don’t so neatly match up.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>See more of Josh Faught’s work in a three-person show with Julie Béna and Courtney Johnson, ‘Curious and Curiouser,’ opening Thursday, May 25 at San Francisco’s fused (1401 16th Street). For more information, \u003ca href=\"http://jessicasilvermangallery.com/fused/\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/i> \u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13279959/bay-area-sculpture-right-now-josh-faught-weaves-monumental-cozies",
"authors": [
"61"
],
"categories": [
"arts_70"
],
"tags": [
"arts_1119",
"arts_1118",
"arts_596",
"arts_901"
],
"featImg": "arts_13281419",
"label": "arts"
},
"news_11466985": {
"type": "posts",
"id": "news_11466985",
"meta": {
"index": "posts_1716263798",
"site": "news",
"id": "11466985",
"score": null,
"sort": [
1495285216000
]
},
"guestAuthors": [],
"slug": "they-call-us-monsters-a-new-lens-on-teens-facing-life-in-prison",
"title": "'They Call Us Monsters': A New Lens on Teens Facing Life in Prison",
"publishDate": 1495285216,
"format": "audio",
"headTitle": "‘They Call Us Monsters’: A New Lens on Teens Facing Life in Prison | KQED",
"labelTerm": {
"term": 72,
"site": "news"
},
"content": "\u003cp>\u003cspan style=\"font-weight: 400\">Back in 2013, California was debating whether to give teenagers who committed violent crimes a second chance. The proposed bill, \u003c/span>\u003ca href=\"http://leginfo.legislature.ca.gov/faces/billNavClient.xhtml?bill_id=201320140SB260\">\u003cspan style=\"font-weight: 400\">SB 260\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, would allow juveniles to become eligible for parole earlier in their sentencing, after serving at least 15 years. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">That’s when director \u003ca href=\"http://www.imdb.com/name/nm3435580/\">Ben Lear\u003c/a> knew he had a film to make. \u003c/span>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"They Call Us Monsters Official Trailer 1 (2016) - Documentary\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/u7BQc1Lxm6g?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Lear had been visiting “The Compound,” a high-security facility where Los Angeles houses its most violent juvenile criminals. When he heard about the bill, he joined forces with screenwriter \u003ca href=\"https://www.theycallusmonsters.com/copy-of-sasha-alpert\" target=\"_blank\" rel=\"noopener noreferrer\">Gabriel Cowan\u003c/a> to produce the documentary “\u003ca href=\"http://www.pbs.org/independentlens/films/they-call-us-monsters/\" target=\"_blank\" rel=\"noopener noreferrer\">They Call Us Monsters\u003c/a>.” \u003c/p>\n\u003cp>Cowan had the idea to start a screenwriting class for juvenile offenders after he gave a talk to incarcerated youth while working on another screenplay. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Over the course of a few months, Lear filmed Cowan working with three teenagers — Juan Gamez, Jarad Nava and Antonio Hernandez — who were awaiting trial, some facing sentences more than 100 years long. \u003c/p>\n\u003cp>Juan and Jarad were 16 when they were arrested; Antonio was 14.\u003c/p>\n\u003cfigure id=\"attachment_11467104\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11467104\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-03-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-03-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-03-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-03-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-03.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-03-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-03-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-03-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-03-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-03-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gabriel Cowan teaches a screenwriting class to juvenile offenders at The Compound. \u003ccite>(BMP Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cowan says the juvenile justice system in California is broken. Instead of rehabilitating youth who have committed serious crimes, he says, it’s punishing them.\u003c/p>\n\u003cp>“You can’t punish trauma out of a child, you have to love it out of them,” he says. “And that’s part of what I think works so well with these art programs. People who are trying through art help these kids deal with the trauma that they have gone through.”\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But it wasn’t easy. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The film documents one of his first visits, when he asks the group to list their fears. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Antonio: “Fear of trust, fear of being alone, fear of public speaking, and fear of vulnerability,” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Juan: “Death, loneliness, darkness, and love.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Jarad: “I don’t like snakes, there’s a fear of heights, I’m not scared of heights, but there’s a fear. The dark.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But then, Jarad counters, “No, I’m not scared of the dark.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Seems like you’re avoiding the question,” Cowan replies. “Seems like maybe you’re afraid of the question.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11467106\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11467106\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-07-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-07-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-07-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-07-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-07.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-07-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-07-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-07-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-07-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-07-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gabriel Cowan and his students review their work at The Compound. \u003ccite>(BMP Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Cowan says that getting the teens to open up to him was a long and sometimes difficult process. He had the group do a number of trust exercises. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“It wasn’t a direct line, it was a process that had zigzaggy lines. One week they would open up and trust me, and another week they would be joking around and sort of making me the villain.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Cowan gave the teens liberty to choose what they wanted their film to be about. “You can write a science fiction, you can write an animated film, you can write about ninjas, whatever you want.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But the three boys decided to do something mutually biographical. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The plot emerged when the teens were talking about their fears. Juan said he was in love with a girl when he was 10, but was too scared to tell her. His story became one of the main themes in their film.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11467107\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11467107\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-05-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-05-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-05-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-05-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-05.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-05-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-05-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-05-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-05-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-05-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gabriel Cowan at The Compound, where he teaches a screenwriting class to juvenile offenders. \u003ccite>(BMP Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We incorporated that experience, the experience of telling someone you love them and how scary that is,” says Cowan. “[It’s] the loss of innocence of this kid, who in this one day, nearly loses his virginity, smokes pot for the first time, gets kicked out of his house, sees a drive-by shooting, and all while trying to tell this girl that he loves her.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Encouraged by Cowan and his classmates, Juan ended up calling his 10 year-old crush inside the jail.\u003c/span>\u003c/p>\n\u003cp>This scene makes it into the final documentary, in which Lear \u003cspan style=\"font-weight: 400\">braids together footage from the class with clips from the fictional film that the teens wrote.\u003c/span>\u003c/p>\n\u003cp>Reflecting back on his first week teaching his screenwriting class, Cowan says he was struck by the teens saying they don’t have friends. \u003c/p>\n\u003cp>“There’s homies and there’s enemies,” he says they told him. \u003c/p>\n\u003cp>“But by the end of the 10 weeks,” Cowan says, “they were all friends. You can see them hugging, you can see they felt a lot of success together, they went through a real experience together.”\u003c/p>\n\u003cfigure id=\"attachment_11467108\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11467108\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-06-800x451.jpg\" alt=\"\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-06-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-06-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-06-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-06-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-06-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-06-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-06-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-06-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-06.jpg 1607w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Antonio, Jarad and Juan hanging in the dayroom at The Compound. \u003ccite>(BMP Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Since the documentary was produced in 2013, \u003ca href=\"https://chronicleofsocialchange.org/news-2/california-passes-new-parole-law-for-young-offenders\" target=\"_blank\" rel=\"noopener noreferrer\">the initial parole bill, SB 230, passed\u003c/a>, along with other bills that decrease juvenile sentencing.\u003c/p>\n\u003cp>This means these kids could get a second chance.\u003c/p>\n\u003cp>In Jarad’s case, he’ll likely \u003cspan style=\"font-weight: 400\"> come up for parole in 20-25 years, instead of the 80 or 90 years he would have had with a 160-year sentence. This is true for Juan as well, who has a 90-year sentence.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"http://www.pbs.org/independentlens/films/they-call-us-monsters/\" target=\"_blank\" rel=\"noopener\">PBS Independent Lens airs the film on Monday, May 22\u003c/a>. To see the short film, “Los,” written by Juan, Jarad, and Antonio, visit \u003ca href=\"http://insideoutwriters.org/\" target=\"_blank\" rel=\"noopener noreferrer\">InsideOUT Writers.\u003c/a>\u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "Documentary follows three teenagers with long sentences in a screenwriting class inside a high-security juvenile detention facility. ",
"status": "publish",
"parent": 0,
"modified": 1721110360,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 33,
"wordCount": 910
},
"headData": {
"title": "'They Call Us Monsters': A New Lens on Teens Facing Life in Prison | KQED",
"description": "Documentary follows three teenagers with long sentences in a screenwriting class inside a high-security juvenile detention facility. ",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "NewsArticle",
"headline": "'They Call Us Monsters': A New Lens on Teens Facing Life in Prison",
"datePublished": "2017-05-20T06:00:16-07:00",
"dateModified": "2024-07-15T23:12:40-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png",
"isAccessibleForFree": "True",
"publisher": {
"@type": "NewsMediaOrganization",
"@id": "https://www.kqed.org/#organization",
"name": "KQED",
"logo": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png",
"url": "https://www.kqed.org",
"sameAs": [
"https://www.facebook.com/KQED",
"https://twitter.com/KQED",
"https://www.instagram.com/kqed/",
"https://www.tiktok.com/@kqedofficial",
"https://www.linkedin.com/company/kqed",
"https://www.youtube.com/channel/UCeC0IOo7i1P_61zVUWbJ4nw"
]
}
}
},
"audioUrl": "http://www.kqed.org/.stream/anon/radio/tcrmag/2017/05/2017-05-19b-tcrmag.mp3",
"guestFields": "0",
"sticky": false,
"path": "/news/11466985/they-call-us-monsters-a-new-lens-on-teens-facing-life-in-prison",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">Back in 2013, California was debating whether to give teenagers who committed violent crimes a second chance. The proposed bill, \u003c/span>\u003ca href=\"http://leginfo.legislature.ca.gov/faces/billNavClient.xhtml?bill_id=201320140SB260\">\u003cspan style=\"font-weight: 400\">SB 260\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, would allow juveniles to become eligible for parole earlier in their sentencing, after serving at least 15 years. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">That’s when director \u003ca href=\"http://www.imdb.com/name/nm3435580/\">Ben Lear\u003c/a> knew he had a film to make. \u003c/span>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"They Call Us Monsters Official Trailer 1 (2016) - Documentary\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/u7BQc1Lxm6g?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Lear had been visiting “The Compound,” a high-security facility where Los Angeles houses its most violent juvenile criminals. When he heard about the bill, he joined forces with screenwriter \u003ca href=\"https://www.theycallusmonsters.com/copy-of-sasha-alpert\" target=\"_blank\" rel=\"noopener noreferrer\">Gabriel Cowan\u003c/a> to produce the documentary “\u003ca href=\"http://www.pbs.org/independentlens/films/they-call-us-monsters/\" target=\"_blank\" rel=\"noopener noreferrer\">They Call Us Monsters\u003c/a>.” \u003c/p>\n\u003cp>Cowan had the idea to start a screenwriting class for juvenile offenders after he gave a talk to incarcerated youth while working on another screenplay. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Over the course of a few months, Lear filmed Cowan working with three teenagers — Juan Gamez, Jarad Nava and Antonio Hernandez — who were awaiting trial, some facing sentences more than 100 years long. \u003c/p>\n\u003cp>Juan and Jarad were 16 when they were arrested; Antonio was 14.\u003c/p>\n\u003cfigure id=\"attachment_11467104\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11467104\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-03-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-03-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-03-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-03-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-03.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-03-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-03-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-03-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-03-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-03-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gabriel Cowan teaches a screenwriting class to juvenile offenders at The Compound. \u003ccite>(BMP Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cowan says the juvenile justice system in California is broken. Instead of rehabilitating youth who have committed serious crimes, he says, it’s punishing them.\u003c/p>\n\u003cp>“You can’t punish trauma out of a child, you have to love it out of them,” he says. “And that’s part of what I think works so well with these art programs. People who are trying through art help these kids deal with the trauma that they have gone through.”\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But it wasn’t easy. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The film documents one of his first visits, when he asks the group to list their fears. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Antonio: “Fear of trust, fear of being alone, fear of public speaking, and fear of vulnerability,” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Juan: “Death, loneliness, darkness, and love.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Jarad: “I don’t like snakes, there’s a fear of heights, I’m not scared of heights, but there’s a fear. The dark.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But then, Jarad counters, “No, I’m not scared of the dark.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Seems like you’re avoiding the question,” Cowan replies. “Seems like maybe you’re afraid of the question.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11467106\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11467106\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-07-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-07-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-07-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-07-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-07.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-07-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-07-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-07-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-07-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-07-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gabriel Cowan and his students review their work at The Compound. \u003ccite>(BMP Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Cowan says that getting the teens to open up to him was a long and sometimes difficult process. He had the group do a number of trust exercises. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“It wasn’t a direct line, it was a process that had zigzaggy lines. One week they would open up and trust me, and another week they would be joking around and sort of making me the villain.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Cowan gave the teens liberty to choose what they wanted their film to be about. “You can write a science fiction, you can write an animated film, you can write about ninjas, whatever you want.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But the three boys decided to do something mutually biographical. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The plot emerged when the teens were talking about their fears. Juan said he was in love with a girl when he was 10, but was too scared to tell her. His story became one of the main themes in their film.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11467107\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11467107\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-05-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-05-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-05-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-05-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-05.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-05-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-05-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-05-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-05-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-05-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gabriel Cowan at The Compound, where he teaches a screenwriting class to juvenile offenders. \u003ccite>(BMP Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We incorporated that experience, the experience of telling someone you love them and how scary that is,” says Cowan. “[It’s] the loss of innocence of this kid, who in this one day, nearly loses his virginity, smokes pot for the first time, gets kicked out of his house, sees a drive-by shooting, and all while trying to tell this girl that he loves her.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Encouraged by Cowan and his classmates, Juan ended up calling his 10 year-old crush inside the jail.\u003c/span>\u003c/p>\n\u003cp>This scene makes it into the final documentary, in which Lear \u003cspan style=\"font-weight: 400\">braids together footage from the class with clips from the fictional film that the teens wrote.\u003c/span>\u003c/p>\n\u003cp>Reflecting back on his first week teaching his screenwriting class, Cowan says he was struck by the teens saying they don’t have friends. \u003c/p>\n\u003cp>“There’s homies and there’s enemies,” he says they told him. \u003c/p>\n\u003cp>“But by the end of the 10 weeks,” Cowan says, “they were all friends. You can see them hugging, you can see they felt a lot of success together, they went through a real experience together.”\u003c/p>\n\u003cfigure id=\"attachment_11467108\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11467108\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-06-800x451.jpg\" alt=\"\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-06-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-06-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-06-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-06-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-06-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-06-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-06-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-06-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-06.jpg 1607w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Antonio, Jarad and Juan hanging in the dayroom at The Compound. \u003ccite>(BMP Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Since the documentary was produced in 2013, \u003ca href=\"https://chronicleofsocialchange.org/news-2/california-passes-new-parole-law-for-young-offenders\" target=\"_blank\" rel=\"noopener noreferrer\">the initial parole bill, SB 230, passed\u003c/a>, along with other bills that decrease juvenile sentencing.\u003c/p>\n\u003cp>This means these kids could get a second chance.\u003c/p>\n\u003cp>In Jarad’s case, he’ll likely \u003cspan style=\"font-weight: 400\"> come up for parole in 20-25 years, instead of the 80 or 90 years he would have had with a 160-year sentence. This is true for Juan as well, who has a 90-year sentence.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"http://www.pbs.org/independentlens/films/they-call-us-monsters/\" target=\"_blank\" rel=\"noopener\">PBS Independent Lens airs the film on Monday, May 22\u003c/a>. To see the short film, “Los,” written by Juan, Jarad, and Antonio, visit \u003ca href=\"http://insideoutwriters.org/\" target=\"_blank\" rel=\"noopener noreferrer\">InsideOUT Writers.\u003c/a>\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/news/11466985/they-call-us-monsters-a-new-lens-on-teens-facing-life-in-prison",
"authors": [
"11327"
],
"programs": [
"news_6944",
"news_72"
],
"categories": [
"news_223",
"news_6188",
"news_8"
],
"tags": [
"news_17725",
"news_17968",
"news_17286",
"news_17041"
],
"featImg": "news_11467103",
"label": "news_72"
},
"arts_13263478": {
"type": "posts",
"id": "arts_13263478",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13263478",
"score": null,
"sort": [
1495215749000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1495215749,
"format": "standard",
"title": "Basquiat Painting Becomes Priciest Work Ever Sold by a U.S. Artist",
"headTitle": "Basquiat Painting Becomes Priciest Work Ever Sold by a U.S. Artist | KQED",
"content": "\u003cp>Jean-Michel Basquiat joined “joined the pantheon of great, great artists” Thursday night, when the late painter’s 1982 work \u003cem>Untitled\u003c/em> sold for a record-breaking $110.5 million at auction — the highest sum ever paid at auction for a U.S.-produced artwork.\u003c/p>\n\u003cp>That breathless assessment was offered after the sale by Oliver Barker, chairman of Sotheby’s Europe. So you can imagine just how thrilled the buyer must have been.\u003c/p>\n\u003cp>“I am happy to announce that I just won this masterpiece,” Japanese billionaire Yusaku Maezawa said in an Instagram post revealing his identity as the buyer. “When I first encountered this painting, I was struck with so much excitement and gratitude for my love of art. I want to share that experience with as many people as possible.”\u003c/p>\n\u003cp>The purchase price elicited gasps in the room as it sailed past expectations during the 10-minute bidding war at the Sotheby’s auction, \u003ca href=\"http://www.artnews.com/2017/05/18/record-breaking-110-5-m-basquiat-shocks-attendees-at-sothebys-319-2-m-postwar-and-contemporary-evening-sale/\">according to ARTNews magazine\u003c/a>. In fact, the publication notes, the painting nearly doubled the previous sales record for a Basquiat work, which was set last year — also with Maezawa as buyer.\u003c/p>\n\u003cp>The 41-year-old tech tycoon, rock musician, fashion entrepreneur — and, well, we can let CNN \u003ca href=\"http://money.cnn.com/2017/05/19/technology/yusaku-maezawa-music-fashion-art-basquiat/index.html?sr=twcnni051917yusaku-maezawa-music-fashion-art-basquiat1122AMVODtopLink&linkId=37781557\" target=\"_blank\" rel=\"noopener\">take it from here\u003c/a> — says he intends to place both Basquiat paintings for a museum he’s planning in his hometown, Chiba.\u003c/p>\n\u003cdiv id=\"res529100199\" class=\"bucketwrap statichtml\">\n\u003cblockquote class=\"instagram-media\" data-instgrm-version=\"7\" style=\" background:#FFF; border:0; border-radius:3px; box-shadow:0 0 1px 0 rgba(0,0,0,0.5),0 1px 10px 0 rgba(0,0,0,0.15); margin: 1px; max-width:658px; padding:0; width:99.375%; width:-webkit-calc(100% - 2px); width:calc(100% - 2px);\">\n\u003cdiv style=\"padding:8px;\">\n\u003cdiv style=\" background:#F8F8F8; line-height:0; margin-top:40px; padding:50% 0; text-align:center; width:100%;\">\n\u003cdiv style=\" background:url(data:image/png;base64,iVBORw0KGgoAAAANSUhEUgAAACwAAAAsCAMAAAApWqozAAAABGdBTUEAALGPC/xhBQAAAAFzUkdCAK7OHOkAAAAMUExURczMzPf399fX1+bm5mzY9AMAAADiSURBVDjLvZXbEsMgCES5/P8/t9FuRVCRmU73JWlzosgSIIZURCjo/ad+EQJJB4Hv8BFt+IDpQoCx1wjOSBFhh2XssxEIYn3ulI/6MNReE07UIWJEv8UEOWDS88LY97kqyTliJKKtuYBbruAyVh5wOHiXmpi5we58Ek028czwyuQdLKPG1Bkb4NnM+VeAnfHqn1k4+GPT6uGQcvu2h2OVuIf/gWUFyy8OWEpdyZSa3aVCqpVoVvzZZ2VTnn2wU8qzVjDDetO90GSy9mVLqtgYSy231MxrY6I2gGqjrTY0L8fxCxfCBbhWrsYYAAAAAElFTkSuQmCC); display:block; height:44px; margin:0 auto -44px; position:relative; top:-22px; width:44px;\">\u003c/div>\n\u003c/div>\n\u003cp style=\" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; line-height:17px; margin-bottom:0; margin-top:8px; overflow:hidden; padding:8px 0 7px; text-align:center; text-overflow:ellipsis; white-space:nowrap;\">\u003ca href=\"https://www.instagram.com/p/BUQQMOFDStN/\" style=\" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; font-style:normal; font-weight:normal; line-height:17px; text-decoration:none;\" target=\"_blank\" rel=\"noopener\">A post shared by Yusaku Maezawa (@yusaku2020)\u003c/a> on \u003ctime style=\" font-family:Arial,sans-serif; font-size:14px; line-height:17px;\" datetime=\"2017-05-19T00:33:27+00:00\">May 18, 2017 at 5:33pm PDT\u003c/time>\u003c/p>\n\u003c/div>\n\u003c/blockquote>\n\u003cp> \u003cscript async defer src=\"//platform.instagram.com/en_US/embeds.js\">\u003c/script>\n \u003c/p>\u003c/div>\n\u003cp>“But before then, I wish to loan this piece — which has been unseen by the public for more than 30 years — to institutions and exhibitions around the world,” he said in a statement \u003ca href=\"https://www.nytimes.com/2017/05/18/arts/jean-michel-basquiat-painting-is-sold-for-110-million-at-auction.html\" target=\"_blank\" rel=\"noopener\">quoted by The New York Times\u003c/a>. “I hope it brings as much joy to others as it does to me and that this masterpiece by the 21-year-old Basquiat inspires our future generations.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Basquiat died several years after creating the work that sold Thursday, overdosing on heroin in 1988 at age 27. The New York native, son of a Puerto Rican mother and Haitian-American father, began in street art and assumed mythic stature after his death — influencing a generation of artists with his visceral, politically inclined works.\u003c/p>\n\u003cp>With Thursday’s sale, \u003cem>ARTNews\u003c/em> reports that \u003cem>Untitled\u003c/em> broke the American record held by Basquiat’s friend Andy Warhol and became the sixth-most expensive work ever auctioned in the world.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Here’s a closer look at Basquiat’s \u003cem>Untitled\u003c/em>: \u003c/p>\n\u003cfigure id=\"attachment_13263485\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Basquiats-untitled-800x849.jpg\" alt=\"Jean-Michel Basquiat's 'Untitled' was produced in 1982. The <a href="http://www.latimes.com/entertainment/la-et-entertainment-news-updates-may-basquiat-painting-auction-1495159714-htmlstory.html">Los Angeles Times says</a> that until shortly before Thursday's auction, it hadn't been shown in public since a private collector bought it for $19,000 in 1984\" width=\"800\" height=\"849\" class=\"size-medium wp-image-13263485\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Basquiats-untitled.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Basquiats-untitled-160x170.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Basquiats-untitled-768x815.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Basquiats-untitled-240x255.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Basquiats-untitled-375x398.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Basquiats-untitled-520x552.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jean-Michel Basquiat’s ‘Untitled’ was produced in 1982. The \u003ca href=\"http://www.latimes.com/entertainment/la-et-entertainment-news-updates-may-basquiat-painting-auction-1495159714-htmlstory.html\">Los Angeles Times says\u003c/a> that until shortly before Thursday’s auction, it hadn’t been shown in public since a private collector bought it for $19,000 in 1984 \u003ccite>(Courtesy of NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\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=At+%24110.5+Million%2C+Basquiat+Painting+Becomes+Priciest+Work+Ever+Sold+By+A+U.S.+Artist&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 486,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 12
},
"modified": 1705030604,
"excerpt": "With the sale Thursday night in New York City, the late Jean-Michel Basquiat's 1982 untitled painting is also said to be the sixth-most expensive work sold in world history.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "With the sale Thursday night in New York City, the late Jean-Michel Basquiat's 1982 untitled painting is also said to be the sixth-most expensive work sold in world history.",
"title": "Basquiat Painting Becomes Priciest Work Ever Sold by a U.S. Artist | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Basquiat Painting Becomes Priciest Work Ever Sold by a U.S. Artist",
"datePublished": "2017-05-19T10:42:29-07:00",
"dateModified": "2024-01-11T19:36:44-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "at-110-5-million-basquiat-painting-becomes-priciest-work-ever-sold-by-a-u-s-artist",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=529096175&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Colin Dwyer",
"nprStoryDate": "Fri, 19 May 2017 09:59:00 -0400",
"nprLastModifiedDate": "Fri, 19 May 2017 13:12:19 -0400",
"sticky": false,
"nprHtmlLink": "http://www.npr.org/sections/thetwo-way/2017/05/19/529096175/at-110-5-million-basquiat-painting-becomes-priciest-work-ever-sold-by-a-u-s-arti?ft=nprml&f=529096175",
"nprImageAgency": "AFP/Getty Images",
"nprImageCredit": "Don Emmert",
"nprStoryId": "529096175",
"nprRetrievedStory": "1",
"nprPubDate": "Fri, 19 May 2017 13:12:00 -0400",
"path": "/arts/13263478/at-110-5-million-basquiat-painting-becomes-priciest-work-ever-sold-by-a-u-s-artist",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Jean-Michel Basquiat joined “joined the pantheon of great, great artists” Thursday night, when the late painter’s 1982 work \u003cem>Untitled\u003c/em> sold for a record-breaking $110.5 million at auction — the highest sum ever paid at auction for a U.S.-produced artwork.\u003c/p>\n\u003cp>That breathless assessment was offered after the sale by Oliver Barker, chairman of Sotheby’s Europe. So you can imagine just how thrilled the buyer must have been.\u003c/p>\n\u003cp>“I am happy to announce that I just won this masterpiece,” Japanese billionaire Yusaku Maezawa said in an Instagram post revealing his identity as the buyer. “When I first encountered this painting, I was struck with so much excitement and gratitude for my love of art. I want to share that experience with as many people as possible.”\u003c/p>\n\u003cp>The purchase price elicited gasps in the room as it sailed past expectations during the 10-minute bidding war at the Sotheby’s auction, \u003ca href=\"http://www.artnews.com/2017/05/18/record-breaking-110-5-m-basquiat-shocks-attendees-at-sothebys-319-2-m-postwar-and-contemporary-evening-sale/\">according to ARTNews magazine\u003c/a>. In fact, the publication notes, the painting nearly doubled the previous sales record for a Basquiat work, which was set last year — also with Maezawa as buyer.\u003c/p>\n\u003cp>The 41-year-old tech tycoon, rock musician, fashion entrepreneur — and, well, we can let CNN \u003ca href=\"http://money.cnn.com/2017/05/19/technology/yusaku-maezawa-music-fashion-art-basquiat/index.html?sr=twcnni051917yusaku-maezawa-music-fashion-art-basquiat1122AMVODtopLink&linkId=37781557\" target=\"_blank\" rel=\"noopener\">take it from here\u003c/a> — says he intends to place both Basquiat paintings for a museum he’s planning in his hometown, Chiba.\u003c/p>\n\u003cdiv id=\"res529100199\" class=\"bucketwrap statichtml\">\n\u003cblockquote class=\"instagram-media\" data-instgrm-version=\"7\" style=\" background:#FFF; border:0; border-radius:3px; box-shadow:0 0 1px 0 rgba(0,0,0,0.5),0 1px 10px 0 rgba(0,0,0,0.15); margin: 1px; max-width:658px; padding:0; width:99.375%; width:-webkit-calc(100% - 2px); width:calc(100% - 2px);\">\n\u003cdiv style=\"padding:8px;\">\n\u003cdiv style=\" background:#F8F8F8; line-height:0; margin-top:40px; padding:50% 0; text-align:center; width:100%;\">\n\u003cdiv style=\" background:url(data:image/png;base64,iVBORw0KGgoAAAANSUhEUgAAACwAAAAsCAMAAAApWqozAAAABGdBTUEAALGPC/xhBQAAAAFzUkdCAK7OHOkAAAAMUExURczMzPf399fX1+bm5mzY9AMAAADiSURBVDjLvZXbEsMgCES5/P8/t9FuRVCRmU73JWlzosgSIIZURCjo/ad+EQJJB4Hv8BFt+IDpQoCx1wjOSBFhh2XssxEIYn3ulI/6MNReE07UIWJEv8UEOWDS88LY97kqyTliJKKtuYBbruAyVh5wOHiXmpi5we58Ek028czwyuQdLKPG1Bkb4NnM+VeAnfHqn1k4+GPT6uGQcvu2h2OVuIf/gWUFyy8OWEpdyZSa3aVCqpVoVvzZZ2VTnn2wU8qzVjDDetO90GSy9mVLqtgYSy231MxrY6I2gGqjrTY0L8fxCxfCBbhWrsYYAAAAAElFTkSuQmCC); display:block; height:44px; margin:0 auto -44px; position:relative; top:-22px; width:44px;\">\u003c/div>\n\u003c/div>\n\u003cp style=\" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; line-height:17px; margin-bottom:0; margin-top:8px; overflow:hidden; padding:8px 0 7px; text-align:center; text-overflow:ellipsis; white-space:nowrap;\">\u003ca href=\"https://www.instagram.com/p/BUQQMOFDStN/\" style=\" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; font-style:normal; font-weight:normal; line-height:17px; text-decoration:none;\" target=\"_blank\" rel=\"noopener\">A post shared by Yusaku Maezawa (@yusaku2020)\u003c/a> on \u003ctime style=\" font-family:Arial,sans-serif; font-size:14px; line-height:17px;\" datetime=\"2017-05-19T00:33:27+00:00\">May 18, 2017 at 5:33pm PDT\u003c/time>\u003c/p>\n\u003c/div>\n\u003c/blockquote>\n\u003cp> \u003cscript async defer src=\"//platform.instagram.com/en_US/embeds.js\">\u003c/script>\n \u003c/p>\u003c/div>\n\u003cp>“But before then, I wish to loan this piece — which has been unseen by the public for more than 30 years — to institutions and exhibitions around the world,” he said in a statement \u003ca href=\"https://www.nytimes.com/2017/05/18/arts/jean-michel-basquiat-painting-is-sold-for-110-million-at-auction.html\" target=\"_blank\" rel=\"noopener\">quoted by The New York Times\u003c/a>. “I hope it brings as much joy to others as it does to me and that this masterpiece by the 21-year-old Basquiat inspires our future generations.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Basquiat died several years after creating the work that sold Thursday, overdosing on heroin in 1988 at age 27. The New York native, son of a Puerto Rican mother and Haitian-American father, began in street art and assumed mythic stature after his death — influencing a generation of artists with his visceral, politically inclined works.\u003c/p>\n\u003cp>With Thursday’s sale, \u003cem>ARTNews\u003c/em> reports that \u003cem>Untitled\u003c/em> broke the American record held by Basquiat’s friend Andy Warhol and became the sixth-most expensive work ever auctioned in the world.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Here’s a closer look at Basquiat’s \u003cem>Untitled\u003c/em>: \u003c/p>\n\u003cfigure id=\"attachment_13263485\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Basquiats-untitled-800x849.jpg\" alt=\"Jean-Michel Basquiat's 'Untitled' was produced in 1982. The <a href="http://www.latimes.com/entertainment/la-et-entertainment-news-updates-may-basquiat-painting-auction-1495159714-htmlstory.html">Los Angeles Times says</a> that until shortly before Thursday's auction, it hadn't been shown in public since a private collector bought it for $19,000 in 1984\" width=\"800\" height=\"849\" class=\"size-medium wp-image-13263485\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Basquiats-untitled.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Basquiats-untitled-160x170.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Basquiats-untitled-768x815.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Basquiats-untitled-240x255.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Basquiats-untitled-375x398.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Basquiats-untitled-520x552.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jean-Michel Basquiat’s ‘Untitled’ was produced in 1982. The \u003ca href=\"http://www.latimes.com/entertainment/la-et-entertainment-news-updates-may-basquiat-painting-auction-1495159714-htmlstory.html\">Los Angeles Times says\u003c/a> that until shortly before Thursday’s auction, it hadn’t been shown in public since a private collector bought it for $19,000 in 1984 \u003ccite>(Courtesy of NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\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=At+%24110.5+Million%2C+Basquiat+Painting+Becomes+Priciest+Work+Ever+Sold+By+A+U.S.+Artist&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13263478/at-110-5-million-basquiat-painting-becomes-priciest-work-ever-sold-by-a-u-s-artist",
"authors": [
"byline_arts_13263478"
],
"categories": [
"arts_235",
"arts_70"
],
"tags": [
"arts_1448",
"arts_596"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13263479",
"label": "arts_137"
},
"arts_13257619": {
"type": "posts",
"id": "arts_13257619",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13257619",
"score": null,
"sort": [
1495152039000
]
},
"guestAuthors": [],
"slug": "do-list-pendarvis-harshaw-liss-fain-porchfest-more",
"title": "Suzie & Gabe's Picks: Rockin' the Front Porch, Talkin' with OGs, and Paintin' an Empty Warehouse",
"publishDate": 1495152039,
"format": "audio",
"headTitle": "Suzie & Gabe’s Picks: Rockin’ the Front Porch, Talkin’ with OGs, and Paintin’ an Empty Warehouse | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003cp>\u003cstrong>KQED’s Suzie Racho and Gabe Meline share their picks for great events around the Bay Area this week.\u003c/strong>\u003c/p>\n\u003cp>The seasons are changing, the sun is out, and this week we’ve got not one, not two, not three but four free events in the show. One of them is the Malcolm X Jazz Arts Festival in Oakland — a large annual party in San Antonio Park with street art, breakdancing, spoken word and music, including a set by the great jazz saxophonist David Murray and his trio. \u003ca href=\"https://www.eastsideartsalliance.org/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>. We also need to give a quick mention to Rajeev Taranath a master of the the Indian Lute, who’s at the Freight and Salvage on Tuesday. \u003ca href=\"http://thefreight.org/rajeev-taranath-udayraj-karpur\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>. Now on with the show.\u003c/p>\n\u003cfigure id=\"attachment_13257845\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/AlcatrazIslanders.jpg\" alt=\"Alcatraz Islanders.\" width=\"1000\" height=\"667\" class=\"size-full wp-image-13257845\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/AlcatrazIslanders.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/AlcatrazIslanders-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/AlcatrazIslanders-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/AlcatrazIslanders-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/AlcatrazIslanders-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/AlcatrazIslanders-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/AlcatrazIslanders-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/AlcatrazIslanders-520x347.jpg 520w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">Alcatraz Islanders.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>May 20:\u003c/strong> The fun, accessible live-music smorgasbord \u003cstrong>Porchfest\u003c/strong> is a tradition running for 10 years now; it started in New York and eventually came west. The idea is simple: instead of going to a nightclub or ballroom to see music, attendees can walk or ride bikes around the neighborhood and see music performed on front steps, porches, or backyards. This year there are over 50 bands, from folk to punk, and it takes place all over the Mission District in San Francisco — though centered on Valencia Street. \u003ca href=\"http://www.sfporchfest.org/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13257847\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/OutOfOrder-800x481.jpg\" alt=\"A mural from 'Out of Order 2.'\" width=\"800\" height=\"481\" class=\"size-medium wp-image-13257847\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/OutOfOrder-800x481.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/OutOfOrder-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/OutOfOrder-768x462.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/OutOfOrder-960x577.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/OutOfOrder-240x144.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/OutOfOrder-375x225.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/OutOfOrder-520x313.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/OutOfOrder.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A mural from ‘Out of Order 2.’\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>May 20:\u003c/strong> When an abandoned warehouse in Santa Rosa was taken over in 2013 by dozens of street artists, it was the talk of the town. After all, the 4,000-sq.-ft. warehouse once housed a printing press, but has become a building of mystique — the Wonka Factory of downtown Santa Rosa, if you will. So it’s a thrill that \u003cstrong>Out Of Order\u003c/strong> is opening its doors again and returning for a second run, with over 30 artists taking part in covering the walls, doors, and every available surface with huge graffiti murals. It’s free, it’s at the Corner Store Collective, and details are \u003ca href=\"https://www.facebook.com/events/203721943464213/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13257848\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/LissFain.RJMuna-800x573.jpg\" alt=\"Liss Fain's 'Known Once' is a multi-generational collaboration.\" width=\"800\" height=\"573\" class=\"size-medium wp-image-13257848\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/LissFain.RJMuna-800x573.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/LissFain.RJMuna-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/LissFain.RJMuna-768x550.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/LissFain.RJMuna-240x172.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/LissFain.RJMuna-375x269.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/LissFain.RJMuna-520x373.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/LissFain.RJMuna.jpg 840w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Liss Fain’s ‘Known Once’ is a multi-generational collaboration. \u003ccite>(RJ Muna)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>May 19–21\u003c/strong>: Liss Fain Dance often bases its works on fiction or literature, like that of William Faulkner or Virginia Woolf. For \u003cem>Known Once\u003c/em>, they partnered with 826 Valencia and The Redwoods to create a performance from real life, pulling together seniors and kids for a piece about personal experience and similarities across generations. Six years in the making, it finally premieres this week at Z Space. \u003ca href=\"http://www.lissfaindance.org/known-once/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13257849\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/OGToldMe-800x533.jpg\" alt=\"Pendarvis Harshaw, author of 'OG Told Me.'\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13257849\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/OGToldMe-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/OGToldMe-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/OGToldMe-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/OGToldMe-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/OGToldMe-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/OGToldMe-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/OGToldMe-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/OGToldMe-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/OGToldMe-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/OGToldMe.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pendarvis Harshaw, author of ‘OG Told Me.’ \u003ccite>(Kevin Allen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>May 21:\u003c/strong> Oakland City Hall on Sunday hosts the city’s annual \u003cstrong>Oakland Book Festival\u003c/strong>, where this year’s theme is Equality/Inequality. There are panels on arts advocacy after the Ghost Ship fire, the free press and fake news, and authors like Ishmael Reed and Jeff Chang. There’s also this book that everyone’s been talking about — \u003cem>OG Told Me\u003c/em>, written by teacher and journalist Pendarvis Harshaw, an true story about growing up on the streets of Oakland and the lessons he learned from his elders and peers. He’s on a panel about race and place in the Bay Area, and it’s a guaranteed way to get a copy of \u003cem>OG Told Me\u003c/em> — not the easiest thing to do, since right now, Harshaw’s just riding his bike around Oakland and selling it out of his backpack. \u003ca href=\"http://www.oaklandbookfestival.org/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://youtu.be/S8Gx0q4TssA\u003c/p>\n\u003cp>\u003cstrong>May 20\u003c/strong>: San Jose is one of only six cities in the United States hosting the current tour by \u003cstrong>Shankar Mahadevan\u003c/strong>, a Bollywood composer who’s scored over 65 films. Mahadevan is a huge star in India, and he specializes in a rhythm-heavy sound bolstered by extra production — though he’s also written for small combos as well. For this tour, a benefit for literacy causes, he’s got a 20-piece orchestra and a set list sure to get people dancing at the City National Civic. \u003ca href=\"http://sanjosetheaters.org/event/krishna-sabrang-shankar-mahadevan-live-concert/?instance_id=8522\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\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\n",
"blocks": [],
"excerpt": "On the Do List this week, we talk to 'OG Told Me' author Pendarvis Harshaw and discuss Porchfest, a huge warehouse graffiti show, Liss Fain's newest, and more.",
"status": "publish",
"parent": 0,
"modified": 1726785633,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 10,
"wordCount": 691
},
"headData": {
"title": "Suzie & Gabe's Picks: Rockin' the Front Porch, Talkin' with OGs, and Paintin' an Empty Warehouse | KQED",
"description": "On the Do List this week, we talk to 'OG Told Me' author Pendarvis Harshaw and discuss Porchfest, a huge warehouse graffiti show, Liss Fain's newest, and more.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Suzie & Gabe's Picks: Rockin' the Front Porch, Talkin' with OGs, and Paintin' an Empty Warehouse",
"datePublished": "2017-05-18T17:00:39-07:00",
"dateModified": "2024-09-19T15:40:33-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"audioUrl": "https://www.kqed.org/.stream/anon/radio//thedolist/2017/05/TDL20170519.mp3",
"guestFields": "0",
"sticky": false,
"path": "/arts/13257619/do-list-pendarvis-harshaw-liss-fain-porchfest-more",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>KQED’s Suzie Racho and Gabe Meline share their picks for great events around the Bay Area this week.\u003c/strong>\u003c/p>\n\u003cp>The seasons are changing, the sun is out, and this week we’ve got not one, not two, not three but four free events in the show. One of them is the Malcolm X Jazz Arts Festival in Oakland — a large annual party in San Antonio Park with street art, breakdancing, spoken word and music, including a set by the great jazz saxophonist David Murray and his trio. \u003ca href=\"https://www.eastsideartsalliance.org/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>. We also need to give a quick mention to Rajeev Taranath a master of the the Indian Lute, who’s at the Freight and Salvage on Tuesday. \u003ca href=\"http://thefreight.org/rajeev-taranath-udayraj-karpur\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>. Now on with the show.\u003c/p>\n\u003cfigure id=\"attachment_13257845\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/AlcatrazIslanders.jpg\" alt=\"Alcatraz Islanders.\" width=\"1000\" height=\"667\" class=\"size-full wp-image-13257845\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/AlcatrazIslanders.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/AlcatrazIslanders-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/AlcatrazIslanders-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/AlcatrazIslanders-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/AlcatrazIslanders-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/AlcatrazIslanders-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/AlcatrazIslanders-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/AlcatrazIslanders-520x347.jpg 520w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">Alcatraz Islanders.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>May 20:\u003c/strong> The fun, accessible live-music smorgasbord \u003cstrong>Porchfest\u003c/strong> is a tradition running for 10 years now; it started in New York and eventually came west. The idea is simple: instead of going to a nightclub or ballroom to see music, attendees can walk or ride bikes around the neighborhood and see music performed on front steps, porches, or backyards. This year there are over 50 bands, from folk to punk, and it takes place all over the Mission District in San Francisco — though centered on Valencia Street. \u003ca href=\"http://www.sfporchfest.org/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13257847\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/OutOfOrder-800x481.jpg\" alt=\"A mural from 'Out of Order 2.'\" width=\"800\" height=\"481\" class=\"size-medium wp-image-13257847\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/OutOfOrder-800x481.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/OutOfOrder-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/OutOfOrder-768x462.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/OutOfOrder-960x577.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/OutOfOrder-240x144.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/OutOfOrder-375x225.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/OutOfOrder-520x313.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/OutOfOrder.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A mural from ‘Out of Order 2.’\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>May 20:\u003c/strong> When an abandoned warehouse in Santa Rosa was taken over in 2013 by dozens of street artists, it was the talk of the town. After all, the 4,000-sq.-ft. warehouse once housed a printing press, but has become a building of mystique — the Wonka Factory of downtown Santa Rosa, if you will. So it’s a thrill that \u003cstrong>Out Of Order\u003c/strong> is opening its doors again and returning for a second run, with over 30 artists taking part in covering the walls, doors, and every available surface with huge graffiti murals. It’s free, it’s at the Corner Store Collective, and details are \u003ca href=\"https://www.facebook.com/events/203721943464213/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13257848\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/LissFain.RJMuna-800x573.jpg\" alt=\"Liss Fain's 'Known Once' is a multi-generational collaboration.\" width=\"800\" height=\"573\" class=\"size-medium wp-image-13257848\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/LissFain.RJMuna-800x573.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/LissFain.RJMuna-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/LissFain.RJMuna-768x550.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/LissFain.RJMuna-240x172.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/LissFain.RJMuna-375x269.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/LissFain.RJMuna-520x373.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/LissFain.RJMuna.jpg 840w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Liss Fain’s ‘Known Once’ is a multi-generational collaboration. \u003ccite>(RJ Muna)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>May 19–21\u003c/strong>: Liss Fain Dance often bases its works on fiction or literature, like that of William Faulkner or Virginia Woolf. For \u003cem>Known Once\u003c/em>, they partnered with 826 Valencia and The Redwoods to create a performance from real life, pulling together seniors and kids for a piece about personal experience and similarities across generations. Six years in the making, it finally premieres this week at Z Space. \u003ca href=\"http://www.lissfaindance.org/known-once/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13257849\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/OGToldMe-800x533.jpg\" alt=\"Pendarvis Harshaw, author of 'OG Told Me.'\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13257849\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/OGToldMe-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/OGToldMe-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/OGToldMe-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/OGToldMe-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/OGToldMe-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/OGToldMe-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/OGToldMe-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/OGToldMe-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/OGToldMe-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/OGToldMe.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pendarvis Harshaw, author of ‘OG Told Me.’ \u003ccite>(Kevin Allen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>May 21:\u003c/strong> Oakland City Hall on Sunday hosts the city’s annual \u003cstrong>Oakland Book Festival\u003c/strong>, where this year’s theme is Equality/Inequality. There are panels on arts advocacy after the Ghost Ship fire, the free press and fake news, and authors like Ishmael Reed and Jeff Chang. There’s also this book that everyone’s been talking about — \u003cem>OG Told Me\u003c/em>, written by teacher and journalist Pendarvis Harshaw, an true story about growing up on the streets of Oakland and the lessons he learned from his elders and peers. He’s on a panel about race and place in the Bay Area, and it’s a guaranteed way to get a copy of \u003cem>OG Told Me\u003c/em> — not the easiest thing to do, since right now, Harshaw’s just riding his bike around Oakland and selling it out of his backpack. \u003ca href=\"http://www.oaklandbookfestival.org/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"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/S8Gx0q4TssA'\n title='//www.youtube.com/embed/S8Gx0q4TssA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>May 20\u003c/strong>: San Jose is one of only six cities in the United States hosting the current tour by \u003cstrong>Shankar Mahadevan\u003c/strong>, a Bollywood composer who’s scored over 65 films. Mahadevan is a huge star in India, and he specializes in a rhythm-heavy sound bolstered by extra production — though he’s also written for small combos as well. For this tour, a benefit for literacy causes, he’s got a 20-piece orchestra and a set list sure to get people dancing at the City National Civic. \u003ca href=\"http://sanjosetheaters.org/event/krishna-sabrang-shankar-mahadevan-live-concert/?instance_id=8522\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\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\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13257619/do-list-pendarvis-harshaw-liss-fain-porchfest-more",
"authors": [
"185"
],
"programs": [
"arts_140"
],
"categories": [
"arts_73",
"arts_966",
"arts_69",
"arts_70"
],
"tags": [
"arts_1118",
"arts_1006",
"arts_596",
"arts_626"
],
"featImg": "arts_13257849",
"label": "arts_140"
},
"arts_13232565": {
"type": "posts",
"id": "arts_13232565",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13232565",
"score": null,
"sort": [
1495144851000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1495144851,
"format": "standard",
"title": "Your Trash is Treasure for Three Artists at Recology San Francisco",
"headTitle": "Your Trash is Treasure for Three Artists at Recology San Francisco | KQED",
"content": "\u003cp>For just a few hours over the course of May 19-23, Bay Area artists \u003ca href=\"http://www.carriehott.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Carrie Hott\u003c/a>, \u003ca href=\"https://www.recology.com/recology_artist/nathan-byrne/\" target=\"_blank\" rel=\"noopener noreferrer\">Nathan Byrne\u003c/a> and \u003ca href=\"http://www.cybelelyle.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Cybele Lyle\u003c/a> will display the results of four months of artistic (and manual) labor at \u003ca href=\"https://www.recology.com/recology-san-francisco/artist-in-residence-program/\" target=\"_blank\" rel=\"noopener noreferrer\">Recology San Francisco\u003c/a>. Over those four months, the three artists in residence have culled, sorted and made use of an impressive amount of stuff from Recology’s public disposal and recycling area, ranging from a truck’s camper shell to cubicle walls to a homemade Joy Division cassette tape.\u003c/p>\n\u003cp>The culminating projects — vastly different, but all sculptural in nature — mine the productive overlap between one artist’s material interests and another person’s refuse.\u003c/p>\n\u003cfigure id=\"attachment_13250949\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13250949\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/cybele_lyle-COVER-1020x574.jpg\" alt=\"Cybele Lyle, 'Are you me or Are You a Stranger,' 2017.\" width=\"640\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/cybele_lyle-COVER-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/cybele_lyle-COVER-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/cybele_lyle-COVER-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/cybele_lyle-COVER-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/cybele_lyle-COVER.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/cybele_lyle-COVER-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/cybele_lyle-COVER-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/cybele_lyle-COVER-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/cybele_lyle-COVER-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/cybele_lyle-COVER-520x293.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Cybele Lyle, ‘Are you me or Are You a Stranger,’ 2017. \u003ccite>(Courtesy of Recology San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For Lyle — who started in printmaking, moved into photography and video work and increasingly enters the third dimension with the help of wooden frameworks and overlapping planes — the Recology residency was another step in the evolution of her own practice. Forced to break her habits and use found materials for the first time, she found herself drawn to particular textures (fabrics, laminate flooring) and chairs.\u003c/p>\n\u003cp>In \u003ci>Are You Me or Are You a Stranger\u003c/i>, Lyle breaks up her enormous light-filled Recology studio with smaller room-like spaces demarcated by flooring, frameworks and outdoor furniture. Many of the arrangements are spindly; thin metal poles support a wall of brightly colored monochrome rectangles, shiny fabric drapes over a spare wooden frame in the warehouse’s roll-up door.\u003c/p>\n\u003cfigure id=\"attachment_13250944\" class=\"wp-caption aligncenter\" style=\"max-width: 1080px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13250944\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/17266076_1674497552845788_1129302246790529024_n.jpg\" alt=\"Cybele Lyle, Work in progress from 'Are You Me or Are You a Stranger,' 2017.\" width=\"1080\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/17266076_1674497552845788_1129302246790529024_n.jpg 1080w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/17266076_1674497552845788_1129302246790529024_n-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/17266076_1674497552845788_1129302246790529024_n-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/17266076_1674497552845788_1129302246790529024_n-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/17266076_1674497552845788_1129302246790529024_n-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/17266076_1674497552845788_1129302246790529024_n-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/17266076_1674497552845788_1129302246790529024_n-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/17266076_1674497552845788_1129302246790529024_n-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/17266076_1674497552845788_1129302246790529024_n-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/17266076_1674497552845788_1129302246790529024_n-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/17266076_1674497552845788_1129302246790529024_n-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/17266076_1674497552845788_1129302246790529024_n-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/17266076_1674497552845788_1129302246790529024_n-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/17266076_1674497552845788_1129302246790529024_n-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/17266076_1674497552845788_1129302246790529024_n-150x150.jpg 150w\" sizes=\"(max-width: 1080px) 100vw, 1080px\">\u003cfigcaption class=\"wp-caption-text\">Cybele Lyle, Work in progress from ‘Are You Me or Are You a Stranger,’ 2017. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Grids — in the form of painted patterns and metal barriers — appear throughout the installation, which feels like a modular theatrical set frozen in just one iteration of many. Which is, of course, how Lyle worked: pulling things out of piles, trying them out in the studio, altering them until they felt like they were no longer someone else’s, keeping some things, rejecting others, stacking, rearranging, attaching, ad infinitum.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The chairs, each embodying a particular design sensibility, could be the characters within this set. Lyle’s work has long explored the relationship between queerness and architecture as a way to explore identity. “With this work, I’ve started exploring ways to bring in the figure without limiting or specifying the definitions of queerness,” she says. The process of determining when objects that once belonged to others are “hers” is a process of not just rejecting society’s binary structure, but of exploring her truest self.\u003c/p>\n\u003cfigure id=\"attachment_13250947\" class=\"wp-caption aligncenter\" style=\"max-width: 869px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13250947\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/carrie_hott-web_1200.jpg\" alt=\"Carrie Hott, Detail view of 'Summer Night Forever,' 2017.\" width=\"869\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/carrie_hott-web_1200.jpg 869w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/carrie_hott-web_1200-160x221.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/carrie_hott-web_1200-800x1105.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/carrie_hott-web_1200-768x1061.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/carrie_hott-web_1200-240x331.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/carrie_hott-web_1200-375x518.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/carrie_hott-web_1200-520x718.jpg 520w\" sizes=\"(max-width: 869px) 100vw, 869px\">\u003cfigcaption class=\"wp-caption-text\">Carrie Hott, Detail view of ‘Summer Night Forever,’ 2017. \u003ccite>(Courtesy of Recology San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Next door to Lyle’s additive permutations, Hott engages in a much more subtractive process in \u003ci>Summer Night Forever\u003c/i>. Digging through an enormous amount of electronic waste, she methodically broke down various sound-making machines into only their most vital parts — often just a few circuit boards and a speaker — to make visible their inner workings.\u003c/p>\n\u003cp>On blue-painted pegboard platforms she calls “islands,” Hott’s newly minimal electronics play CDs of whale songs, the aforementioned Joy Division tape, the second half of \u003ci>Titanic\u003c/i> on VHS and a white noise track called “Summer Night.” A baby monitor picks up the whale sounds from the central island and broadcasts them to an islet in the warehouse corner.\u003c/p>\n\u003cfigure id=\"attachment_13250945\" class=\"wp-caption aligncenter\" style=\"max-width: 1080px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13250945\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/18382574_1911864972426650_6180077473561051136_n.jpg\" alt=\"Carrie Hott, Detail from 'Summer Night Forever,' 2017.\" width=\"1080\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/18382574_1911864972426650_6180077473561051136_n.jpg 1080w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/18382574_1911864972426650_6180077473561051136_n-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/18382574_1911864972426650_6180077473561051136_n-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/18382574_1911864972426650_6180077473561051136_n-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/18382574_1911864972426650_6180077473561051136_n-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/18382574_1911864972426650_6180077473561051136_n-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/18382574_1911864972426650_6180077473561051136_n-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/18382574_1911864972426650_6180077473561051136_n-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/18382574_1911864972426650_6180077473561051136_n-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/18382574_1911864972426650_6180077473561051136_n-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/18382574_1911864972426650_6180077473561051136_n-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/18382574_1911864972426650_6180077473561051136_n-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/18382574_1911864972426650_6180077473561051136_n-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/18382574_1911864972426650_6180077473561051136_n-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/18382574_1911864972426650_6180077473561051136_n-150x150.jpg 150w\" sizes=\"(max-width: 1080px) 100vw, 1080px\">\u003cfigcaption class=\"wp-caption-text\">Carrie Hott, Detail from ‘Summer Night Forever,’ 2017. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lamps in various shades of blue (all paint culled from the Recology piles) light a scene of power cables, circuitry and automated machines. In an era when most of our technology is sealed within smooth, buttonless cases, the electronic guts of Hott’s installation are both refreshing and mesmerizing. (So \u003ci>that’s\u003c/i> what the inside of a CD changer looks like.) The overlapping tracks produced by the machines create a strange, anxious ambiance: post-punk, chirping crickets, the sound of an unsinkable ship breaking apart, screaming extras and whales communicating in their own haunting language.\u003c/p>\n\u003cp>Hott’s recent \u003ca href=\"https://ww2.kqed.org/arts/2016/03/14/carrie-hott-unlocks-a-mysterious-key-room-at-the-headlands/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>Key Room\u003c/i> installation\u003c/a> at Headlands Center for the Arts includes a bank of telephones offering audio samples from or about the Marin Headlands. With \u003ci>Summer Night Forever\u003c/i>, it’s as if she turned those phones inside out. And instead of preserving history, the machines at Recology tell a story of cultural detritus, and how much we throw away.\u003c/p>\n\u003cp>[contextly_sidebar id=”WTMw574e54ZhxQB2BxUYdEEm5n94ojbr”]\u003c/p>\n\u003cp>Last but not least, Nathan Byrne’s \u003ci>I Wish I Knew for True: 12 Works by Nathan Byrne\u003c/i> occupies the Environmental Learning Center, work all the more impressive given the fact that it was made not in a cavernous studio like Lyle or Hott’s, but in a standard shipping container — long and low-ceilinged and windowless. Byrne, who graduates from San Francisco State University this month, presents a series of individual works that arrange familiar objects in unlikely juxtaposition.\u003c/p>\n\u003cp>Like Lyle’s work, there’s an element of precarity: an orb made from the metal bands of wine barrels is held together by compression and friction, an infamous hand chair cradles a pile of crushed mica and in a projected video, shattered glass rolls around in a foot massager. The exhibition’s titular piece, \u003ci>I Wish I Knew For True\u003c/i>, resembles an Eva Hesse work, the plastic tips of micropipettes used in science labs creating a glowing, anemone-like bowl.\u003c/p>\n\u003cfigure id=\"attachment_13250946\" class=\"wp-caption aligncenter\" style=\"max-width: 1080px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13250946\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/18444898_1869820999698478_3118588307815006208_n.jpg\" alt=\"Nathan Byrne, 'What We Talk About When We Talk About Love,' 2017. Installation view at Recology.\" width=\"1080\" height=\"1350\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/18444898_1869820999698478_3118588307815006208_n.jpg 1080w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/18444898_1869820999698478_3118588307815006208_n-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/18444898_1869820999698478_3118588307815006208_n-800x1000.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/18444898_1869820999698478_3118588307815006208_n-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/18444898_1869820999698478_3118588307815006208_n-1020x1275.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/18444898_1869820999698478_3118588307815006208_n-960x1200.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/18444898_1869820999698478_3118588307815006208_n-240x300.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/18444898_1869820999698478_3118588307815006208_n-375x469.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/18444898_1869820999698478_3118588307815006208_n-520x650.jpg 520w\" sizes=\"(max-width: 1080px) 100vw, 1080px\">\u003cfigcaption class=\"wp-caption-text\">Nathan Byrne, ‘What We Talk About When We Talk About Love,’ 2017. Installation view at Recology. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Byrne’s work is testament to the amazing variety of material available to the Recology AIRs: in a diptych made from two window frames, the collaged elements include leather postcards, stereoscope images, wrappers for old, strange products, and two photographs of a hand holding, he thinks, ecstasy and acid.\u003c/p>\n\u003cp>A rule of the Recology residency is that 95 percent of the materials artists use in their work must be scavenged from the public disposal and recycling area. The origin story behind all the objects used — and obsessed over — by Lyle, Hott and Byrne is the fact that it was discarded by someone. All three of the artists spoke to the overwhelming amount of stuff they sifted through in the course of their four-month residency period. And in addition to material experimentation and new bodies of work, that’s a fact that will stay with all of them. “It gets really real,” Hott says. “Just what people throw away and how much they throw away.”\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>[ad floatright]\u003c/p>\n\u003cp>\u003ci>‘Are You Me or Are You a Stranger,’ ‘Summer Night Forever’ and ‘I Wish I Knew for True: 12 Works by Nathan Byrne’ are on view at Recology San Francisco (401 and 503 Tunnel Ave) Friday, May 19, 5-8pm, Saturday, May 20, 1-3pm and Tuesday, May 23, 5-7pm. For more information, \u003ca href=\"https://www.recology.com/recology_news/recology-san-francisco-artist-residence-exhibitions-work-carrie-hott-cybele-lyle-nathan-byrne/\" target=\"_blank\" rel=\"noopener noreferrer\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1197,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 19
},
"modified": 1705030610,
"excerpt": "Culminating -- and very different -- exhibitions from artists-in-residence Nathan Byrne, Carrie Hott and Cybele Lyle mine the detritus of others' lives.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Culminating -- and very different -- exhibitions from artists-in-residence Nathan Byrne, Carrie Hott and Cybele Lyle mine the detritus of others' lives.",
"title": "Your Trash is Treasure for Three Artists at Recology San Francisco | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Your Trash is Treasure for Three Artists at Recology San Francisco",
"datePublished": "2017-05-18T15:00:51-07:00",
"dateModified": "2024-01-11T19:36:50-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "your-trash-is-treasure-for-three-artists-at-recology-san-francisco",
"status": "publish",
"sticky": false,
"path": "/arts/13232565/your-trash-is-treasure-for-three-artists-at-recology-san-francisco",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For just a few hours over the course of May 19-23, Bay Area artists \u003ca href=\"http://www.carriehott.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Carrie Hott\u003c/a>, \u003ca href=\"https://www.recology.com/recology_artist/nathan-byrne/\" target=\"_blank\" rel=\"noopener noreferrer\">Nathan Byrne\u003c/a> and \u003ca href=\"http://www.cybelelyle.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Cybele Lyle\u003c/a> will display the results of four months of artistic (and manual) labor at \u003ca href=\"https://www.recology.com/recology-san-francisco/artist-in-residence-program/\" target=\"_blank\" rel=\"noopener noreferrer\">Recology San Francisco\u003c/a>. Over those four months, the three artists in residence have culled, sorted and made use of an impressive amount of stuff from Recology’s public disposal and recycling area, ranging from a truck’s camper shell to cubicle walls to a homemade Joy Division cassette tape.\u003c/p>\n\u003cp>The culminating projects — vastly different, but all sculptural in nature — mine the productive overlap between one artist’s material interests and another person’s refuse.\u003c/p>\n\u003cfigure id=\"attachment_13250949\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13250949\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/cybele_lyle-COVER-1020x574.jpg\" alt=\"Cybele Lyle, 'Are you me or Are You a Stranger,' 2017.\" width=\"640\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/cybele_lyle-COVER-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/cybele_lyle-COVER-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/cybele_lyle-COVER-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/cybele_lyle-COVER-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/cybele_lyle-COVER.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/cybele_lyle-COVER-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/cybele_lyle-COVER-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/cybele_lyle-COVER-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/cybele_lyle-COVER-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/cybele_lyle-COVER-520x293.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Cybele Lyle, ‘Are you me or Are You a Stranger,’ 2017. \u003ccite>(Courtesy of Recology San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For Lyle — who started in printmaking, moved into photography and video work and increasingly enters the third dimension with the help of wooden frameworks and overlapping planes — the Recology residency was another step in the evolution of her own practice. Forced to break her habits and use found materials for the first time, she found herself drawn to particular textures (fabrics, laminate flooring) and chairs.\u003c/p>\n\u003cp>In \u003ci>Are You Me or Are You a Stranger\u003c/i>, Lyle breaks up her enormous light-filled Recology studio with smaller room-like spaces demarcated by flooring, frameworks and outdoor furniture. Many of the arrangements are spindly; thin metal poles support a wall of brightly colored monochrome rectangles, shiny fabric drapes over a spare wooden frame in the warehouse’s roll-up door.\u003c/p>\n\u003cfigure id=\"attachment_13250944\" class=\"wp-caption aligncenter\" style=\"max-width: 1080px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13250944\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/17266076_1674497552845788_1129302246790529024_n.jpg\" alt=\"Cybele Lyle, Work in progress from 'Are You Me or Are You a Stranger,' 2017.\" width=\"1080\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/17266076_1674497552845788_1129302246790529024_n.jpg 1080w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/17266076_1674497552845788_1129302246790529024_n-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/17266076_1674497552845788_1129302246790529024_n-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/17266076_1674497552845788_1129302246790529024_n-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/17266076_1674497552845788_1129302246790529024_n-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/17266076_1674497552845788_1129302246790529024_n-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/17266076_1674497552845788_1129302246790529024_n-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/17266076_1674497552845788_1129302246790529024_n-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/17266076_1674497552845788_1129302246790529024_n-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/17266076_1674497552845788_1129302246790529024_n-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/17266076_1674497552845788_1129302246790529024_n-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/17266076_1674497552845788_1129302246790529024_n-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/17266076_1674497552845788_1129302246790529024_n-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/17266076_1674497552845788_1129302246790529024_n-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/17266076_1674497552845788_1129302246790529024_n-150x150.jpg 150w\" sizes=\"(max-width: 1080px) 100vw, 1080px\">\u003cfigcaption class=\"wp-caption-text\">Cybele Lyle, Work in progress from ‘Are You Me or Are You a Stranger,’ 2017. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Grids — in the form of painted patterns and metal barriers — appear throughout the installation, which feels like a modular theatrical set frozen in just one iteration of many. Which is, of course, how Lyle worked: pulling things out of piles, trying them out in the studio, altering them until they felt like they were no longer someone else’s, keeping some things, rejecting others, stacking, rearranging, attaching, ad infinitum.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The chairs, each embodying a particular design sensibility, could be the characters within this set. Lyle’s work has long explored the relationship between queerness and architecture as a way to explore identity. “With this work, I’ve started exploring ways to bring in the figure without limiting or specifying the definitions of queerness,” she says. The process of determining when objects that once belonged to others are “hers” is a process of not just rejecting society’s binary structure, but of exploring her truest self.\u003c/p>\n\u003cfigure id=\"attachment_13250947\" class=\"wp-caption aligncenter\" style=\"max-width: 869px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13250947\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/carrie_hott-web_1200.jpg\" alt=\"Carrie Hott, Detail view of 'Summer Night Forever,' 2017.\" width=\"869\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/carrie_hott-web_1200.jpg 869w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/carrie_hott-web_1200-160x221.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/carrie_hott-web_1200-800x1105.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/carrie_hott-web_1200-768x1061.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/carrie_hott-web_1200-240x331.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/carrie_hott-web_1200-375x518.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/carrie_hott-web_1200-520x718.jpg 520w\" sizes=\"(max-width: 869px) 100vw, 869px\">\u003cfigcaption class=\"wp-caption-text\">Carrie Hott, Detail view of ‘Summer Night Forever,’ 2017. \u003ccite>(Courtesy of Recology San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Next door to Lyle’s additive permutations, Hott engages in a much more subtractive process in \u003ci>Summer Night Forever\u003c/i>. Digging through an enormous amount of electronic waste, she methodically broke down various sound-making machines into only their most vital parts — often just a few circuit boards and a speaker — to make visible their inner workings.\u003c/p>\n\u003cp>On blue-painted pegboard platforms she calls “islands,” Hott’s newly minimal electronics play CDs of whale songs, the aforementioned Joy Division tape, the second half of \u003ci>Titanic\u003c/i> on VHS and a white noise track called “Summer Night.” A baby monitor picks up the whale sounds from the central island and broadcasts them to an islet in the warehouse corner.\u003c/p>\n\u003cfigure id=\"attachment_13250945\" class=\"wp-caption aligncenter\" style=\"max-width: 1080px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13250945\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/18382574_1911864972426650_6180077473561051136_n.jpg\" alt=\"Carrie Hott, Detail from 'Summer Night Forever,' 2017.\" width=\"1080\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/18382574_1911864972426650_6180077473561051136_n.jpg 1080w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/18382574_1911864972426650_6180077473561051136_n-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/18382574_1911864972426650_6180077473561051136_n-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/18382574_1911864972426650_6180077473561051136_n-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/18382574_1911864972426650_6180077473561051136_n-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/18382574_1911864972426650_6180077473561051136_n-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/18382574_1911864972426650_6180077473561051136_n-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/18382574_1911864972426650_6180077473561051136_n-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/18382574_1911864972426650_6180077473561051136_n-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/18382574_1911864972426650_6180077473561051136_n-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/18382574_1911864972426650_6180077473561051136_n-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/18382574_1911864972426650_6180077473561051136_n-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/18382574_1911864972426650_6180077473561051136_n-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/18382574_1911864972426650_6180077473561051136_n-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/18382574_1911864972426650_6180077473561051136_n-150x150.jpg 150w\" sizes=\"(max-width: 1080px) 100vw, 1080px\">\u003cfigcaption class=\"wp-caption-text\">Carrie Hott, Detail from ‘Summer Night Forever,’ 2017. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lamps in various shades of blue (all paint culled from the Recology piles) light a scene of power cables, circuitry and automated machines. In an era when most of our technology is sealed within smooth, buttonless cases, the electronic guts of Hott’s installation are both refreshing and mesmerizing. (So \u003ci>that’s\u003c/i> what the inside of a CD changer looks like.) The overlapping tracks produced by the machines create a strange, anxious ambiance: post-punk, chirping crickets, the sound of an unsinkable ship breaking apart, screaming extras and whales communicating in their own haunting language.\u003c/p>\n\u003cp>Hott’s recent \u003ca href=\"https://ww2.kqed.org/arts/2016/03/14/carrie-hott-unlocks-a-mysterious-key-room-at-the-headlands/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>Key Room\u003c/i> installation\u003c/a> at Headlands Center for the Arts includes a bank of telephones offering audio samples from or about the Marin Headlands. With \u003ci>Summer Night Forever\u003c/i>, it’s as if she turned those phones inside out. And instead of preserving history, the machines at Recology tell a story of cultural detritus, and how much we throw away.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Last but not least, Nathan Byrne’s \u003ci>I Wish I Knew for True: 12 Works by Nathan Byrne\u003c/i> occupies the Environmental Learning Center, work all the more impressive given the fact that it was made not in a cavernous studio like Lyle or Hott’s, but in a standard shipping container — long and low-ceilinged and windowless. Byrne, who graduates from San Francisco State University this month, presents a series of individual works that arrange familiar objects in unlikely juxtaposition.\u003c/p>\n\u003cp>Like Lyle’s work, there’s an element of precarity: an orb made from the metal bands of wine barrels is held together by compression and friction, an infamous hand chair cradles a pile of crushed mica and in a projected video, shattered glass rolls around in a foot massager. The exhibition’s titular piece, \u003ci>I Wish I Knew For True\u003c/i>, resembles an Eva Hesse work, the plastic tips of micropipettes used in science labs creating a glowing, anemone-like bowl.\u003c/p>\n\u003cfigure id=\"attachment_13250946\" class=\"wp-caption aligncenter\" style=\"max-width: 1080px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13250946\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/18444898_1869820999698478_3118588307815006208_n.jpg\" alt=\"Nathan Byrne, 'What We Talk About When We Talk About Love,' 2017. Installation view at Recology.\" width=\"1080\" height=\"1350\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/18444898_1869820999698478_3118588307815006208_n.jpg 1080w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/18444898_1869820999698478_3118588307815006208_n-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/18444898_1869820999698478_3118588307815006208_n-800x1000.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/18444898_1869820999698478_3118588307815006208_n-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/18444898_1869820999698478_3118588307815006208_n-1020x1275.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/18444898_1869820999698478_3118588307815006208_n-960x1200.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/18444898_1869820999698478_3118588307815006208_n-240x300.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/18444898_1869820999698478_3118588307815006208_n-375x469.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/18444898_1869820999698478_3118588307815006208_n-520x650.jpg 520w\" sizes=\"(max-width: 1080px) 100vw, 1080px\">\u003cfigcaption class=\"wp-caption-text\">Nathan Byrne, ‘What We Talk About When We Talk About Love,’ 2017. Installation view at Recology. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Byrne’s work is testament to the amazing variety of material available to the Recology AIRs: in a diptych made from two window frames, the collaged elements include leather postcards, stereoscope images, wrappers for old, strange products, and two photographs of a hand holding, he thinks, ecstasy and acid.\u003c/p>\n\u003cp>A rule of the Recology residency is that 95 percent of the materials artists use in their work must be scavenged from the public disposal and recycling area. The origin story behind all the objects used — and obsessed over — by Lyle, Hott and Byrne is the fact that it was discarded by someone. All three of the artists spoke to the overwhelming amount of stuff they sifted through in the course of their four-month residency period. And in addition to material experimentation and new bodies of work, that’s a fact that will stay with all of them. “It gets really real,” Hott says. “Just what people throw away and how much they throw away.”\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>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Are You Me or Are You a Stranger,’ ‘Summer Night Forever’ and ‘I Wish I Knew for True: 12 Works by Nathan Byrne’ are on view at Recology San Francisco (401 and 503 Tunnel Ave) Friday, May 19, 5-8pm, Saturday, May 20, 1-3pm and Tuesday, May 23, 5-7pm. For more information, \u003ca href=\"https://www.recology.com/recology_news/recology-san-francisco-artist-residence-exhibitions-work-carrie-hott-cybele-lyle-nathan-byrne/\" target=\"_blank\" rel=\"noopener noreferrer\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13232565/your-trash-is-treasure-for-three-artists-at-recology-san-francisco",
"authors": [
"61"
],
"categories": [
"arts_70"
],
"tags": [
"arts_1118",
"arts_596",
"arts_769"
],
"featImg": "arts_13257616",
"label": "arts"
},
"arts_13234846": {
"type": "posts",
"id": "arts_13234846",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13234846",
"score": null,
"sort": [
1495050356000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1495050356,
"format": "standard",
"title": "At Royal NoneSuch, Emily Mast and Henna Vainio Make Life Strange",
"headTitle": "At Royal NoneSuch, Emily Mast and Henna Vainio Make Life Strange | KQED",
"content": "\u003cp>Since seeing \u003ca href=\"http://www.royalnonesuchgallery.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Emily Mast and Henna Vainio: Step of Two\u003c/em>\u003c/a> at Oakland’s Royal NoneSuch Gallery (on view through June 4), I can’t get T. Rex’s 1973 song, “Life is Strange,” out of my head. With its overly simplistic and repetitive lyrics on life’s impermanence, human behavior and (if I stretch) diversity of experiences, the classic-rock earworm — which \u003ca href=\"http://emilymast.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Mast\u003c/a> uses in her two videos — is a fitting framework for two artists who use absurdist tactics to estrange viewers from common objects and experiences.\u003c/p>\n\u003cp>Both Mast and Vainio amplify and defamiliarize very mundane objects, like cardboard, fruit, bread and pencils, but with extremely different approaches. Mast draws upon conceptual choreography to create collaborative performances she documents with video, while \u003ca href=\"http://hennavainio.com/index/\" target=\"_blank\" rel=\"noopener noreferrer\">Vainio\u003c/a> makes meticulous plaster sculptures and wall-hangings, using casting techniques to imprint textures from found objects. Mast’s video pieces focus on people and emotions, and Vainio’s abstracted, sparsely decorated works only hint at bodily presences.\u003c/p>\n\u003cfigure id=\"attachment_13238345\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13238345\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/RNG_StepOfTwo_InstallShot3-e1494982771566.jpg\" alt=\"Installation view of 'Emily Mast and Henna Vainio: Step of Two,' 2017.\" width=\"1200\" height=\"736\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Emily Mast and Henna Vainio: Step of Two,’ 2017. \u003ccite>(Courtesy of Royal NoneSuch Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Aesthetically, both artists’ works skew towards warm, earthy tones — especially soft browns and golden yellows — and the curation embraces these peppy hues with two painted gallery walls. Vainio’s two \u003cem>Legs\u003c/em> sculptures, one yellow and the other orange, demand attention with their bold color and height. At over six feet tall, these sculptures appear upon first pass to be carefully posed, painted cardboard with the corrugated side out.\u003c/p>\n\u003cp>However, the surfaces’ seamlessness, and the unnatural soft folds at the bends, tell another story. They’re cast plaster, molds of which Vainio allows to slouch while setting. The textural disconnect between the supple, paper-based original and the hardened, though still fragile, plaster replica is alluring. (Vainio’s wall hangings, comparatively restrained in color and size, repeat the technique of casting found objects in plaster; however, the original objects for these imprints are less recognizable, which increases the abstraction.) Each “leg” sags and folds with character, lending a surprisingly human personality to the objects.\u003c/p>\n\u003cfigure id=\"attachment_13238395\" class=\"wp-caption aligncenter\" style=\"max-width: 1888px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13238395\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/EmilyMast_ENDE-lump.jpg\" alt=\"Emily Mast, Still from 'ENDE (Like a New Beginning),' 2014.\" width=\"1888\" height=\"1062\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/EmilyMast_ENDE-lump.jpg 1888w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/EmilyMast_ENDE-lump-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/EmilyMast_ENDE-lump-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/EmilyMast_ENDE-lump-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/EmilyMast_ENDE-lump-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/EmilyMast_ENDE-lump-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/EmilyMast_ENDE-lump-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/EmilyMast_ENDE-lump-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/EmilyMast_ENDE-lump-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/EmilyMast_ENDE-lump-520x293.jpg 520w\" sizes=\"(max-width: 1888px) 100vw, 1888px\">\u003cfigcaption class=\"wp-caption-text\">Emily Mast, Still from ‘ENDE (Like a New Beginning),’ 2014. \u003ccite>(Photo by Martin Dicicco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Vainio’s gentle method of turning familiar objects towards the uncanny segues nicely into Mast’s work. Her two media pieces are in conversation with each other, one as a “footnote” to the other, and \u003ca href=\"https://hammer.ucla.edu/programs-events/2014/08/public-engagement-flash-talk-on-emily-mast-ende-like-a-new-beginning/\" target=\"_blank\" rel=\"noopener noreferrer\">were commissioned\u003c/a> by the \u003ca href=\"https://hammer.ucla.edu/\" target=\"_blank\" rel=\"noopener noreferrer\">Hammer Museum\u003c/a> for its 2014 \u003cem>Made in L.A.\u003c/em> exhibition. \u003cem>ENDE (Like a New Beginning)\u003c/em> shows a fast-paced montage of actors moving through the museum as they perform bizarre poses and dance with seemingly random props: lemons, baguettes, soccer balls, pencils and cardboard boxes. The resulting movements range from humorous \u003cem>tableaux vivants\u003c/em> to excruciating balancing acts, evoking emotions of delight, precarity, frustration and fear.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In the background of \u003ci>ENDE\u003c/i>, the acoustic guitar chords of “Life is Strange” at times sync up with the audio of the second video, located in a different part of the gallery. \u003cem>ENDE (Like a New Beginning) Footnote\u003c/em> loops two scenes of individuals — one child, one adult — singing acoustic versions of “Life is Strange” in an empty, tiled room (a restroom at the Hammer). Mast’s choice of a catchy tune stems from her continued \u003ca href=\"http://notesonlooking.com/2013/05/emily-mast-birdbrain-in-ny-other-things/\" target=\"_blank\" rel=\"noopener noreferrer\">interest in musical “contagion,”\u003c/a> but her video does much more than lodge the song in the viewer’s head.\u003c/p>\n\u003cfigure id=\"attachment_13238346\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13238346\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/RNG_StepOfTwo_InstallShot-e1494982748882.jpg\" alt=\"Installation view of 'Emily Mast and Henna Vainio: Step of Two,' 2017.\" width=\"1200\" height=\"709\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Emily Mast and Henna Vainio: Step of Two,’ 2017. \u003ccite>(Courtesy of Royal NoneSuch Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The child’s expressive face looks around as the camera stays still, and she draws out nuance from the basic lyrics, presenting youth’s fresh curiosity, if not innocence. When she croons the line “some don’t even ask ya how you’ve been,” her eyes seem bewildered at how uncaring people might be. In contrast, the older woman’s attitude is internal and contemplative, a more solemn reflection on life’s tragicomedy as someone wizened and hardened — her face shifts when she sings “people come, people go.” At the end of her song, she holds a thoughtful expression, perhaps feeling the weight of the simple statement: Life \u003cem>is\u003c/em> strange.\u003c/p>\n\u003cp>The exhibition concludes on June 4 with a special event of Mast’s latest project, “\u003ca href=\"http://www.royalnonesuchgallery.com/special-event/\" target=\"\" rel=\"noopener\">Animal Empathy Exercises\u003c/a>,” in collaboration with Southern Exposure (whose upcoming group exhibition, \u003cem>\u003ca href=\"https://www.soex.org/projects-exhibitions/curious-poses\" target=\"_blank\" rel=\"noopener noreferrer\">Curious Poses\u003c/a>\u003c/em>, also includes Mast’s work). The workshop explores animality and interspecies connections through somatic exercises — and promises to further embrace the process of learning from the strange.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Emily Mast and Henna Vainio: Step of Two’ is on view at Oakland’s Royal NoneSuch Gallery through June 4, 2017. For more information, \u003ca href=\"http://www.royalnonesuchgallery.com/\" target=\"_blank\" rel=\"noopener noreferrer\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 823,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 12
},
"modified": 1705030633,
"excerpt": "Two artists use absurdist tactics in sculpture and video to estrange viewers from common objects and experiences.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Two artists use absurdist tactics in sculpture and video to estrange viewers from common objects and experiences.",
"title": "At Royal NoneSuch, Emily Mast and Henna Vainio Make Life Strange | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "At Royal NoneSuch, Emily Mast and Henna Vainio Make Life Strange",
"datePublished": "2017-05-17T12:45:56-07:00",
"dateModified": "2024-01-11T19:37:13-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "emily-mast-and-henna-vainio-make-life-strange-at-royal-nonesuch-gallery",
"status": "publish",
"sticky": false,
"path": "/arts/13234846/emily-mast-and-henna-vainio-make-life-strange-at-royal-nonesuch-gallery",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Since seeing \u003ca href=\"http://www.royalnonesuchgallery.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Emily Mast and Henna Vainio: Step of Two\u003c/em>\u003c/a> at Oakland’s Royal NoneSuch Gallery (on view through June 4), I can’t get T. Rex’s 1973 song, “Life is Strange,” out of my head. With its overly simplistic and repetitive lyrics on life’s impermanence, human behavior and (if I stretch) diversity of experiences, the classic-rock earworm — which \u003ca href=\"http://emilymast.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Mast\u003c/a> uses in her two videos — is a fitting framework for two artists who use absurdist tactics to estrange viewers from common objects and experiences.\u003c/p>\n\u003cp>Both Mast and Vainio amplify and defamiliarize very mundane objects, like cardboard, fruit, bread and pencils, but with extremely different approaches. Mast draws upon conceptual choreography to create collaborative performances she documents with video, while \u003ca href=\"http://hennavainio.com/index/\" target=\"_blank\" rel=\"noopener noreferrer\">Vainio\u003c/a> makes meticulous plaster sculptures and wall-hangings, using casting techniques to imprint textures from found objects. Mast’s video pieces focus on people and emotions, and Vainio’s abstracted, sparsely decorated works only hint at bodily presences.\u003c/p>\n\u003cfigure id=\"attachment_13238345\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13238345\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/RNG_StepOfTwo_InstallShot3-e1494982771566.jpg\" alt=\"Installation view of 'Emily Mast and Henna Vainio: Step of Two,' 2017.\" width=\"1200\" height=\"736\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Emily Mast and Henna Vainio: Step of Two,’ 2017. \u003ccite>(Courtesy of Royal NoneSuch Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Aesthetically, both artists’ works skew towards warm, earthy tones — especially soft browns and golden yellows — and the curation embraces these peppy hues with two painted gallery walls. Vainio’s two \u003cem>Legs\u003c/em> sculptures, one yellow and the other orange, demand attention with their bold color and height. At over six feet tall, these sculptures appear upon first pass to be carefully posed, painted cardboard with the corrugated side out.\u003c/p>\n\u003cp>However, the surfaces’ seamlessness, and the unnatural soft folds at the bends, tell another story. They’re cast plaster, molds of which Vainio allows to slouch while setting. The textural disconnect between the supple, paper-based original and the hardened, though still fragile, plaster replica is alluring. (Vainio’s wall hangings, comparatively restrained in color and size, repeat the technique of casting found objects in plaster; however, the original objects for these imprints are less recognizable, which increases the abstraction.) Each “leg” sags and folds with character, lending a surprisingly human personality to the objects.\u003c/p>\n\u003cfigure id=\"attachment_13238395\" class=\"wp-caption aligncenter\" style=\"max-width: 1888px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13238395\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/EmilyMast_ENDE-lump.jpg\" alt=\"Emily Mast, Still from 'ENDE (Like a New Beginning),' 2014.\" width=\"1888\" height=\"1062\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/EmilyMast_ENDE-lump.jpg 1888w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/EmilyMast_ENDE-lump-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/EmilyMast_ENDE-lump-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/EmilyMast_ENDE-lump-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/EmilyMast_ENDE-lump-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/EmilyMast_ENDE-lump-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/EmilyMast_ENDE-lump-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/EmilyMast_ENDE-lump-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/EmilyMast_ENDE-lump-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/EmilyMast_ENDE-lump-520x293.jpg 520w\" sizes=\"(max-width: 1888px) 100vw, 1888px\">\u003cfigcaption class=\"wp-caption-text\">Emily Mast, Still from ‘ENDE (Like a New Beginning),’ 2014. \u003ccite>(Photo by Martin Dicicco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Vainio’s gentle method of turning familiar objects towards the uncanny segues nicely into Mast’s work. Her two media pieces are in conversation with each other, one as a “footnote” to the other, and \u003ca href=\"https://hammer.ucla.edu/programs-events/2014/08/public-engagement-flash-talk-on-emily-mast-ende-like-a-new-beginning/\" target=\"_blank\" rel=\"noopener noreferrer\">were commissioned\u003c/a> by the \u003ca href=\"https://hammer.ucla.edu/\" target=\"_blank\" rel=\"noopener noreferrer\">Hammer Museum\u003c/a> for its 2014 \u003cem>Made in L.A.\u003c/em> exhibition. \u003cem>ENDE (Like a New Beginning)\u003c/em> shows a fast-paced montage of actors moving through the museum as they perform bizarre poses and dance with seemingly random props: lemons, baguettes, soccer balls, pencils and cardboard boxes. The resulting movements range from humorous \u003cem>tableaux vivants\u003c/em> to excruciating balancing acts, evoking emotions of delight, precarity, frustration and fear.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the background of \u003ci>ENDE\u003c/i>, the acoustic guitar chords of “Life is Strange” at times sync up with the audio of the second video, located in a different part of the gallery. \u003cem>ENDE (Like a New Beginning) Footnote\u003c/em> loops two scenes of individuals — one child, one adult — singing acoustic versions of “Life is Strange” in an empty, tiled room (a restroom at the Hammer). Mast’s choice of a catchy tune stems from her continued \u003ca href=\"http://notesonlooking.com/2013/05/emily-mast-birdbrain-in-ny-other-things/\" target=\"_blank\" rel=\"noopener noreferrer\">interest in musical “contagion,”\u003c/a> but her video does much more than lodge the song in the viewer’s head.\u003c/p>\n\u003cfigure id=\"attachment_13238346\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13238346\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/RNG_StepOfTwo_InstallShot-e1494982748882.jpg\" alt=\"Installation view of 'Emily Mast and Henna Vainio: Step of Two,' 2017.\" width=\"1200\" height=\"709\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Emily Mast and Henna Vainio: Step of Two,’ 2017. \u003ccite>(Courtesy of Royal NoneSuch Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The child’s expressive face looks around as the camera stays still, and she draws out nuance from the basic lyrics, presenting youth’s fresh curiosity, if not innocence. When she croons the line “some don’t even ask ya how you’ve been,” her eyes seem bewildered at how uncaring people might be. In contrast, the older woman’s attitude is internal and contemplative, a more solemn reflection on life’s tragicomedy as someone wizened and hardened — her face shifts when she sings “people come, people go.” At the end of her song, she holds a thoughtful expression, perhaps feeling the weight of the simple statement: Life \u003cem>is\u003c/em> strange.\u003c/p>\n\u003cp>The exhibition concludes on June 4 with a special event of Mast’s latest project, “\u003ca href=\"http://www.royalnonesuchgallery.com/special-event/\" target=\"\" rel=\"noopener\">Animal Empathy Exercises\u003c/a>,” in collaboration with Southern Exposure (whose upcoming group exhibition, \u003cem>\u003ca href=\"https://www.soex.org/projects-exhibitions/curious-poses\" target=\"_blank\" rel=\"noopener noreferrer\">Curious Poses\u003c/a>\u003c/em>, also includes Mast’s work). The workshop explores animality and interspecies connections through somatic exercises — and promises to further embrace the process of learning from the strange.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Emily Mast and Henna Vainio: Step of Two’ is on view at Oakland’s Royal NoneSuch Gallery through June 4, 2017. For more information, \u003ca href=\"http://www.royalnonesuchgallery.com/\" target=\"_blank\" rel=\"noopener noreferrer\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13234846/emily-mast-and-henna-vainio-make-life-strange-at-royal-nonesuch-gallery",
"authors": [
"8623"
],
"categories": [
"arts_70"
],
"tags": [
"arts_1118",
"arts_3649",
"arts_596",
"arts_769"
],
"featImg": "arts_13244664",
"label": "arts"
},
"arts_13232561": {
"type": "posts",
"id": "arts_13232561",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13232561",
"score": null,
"sort": [
1494972422000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1494972422,
"format": "standard",
"title": "There's No 'I' in 'RELAY,' Where the Emerging Art Scene is a Team Sport",
"headTitle": "There’s No ‘I’ in ‘RELAY,’ Where the Emerging Art Scene is a Team Sport | KQED",
"content": "\u003cp>We don’t have much in the way of regional surveys here in the Bay Area. There’s Yerba Buena Center for the Arts’ \u003ci>Bay Area Now\u003c/i> (usually a triennial, though \u003ci>BAN8\u003c/i> isn’t returning until 2018), and SFMOMA’s SECA Award (usually a biennial, though this year’s exhibition comes after a five-year gap), but to get a regular taste of what’s happening in the local art scene, the onus falls on viewers to do the legwork of piecing together the bigger picture.\u003c/p>\n\u003cp>Thankfully, group exhibitions like \u003ci>\u003ca href=\"http://cargocollective.com/relay\" target=\"_blank\" rel=\"noopener\">RELAY\u003c/a>\u003c/i> at the West Oakland gallery and studio collective \u003ca href=\"http://ctrlshftcollective.com/\" target=\"_blank\" rel=\"noopener\">CTRL+SHFT\u003c/a> happen often enough to fill in some of the gaps between the major institutional -ennials. Organized by artists \u003ca href=\"http://www.sophielourdesknight.com/\" target=\"_blank\" rel=\"noopener\">Sophie Lourdes Knight\u003c/a> and \u003ca href=\"http://www.hannahpmode.com/\" target=\"_blank\" rel=\"noopener\">Hannah Perrine Mode\u003c/a>, the show features work by 15 emerging woman-identified artists, all Bay Area residents, working in painting, sculpture, textiles and photography. \u003c/p>\n\u003cfigure id=\"attachment_13243285\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Rokas1200.jpg\" alt=\"Laura Rokas, 'Once in Two Moons,' 2017.\" width=\"1200\" height=\"1221\" class=\"size-full wp-image-13243285\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Rokas1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Rokas1200-160x163.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Rokas1200-800x814.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Rokas1200-768x781.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Rokas1200-1020x1038.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Rokas1200-1180x1201.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Rokas1200-960x977.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Rokas1200-240x244.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Rokas1200-375x382.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Rokas1200-520x529.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Rokas1200-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Rokas1200-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Rokas1200-64x64.jpg 64w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Laura Rokas, ‘Once in Two Moons,’ 2017. \u003ccite>(Courtesy of the artist and CTRL+SHFT)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Inspired by the SFAC’s most recent \u003ci>\u003ca href=\"https://ww2.kqed.org/arts/2016/06/13/chain-reaction-proves-theres-at-least-21-artists-left-in-san-francisco/\" target=\"_blank\" rel=\"noopener\">Chain Reaction\u003c/a>\u003c/i> show, five initial artists, Knight and Mode included, selected an artist whose work inspires them — that second artist then selected a third. A hand-drawn map of the show (with charming illustrations of each piece) identifies the work and the order in which it entered this web of connections. According to the organizers, many of the pieces were made specifically for the exhibition, carrying the conversation that started with the selection process into the final display.\u003c/p>\n\u003cfigure id=\"attachment_13243287\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Stimage1200.jpg\" alt=\"Tosha Stimage, 'Disappearing Act,' 2016.\" width=\"1200\" height=\"900\" class=\"size-full wp-image-13243287\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Stimage1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Stimage1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Stimage1200-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Stimage1200-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Stimage1200-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Stimage1200-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Stimage1200-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Stimage1200-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Stimage1200-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Stimage1200-520x390.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Tosha Stimage, ‘Disappearing Act,’ 2016. \u003ccite>(Courtesy of the artist and CTRL+SHFT)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Little rewards for close viewing are scattered throughout. Behind \u003ca href=\"http://www.lukazabranfman-verissimo.com/\" target=\"_blank\" rel=\"noopener\">Lukaza Branfman-Verissimo\u003c/a>’s signboard painting \u003ci>the new story, for the future\u003c/i> sits a blue step stool and a stack of takeaways with quotes credited to Grace Lee Boggs. “What time is it on the clock of the world?” repeats again and again between statements of purpose for a more equitable, human-centered society. Underneath one corner of Maria Guzmán Capron’s marvelously textured pedestal for \u003ci>Pepa\u003c/i> are the legs and tail of a small stuffed animal in yellow pants.\u003c/p>\n\u003cfigure id=\"attachment_13243286\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Stallings1200.jpg\" alt=\"Rachel Cardenas Stallings, 'Somatic Awareness Coats and Curtain,' 2017.\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13243286\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Stallings1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Stallings1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Stallings1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Stallings1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Stallings1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Stallings1200-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Stallings1200-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Stallings1200-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Stallings1200-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Stallings1200-520x293.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Rachel Cardenas Stallings, ‘Somatic Awareness Coats and Curtain,’ 2017. \u003ccite>(Courtesy of the artist and CTRL+SHFT)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If any conclusions can be drawn about the proclivities of Bay Area artists from a self-selected group of 15, \u003ci>RELAY\u003c/i> makes an argument for a preoccupation with vivid colors (\u003ca href=\"http://www.meganreed.net/\" target=\"_blank\" rel=\"noopener\">Megan Reed\u003c/a>’s fuchsia, vermillion and ultramarine floor sculpture), tactile experimentation (Rachel Cardenas Stallings’ satiny multi-hued coats) and faces (\u003ca href=\"http://www.maryamyousif.com/\" target=\"_blank\" rel=\"noopener\">Maryam Yousif\u003c/a>’s sphinx-like, cloud-wrapped columns). \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Other visual connections between the works — created both by coincidence and influence — are part of the pleasure of viewing \u003ci>RELAY\u003c/i> firsthand. Like the show’s illustrated map, Knight and Mode give shape to often-invisible networks of mutual support in a region where being an artist is never an individual undertaking. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘RELAY’ is on view at West Oakland’s CTRL+SHFT (1430 34th St.) through June 4, 2017. Gallery hour are Saturdays and Sundays, 12-6pm and by appointment. For more information, \u003ca href=\"http://relayrelayrelay.com\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/i> \u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 537,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 10
},
"modified": 1705030645,
"excerpt": "A group exhibition at CTRL+SHFT rewards close viewing and gives shape to the often-invisible networks of local artists.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "A group exhibition at CTRL+SHFT rewards close viewing and gives shape to the often-invisible networks of local artists.",
"title": "There's No 'I' in 'RELAY,' Where the Emerging Art Scene is a Team Sport | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "There's No 'I' in 'RELAY,' Where the Emerging Art Scene is a Team Sport",
"datePublished": "2017-05-16T15:07:02-07:00",
"dateModified": "2024-01-11T19:37:25-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "theres-no-i-in-relay-where-the-emerging-art-scene-is-a-team-sport",
"status": "publish",
"sticky": false,
"path": "/arts/13232561/theres-no-i-in-relay-where-the-emerging-art-scene-is-a-team-sport",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>We don’t have much in the way of regional surveys here in the Bay Area. There’s Yerba Buena Center for the Arts’ \u003ci>Bay Area Now\u003c/i> (usually a triennial, though \u003ci>BAN8\u003c/i> isn’t returning until 2018), and SFMOMA’s SECA Award (usually a biennial, though this year’s exhibition comes after a five-year gap), but to get a regular taste of what’s happening in the local art scene, the onus falls on viewers to do the legwork of piecing together the bigger picture.\u003c/p>\n\u003cp>Thankfully, group exhibitions like \u003ci>\u003ca href=\"http://cargocollective.com/relay\" target=\"_blank\" rel=\"noopener\">RELAY\u003c/a>\u003c/i> at the West Oakland gallery and studio collective \u003ca href=\"http://ctrlshftcollective.com/\" target=\"_blank\" rel=\"noopener\">CTRL+SHFT\u003c/a> happen often enough to fill in some of the gaps between the major institutional -ennials. Organized by artists \u003ca href=\"http://www.sophielourdesknight.com/\" target=\"_blank\" rel=\"noopener\">Sophie Lourdes Knight\u003c/a> and \u003ca href=\"http://www.hannahpmode.com/\" target=\"_blank\" rel=\"noopener\">Hannah Perrine Mode\u003c/a>, the show features work by 15 emerging woman-identified artists, all Bay Area residents, working in painting, sculpture, textiles and photography. \u003c/p>\n\u003cfigure id=\"attachment_13243285\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Rokas1200.jpg\" alt=\"Laura Rokas, 'Once in Two Moons,' 2017.\" width=\"1200\" height=\"1221\" class=\"size-full wp-image-13243285\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Rokas1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Rokas1200-160x163.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Rokas1200-800x814.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Rokas1200-768x781.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Rokas1200-1020x1038.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Rokas1200-1180x1201.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Rokas1200-960x977.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Rokas1200-240x244.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Rokas1200-375x382.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Rokas1200-520x529.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Rokas1200-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Rokas1200-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Rokas1200-64x64.jpg 64w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Laura Rokas, ‘Once in Two Moons,’ 2017. \u003ccite>(Courtesy of the artist and CTRL+SHFT)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Inspired by the SFAC’s most recent \u003ci>\u003ca href=\"https://ww2.kqed.org/arts/2016/06/13/chain-reaction-proves-theres-at-least-21-artists-left-in-san-francisco/\" target=\"_blank\" rel=\"noopener\">Chain Reaction\u003c/a>\u003c/i> show, five initial artists, Knight and Mode included, selected an artist whose work inspires them — that second artist then selected a third. A hand-drawn map of the show (with charming illustrations of each piece) identifies the work and the order in which it entered this web of connections. According to the organizers, many of the pieces were made specifically for the exhibition, carrying the conversation that started with the selection process into the final display.\u003c/p>\n\u003cfigure id=\"attachment_13243287\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Stimage1200.jpg\" alt=\"Tosha Stimage, 'Disappearing Act,' 2016.\" width=\"1200\" height=\"900\" class=\"size-full wp-image-13243287\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Stimage1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Stimage1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Stimage1200-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Stimage1200-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Stimage1200-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Stimage1200-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Stimage1200-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Stimage1200-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Stimage1200-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Stimage1200-520x390.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Tosha Stimage, ‘Disappearing Act,’ 2016. \u003ccite>(Courtesy of the artist and CTRL+SHFT)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Little rewards for close viewing are scattered throughout. Behind \u003ca href=\"http://www.lukazabranfman-verissimo.com/\" target=\"_blank\" rel=\"noopener\">Lukaza Branfman-Verissimo\u003c/a>’s signboard painting \u003ci>the new story, for the future\u003c/i> sits a blue step stool and a stack of takeaways with quotes credited to Grace Lee Boggs. “What time is it on the clock of the world?” repeats again and again between statements of purpose for a more equitable, human-centered society. Underneath one corner of Maria Guzmán Capron’s marvelously textured pedestal for \u003ci>Pepa\u003c/i> are the legs and tail of a small stuffed animal in yellow pants.\u003c/p>\n\u003cfigure id=\"attachment_13243286\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Stallings1200.jpg\" alt=\"Rachel Cardenas Stallings, 'Somatic Awareness Coats and Curtain,' 2017.\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13243286\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Stallings1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Stallings1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Stallings1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Stallings1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Stallings1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Stallings1200-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Stallings1200-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Stallings1200-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Stallings1200-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Stallings1200-520x293.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Rachel Cardenas Stallings, ‘Somatic Awareness Coats and Curtain,’ 2017. \u003ccite>(Courtesy of the artist and CTRL+SHFT)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If any conclusions can be drawn about the proclivities of Bay Area artists from a self-selected group of 15, \u003ci>RELAY\u003c/i> makes an argument for a preoccupation with vivid colors (\u003ca href=\"http://www.meganreed.net/\" target=\"_blank\" rel=\"noopener\">Megan Reed\u003c/a>’s fuchsia, vermillion and ultramarine floor sculpture), tactile experimentation (Rachel Cardenas Stallings’ satiny multi-hued coats) and faces (\u003ca href=\"http://www.maryamyousif.com/\" target=\"_blank\" rel=\"noopener\">Maryam Yousif\u003c/a>’s sphinx-like, cloud-wrapped columns). \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Other visual connections between the works — created both by coincidence and influence — are part of the pleasure of viewing \u003ci>RELAY\u003c/i> firsthand. Like the show’s illustrated map, Knight and Mode give shape to often-invisible networks of mutual support in a region where being an artist is never an individual undertaking. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘RELAY’ is on view at West Oakland’s CTRL+SHFT (1430 34th St.) through June 4, 2017. Gallery hour are Saturdays and Sundays, 12-6pm and by appointment. For more information, \u003ca href=\"http://relayrelayrelay.com\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/i> \u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13232561/theres-no-i-in-relay-where-the-emerging-art-scene-is-a-team-sport",
"authors": [
"61"
],
"categories": [
"arts_70"
],
"tags": [
"arts_1118",
"arts_596",
"arts_769"
],
"featImg": "arts_13243284",
"label": "arts"
},
"arts_13235759": {
"type": "posts",
"id": "arts_13235759",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13235759",
"score": null,
"sort": [
1494874417000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1494874417,
"format": "standard",
"title": "Chicano Art Wields a Sharper Political Edge in Post-Election California",
"headTitle": "Chicano Art Wields a Sharper Political Edge in Post-Election California | KQED",
"content": "\u003cp>Chicano art never really went out of style in California; it was born during the political foment of the 1960s and ’70s, and it’s bubbled along since then for decades. Now there’s a new wave of the genre, one that’s taken on a fiercer political edge since November.\u003c/p>\n\u003cp>In LA, for example, there’s a group show opening called “\u003ca href=\"https://www.facebook.com/events/748067212035880/\" target=\"_blank\" rel=\"noopener noreferrer\">Art As Resistance: Paintings in Protest to a Trump Presidency\u003c/a>.” It’s the brainchild of Eric Almanza, a figurative painter and high school art teacher. Almanza’s contribution to the show is the latest in a series of oil paintings he’s produced depicting the border wall with Mexico. It shows the wall on fire and graffitied with the words “f – – – your wall” next to a curious symbol: a circular dream catcher with a triangle in the center that looks a bit like the “\u003ca href=\"http://zelda.wikia.com/wiki/Triforce\" target=\"_blank\" rel=\"noopener noreferrer\">Triforce\u003c/a>” from the Japanese video game series \u003cem>Legend of Zelda\u003c/em>. “Because every great resistance needs some kind of logo,” Almanza says. He calls the painting \u003ca href=\"https://www.facebook.com/photo.php?fbid=1121686684603636&set=a.133265930112388.21540.100002869441629&type=3&theater\" target=\"_blank\" rel=\"noopener noreferrer\">With This Fire, a Rebellion Will Rise\u003c/a>.\u003c/p>\n\u003cp>Almanza is one of a growing number of Chicano artists responding to Trump administration efforts to peel back civil rights enforcement and crack down on illegal immigration, with a heavy emphasis on Latino immigration. “About four years ago, I started working on this narrative of this post-apocalyptic, 21st century society,” Almanza says. “I always imagined it would take place 50 years from now, but it almost seems like time has fast-forwarded.”\u003c/p>\n\u003cp>Chicano art has tackled political topics from the beginning, starting with the grape boycott of the 1960s and ’70s and the Vietnam War. “It is an art that was made alongside of a movement for civil rights,” says Judith Baca, a visual artist and Chicano studies professor at UCLA. “So some of the most powerful images came about … farm-working conditions in the Central Valley in California; artworks that spoke about inner-city struggle with the police; artworks that articulated stories and histories that had been forgotten and not spoken about, or taught in the schools.”\u003c/p>\n\u003cfigure id=\"attachment_13235761\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13235761\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/enlace-poster-2-11x17_o_enl-4b1e1ceaaadbd2987ca544be945880def0c4a48c-800x1236.jpg\" width=\"800\" height=\"1236\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/enlace-poster-2-11x17_o_enl-4b1e1ceaaadbd2987ca544be945880def0c4a48c-800x1236.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/enlace-poster-2-11x17_o_enl-4b1e1ceaaadbd2987ca544be945880def0c4a48c-160x247.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/enlace-poster-2-11x17_o_enl-4b1e1ceaaadbd2987ca544be945880def0c4a48c-768x1187.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/enlace-poster-2-11x17_o_enl-4b1e1ceaaadbd2987ca544be945880def0c4a48c-1020x1576.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/enlace-poster-2-11x17_o_enl-4b1e1ceaaadbd2987ca544be945880def0c4a48c-1920x2967.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/enlace-poster-2-11x17_o_enl-4b1e1ceaaadbd2987ca544be945880def0c4a48c-1180x1824.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/enlace-poster-2-11x17_o_enl-4b1e1ceaaadbd2987ca544be945880def0c4a48c-960x1484.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/enlace-poster-2-11x17_o_enl-4b1e1ceaaadbd2987ca544be945880def0c4a48c-240x371.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/enlace-poster-2-11x17_o_enl-4b1e1ceaaadbd2987ca544be945880def0c4a48c-375x580.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/enlace-poster-2-11x17_o_enl-4b1e1ceaaadbd2987ca544be945880def0c4a48c-520x804.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Melanie Cervantes’ organization, Dignidad Rebelde, designs protest posters with messages like “Divest from prisons!” and “Domestic workers deserve rights and respect!” \u003ccite>(Courtesy of Melanie Cervantes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That art came in the form of oil paintings and sculpture, but also music, theater and agitprop posters for use at protest marches — posters that are also enjoying a renaissance of sorts. At any number of protests around the world, you’ll see people carrying posters designed or distributed by \u003ca href=\"http://dignidadrebelde.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Dignidad Rebelde\u003c/a>, the Oakland graphic arts collective Melanie Cervantes runs with her partner. “We have to have it everywhere,” Cervantes says, “and we need more people doing it, because that is its power.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Dignidad Rebelde follows in a long line of Chicano graphic art collectives that also teach people how to do it themselves. When Cervantes gets invited to teach screen printing workshops at universities and community centers around the country, she makes a point of mixing in Chicano history and art history with her discussion of technique.\u003c/p>\n\u003cp>“Sometimes it’s just connecting the dots a little bit better for folks to see that our struggles have many fronts,” she says.\u003c/p>\n\u003cp>For Judith Baca, Almanza and Cervantes’ work marks a welcome return to the political roots of Chicano art after decades of trying to win recognition from art critics and museums.\u003c/p>\n\u003cp>“Chicano is about resistance and affirmation of a culture,” she says. “And I think it’s giving many young artists purpose again and a kind of focus for their work.”\u003c/p>\n\u003cp>Old and new Chicano artwork is being shown at museums and galleries across California this year, but the biggest exhibition of all will be “\u003ca href=\"http://www.getty.edu/pacificstandardtime/\" target=\"_blank\" rel=\"noopener noreferrer\">Pacific Standard Time: LA/LA\u003c/a>,” a massive, multi-institution blowout organized by the Getty.\u003c/p>\n\u003cp>\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\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 684,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 13
},
"modified": 1705030656,
"excerpt": "Artists are responding to Trump administration efforts to peel back civil rights enforcement and crack down on illegal immigration. One scholar says it marks a return to the roots of Chicano art.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Artists are responding to Trump administration efforts to peel back civil rights enforcement and crack down on illegal immigration. One scholar says it marks a return to the roots of Chicano art.",
"title": "Chicano Art Wields a Sharper Political Edge in Post-Election California | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Chicano Art Wields a Sharper Political Edge in Post-Election California",
"datePublished": "2017-05-15T11:53:37-07:00",
"dateModified": "2024-01-11T19:37:36-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "chicano-art-wields-a-sharper-political-edge-in-post-election-california",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=528133144&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprStoryDate": "Sat, 13 May 2017 18:52:03 -0400",
"nprLastModifiedDate": "Sat, 13 May 2017 18:52:03 -0400",
"sticky": false,
"nprHtmlLink": "http://www.npr.org/2017/05/13/528133144/chicano-art-wields-a-sharper-political-edge-in-post-election-california?ft=nprml&f=528133144",
"nprAudio": "https://ondemand.npr.org/anon.npr-mp3/npr/atc/2017/05/20170513_atc_chicano_art_wields_a_sharper_political_edge_in_post-election_california.mp3?orgId=150&topicId=1141&d=278&p=2&story=528133144&t=progseg&e=528287479&seg=10&ft=nprml&f=528133144",
"nprImageAgency": "Courtesy of Eric Almanza ",
"nprAudioM3u": "http://api.npr.org/m3u/1528287856-098843.m3u?orgId=150&topicId=1141&d=278&p=2&story=528133144&t=progseg&e=528287479&seg=10&ft=nprml&f=528133144",
"nprStoryId": "528133144",
"nprRetrievedStory": "1",
"nprPubDate": "Sun, 14 May 2017 08:48:00 -0400",
"path": "/arts/13235759/chicano-art-wields-a-sharper-political-edge-in-post-election-california",
"audioUrl": "https://ondemand.npr.org/anon.npr-mp3/npr/atc/2017/05/20170513_atc_chicano_art_wields_a_sharper_political_edge_in_post-election_california.mp3?orgId=150&topicId=1141&d=278&p=2&story=528133144&t=progseg&e=528287479&seg=10&ft=nprml&f=528133144",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Chicano art never really went out of style in California; it was born during the political foment of the 1960s and ’70s, and it’s bubbled along since then for decades. Now there’s a new wave of the genre, one that’s taken on a fiercer political edge since November.\u003c/p>\n\u003cp>In LA, for example, there’s a group show opening called “\u003ca href=\"https://www.facebook.com/events/748067212035880/\" target=\"_blank\" rel=\"noopener noreferrer\">Art As Resistance: Paintings in Protest to a Trump Presidency\u003c/a>.” It’s the brainchild of Eric Almanza, a figurative painter and high school art teacher. Almanza’s contribution to the show is the latest in a series of oil paintings he’s produced depicting the border wall with Mexico. It shows the wall on fire and graffitied with the words “f – – – your wall” next to a curious symbol: a circular dream catcher with a triangle in the center that looks a bit like the “\u003ca href=\"http://zelda.wikia.com/wiki/Triforce\" target=\"_blank\" rel=\"noopener noreferrer\">Triforce\u003c/a>” from the Japanese video game series \u003cem>Legend of Zelda\u003c/em>. “Because every great resistance needs some kind of logo,” Almanza says. He calls the painting \u003ca href=\"https://www.facebook.com/photo.php?fbid=1121686684603636&set=a.133265930112388.21540.100002869441629&type=3&theater\" target=\"_blank\" rel=\"noopener noreferrer\">With This Fire, a Rebellion Will Rise\u003c/a>.\u003c/p>\n\u003cp>Almanza is one of a growing number of Chicano artists responding to Trump administration efforts to peel back civil rights enforcement and crack down on illegal immigration, with a heavy emphasis on Latino immigration. “About four years ago, I started working on this narrative of this post-apocalyptic, 21st century society,” Almanza says. “I always imagined it would take place 50 years from now, but it almost seems like time has fast-forwarded.”\u003c/p>\n\u003cp>Chicano art has tackled political topics from the beginning, starting with the grape boycott of the 1960s and ’70s and the Vietnam War. “It is an art that was made alongside of a movement for civil rights,” says Judith Baca, a visual artist and Chicano studies professor at UCLA. “So some of the most powerful images came about … farm-working conditions in the Central Valley in California; artworks that spoke about inner-city struggle with the police; artworks that articulated stories and histories that had been forgotten and not spoken about, or taught in the schools.”\u003c/p>\n\u003cfigure id=\"attachment_13235761\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13235761\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/enlace-poster-2-11x17_o_enl-4b1e1ceaaadbd2987ca544be945880def0c4a48c-800x1236.jpg\" width=\"800\" height=\"1236\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/enlace-poster-2-11x17_o_enl-4b1e1ceaaadbd2987ca544be945880def0c4a48c-800x1236.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/enlace-poster-2-11x17_o_enl-4b1e1ceaaadbd2987ca544be945880def0c4a48c-160x247.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/enlace-poster-2-11x17_o_enl-4b1e1ceaaadbd2987ca544be945880def0c4a48c-768x1187.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/enlace-poster-2-11x17_o_enl-4b1e1ceaaadbd2987ca544be945880def0c4a48c-1020x1576.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/enlace-poster-2-11x17_o_enl-4b1e1ceaaadbd2987ca544be945880def0c4a48c-1920x2967.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/enlace-poster-2-11x17_o_enl-4b1e1ceaaadbd2987ca544be945880def0c4a48c-1180x1824.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/enlace-poster-2-11x17_o_enl-4b1e1ceaaadbd2987ca544be945880def0c4a48c-960x1484.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/enlace-poster-2-11x17_o_enl-4b1e1ceaaadbd2987ca544be945880def0c4a48c-240x371.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/enlace-poster-2-11x17_o_enl-4b1e1ceaaadbd2987ca544be945880def0c4a48c-375x580.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/enlace-poster-2-11x17_o_enl-4b1e1ceaaadbd2987ca544be945880def0c4a48c-520x804.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Melanie Cervantes’ organization, Dignidad Rebelde, designs protest posters with messages like “Divest from prisons!” and “Domestic workers deserve rights and respect!” \u003ccite>(Courtesy of Melanie Cervantes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That art came in the form of oil paintings and sculpture, but also music, theater and agitprop posters for use at protest marches — posters that are also enjoying a renaissance of sorts. At any number of protests around the world, you’ll see people carrying posters designed or distributed by \u003ca href=\"http://dignidadrebelde.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Dignidad Rebelde\u003c/a>, the Oakland graphic arts collective Melanie Cervantes runs with her partner. “We have to have it everywhere,” Cervantes says, “and we need more people doing it, because that is its power.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Dignidad Rebelde follows in a long line of Chicano graphic art collectives that also teach people how to do it themselves. When Cervantes gets invited to teach screen printing workshops at universities and community centers around the country, she makes a point of mixing in Chicano history and art history with her discussion of technique.\u003c/p>\n\u003cp>“Sometimes it’s just connecting the dots a little bit better for folks to see that our struggles have many fronts,” she says.\u003c/p>\n\u003cp>For Judith Baca, Almanza and Cervantes’ work marks a welcome return to the political roots of Chicano art after decades of trying to win recognition from art critics and museums.\u003c/p>\n\u003cp>“Chicano is about resistance and affirmation of a culture,” she says. “And I think it’s giving many young artists purpose again and a kind of focus for their work.”\u003c/p>\n\u003cp>Old and new Chicano artwork is being shown at museums and galleries across California this year, but the biggest exhibition of all will be “\u003ca href=\"http://www.getty.edu/pacificstandardtime/\" target=\"_blank\" rel=\"noopener noreferrer\">Pacific Standard Time: LA/LA\u003c/a>,” a massive, multi-institution blowout organized by the Getty.\u003c/p>\n\u003cp>\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\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13235759/chicano-art-wields-a-sharper-political-edge-in-post-election-california",
"authors": [
"251"
],
"categories": [
"arts_235",
"arts_70"
],
"tags": [
"arts_1119",
"arts_596"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13235760",
"label": "arts_137"
},
"arts_13215329": {
"type": "posts",
"id": "arts_13215329",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13215329",
"score": null,
"sort": [
1494680411000
]
},
"guestAuthors": [],
"slug": "road-to-the-summer-of-love-a-snapshot-of-sweet-60s-madness",
"title": "'Road to the Summer of Love' a Snapshot of Sweet '60s Madness",
"publishDate": 1494680411,
"format": "image",
"headTitle": "‘Road to the Summer of Love’ a Snapshot of Sweet ’60s Madness | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>Back in the late ’80s, I found Ralph J. Gleason’s paperback \u003cem>The Jefferson Airplane and the San Francisco Sound \u003c/em>for $3 at Green Apple Books. I never thought the next copy I’d see would be in a glass case in a Summer of Love exhibit at the California Historical Society — a testament not only to the book’s rarity, but to the sky-high esteem in which the era is now held as it marks its 50th anniversary.\u003c/p>\n\u003cp>Although more modest in scale than the \u003ca href=\"https://ww2.kqed.org/arts/2017/04/12/de-young-summer-of-love-50th-anniversary/\" target=\"_blank\" rel=\"noopener\">de Young’s current Summer of Love extravaganza\u003c/a>, the California Historical Society’s current exhibition \u003cem>\u003ca href=\"https://www.californiahistoricalsociety.org/exhibitions/summer_of_love/\" target=\"_blank\" rel=\"noopener\">On the Road to the Summer of Love\u003c/a>\u003c/em>, running through Sept. 10, offers important context through photos, memorabilia, and audiovisuals. (And at $5, the price is right.) Rooms on the Beats and the Free Speech Movement trace the Bay Area’s proudly rebellious bohemianism back to the late 1950s and early 1960s. The folk revival (check the pictures of a pre-rock Janis Joplin and short-haired Jerry Garcia and Jorma Kaukonen), the San Francisco Mime Troupe, and the experimental music of the San Francisco Tape Music Center all get their due as vital forces in the city’s simmering volcano.\u003c/p>\n\u003cfigure id=\"attachment_13215536\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/SOL2-800x558.jpg\" alt=\"Death of Money Parade, Haight Street, 1967. \" width=\"800\" height=\"558\" class=\"size-medium wp-image-13215536\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/SOL2-800x558.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/SOL2-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/SOL2-768x535.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/SOL2-1020x711.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/SOL2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/SOL2-1180x822.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/SOL2-960x669.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/SOL2-240x167.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/SOL2-375x261.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/SOL2-520x362.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The ‘Death of Money’ parade, Haight Street, 1967. \u003ccite>(Photo: Gene Anthony; Collection of the California Historical Society)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Yet the heart of the displays focus on that brief time from around late 1965 to late 1967, when psychedelic rock and the counterculture made San Francisco \u003cem>the\u003c/em> place to be. Smack in the middle of those two years, the Grateful Dead played a “Love Pageant Rally” in Golden Gate Park’s panhandle, held on the very day (October 6, 1966) LSD became illegal, as captured in one particularly vivid color shot. As Jefferson Airplane’s Paul Kantner remembers in one of the interviews visitors can hear at audio stations, “It was just Halloween all the time.”\u003c/p>\n\u003cfigure id=\"attachment_13215537\" class=\"wp-caption alignright\" style=\"max-width: 788px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/SOL3.jpg\" alt=\"San Francisco Mime Troupe, c. 1966.\" width=\"788\" height=\"1002\" class=\"size-full wp-image-13215537\">\u003cfigcaption class=\"wp-caption-text\">San Francisco Mime Troupe, c. 1966. \u003ccite>(Gene Anthony; Collection of the California Historical Society)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Some of the images will be familiar to visitors well-versed in the time and place, whether it’s Joplin at the Monterey Pop Festival or the “Death of Hippie” procession down Haight Street in fall 1967. However, many pictures are uncommon, even some of the ones that are focused on celebrities. For instance, major collectors might not have seen the poster for a pre-Janis Big Brother & the Holding Company benefit show for Berkeley’s Open Theater, or an ad for the “Jefferson Airplane Loves You” fan club (housed at “Jefferson Airport” in Millbrae, $1 entitling members to a “Far-Out” Flight Card, among other goodies). The Free Speech section features not just the expected shot of Joan Baez, but also a couple shots of folkie Barbara Dane, who was probably even further to the left of Baez.\u003c/p>\n\u003cp>Both the Airplane and Big Brother made big splashes at the Monterey Pop Festival, and photographs of them and others in action at the event make their expected presence. But so do color shots from the Fantasy Fair and Magic Mountain Music Festival, a much smaller yet almost equally vibrant festival on Mount Tamalpais held the weekend before Monterey. Other artifacts remind us the new dawn was far from universally welcomed, whether it’s a somber Lawrence Ferlinghetti standing in front of a “Banned Books” window display at City Lights in 1958, or an issue of \u003cem>Record\u003c/em>, the neighborhood Haight-Ashbury paper, headlined “SUPERVISORS FACE HIPPIE AVALANCHE” nearly a decade later.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>If you have ample time on your visit, one screen shows the full-length documentary \u003cem>The Life and Times of the Red Dog Saloon\u003c/em>, spotlighting the Virginia City venue that hosted a lengthy residency by one of San Francisco’s first psychedelic bands, the Charlatans. As a shorter audio soundbite, there’s a five-minute recording of the Grateful Dead jamming with jazz flutist Charles Lloyd on “Good Morning Little Schoolgirl” at the January 1967 Human Be-In at Golden Gate Park’s Polo Fields. Paul Kantner’s seven-minute history of the launch of the Airplane is quite entertaining, too, revealing how the band considered naming themselves the Other Side before settling on “Jefferson Airplane, [which] was the name of somebody’s dog.”\u003c/p>\n\u003cfigure id=\"attachment_13215534\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Revelations2X-800x549.jpg\" alt=\"Revelations 2, 1965\" width=\"800\" height=\"549\" class=\"size-medium wp-image-13215534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Revelations2X-800x549.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Revelations2X-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Revelations2X-768x527.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Revelations2X-1020x700.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Revelations2X.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Revelations2X-1180x809.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Revelations2X-960x659.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Revelations2X-240x165.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Revelations2X-375x257.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Revelations2X-520x357.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Revelations 2, 1965. \u003ccite>(Kelly Hart)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For all the great music and charismatic figures around which the Summer of Love revolved, some of the most affecting relics remind us that many of the hundreds of thousands flocking to the Haight were ordinary, sometimes struggling youngsters. One shows a group of anonymous young guys – all with backs turned to the camera – looking over the city from a rooftop, some perhaps to make a big impression on the community, like the longhair on the left with a guitar. Others, perhaps, became some of the runaways who ended up on the streets, relying on free food giveaways by the Diggers to survive. A contact sheet of pedestrian traffic on Haight Street shows a mixture of such street kids and hippies, as well as the odd pair of straight businessmen in suits somehow caught in the sweet madness that this exhibit revives.\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>‘On the Road to the Summer of Love’ runs through Sept. 10, 2017, at the California Historical Society. In a joint event, the Contemporary Jewish Museum hosts a conversation with Lou Adler, co-producer of the Monterey Pop Festival, on Saturday, May 13, at 3:30pm. For more details about the exhibit and corresponding events, see \u003ca href=\"http://californiahistoricalsociety.org\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "The California Historical Society's current exhibition offers important context through photos, memorabilia, and audiovisuals of late-1960s artists and radicals in San Francisco.",
"status": "publish",
"parent": 0,
"modified": 1726785642,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 11,
"wordCount": 957
},
"headData": {
"title": "'Road to the Summer of Love' a Snapshot of Sweet '60s Madness | KQED",
"description": "The California Historical Society's current exhibition offers important context through photos, memorabilia, and audiovisuals of late-1960s artists and radicals in San Francisco.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "'Road to the Summer of Love' a Snapshot of Sweet '60s Madness",
"datePublished": "2017-05-13T06:00:11-07:00",
"dateModified": "2024-09-19T15:40:42-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"path": "/arts/13215329/road-to-the-summer-of-love-a-snapshot-of-sweet-60s-madness",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Back in the late ’80s, I found Ralph J. Gleason’s paperback \u003cem>The Jefferson Airplane and the San Francisco Sound \u003c/em>for $3 at Green Apple Books. I never thought the next copy I’d see would be in a glass case in a Summer of Love exhibit at the California Historical Society — a testament not only to the book’s rarity, but to the sky-high esteem in which the era is now held as it marks its 50th anniversary.\u003c/p>\n\u003cp>Although more modest in scale than the \u003ca href=\"https://ww2.kqed.org/arts/2017/04/12/de-young-summer-of-love-50th-anniversary/\" target=\"_blank\" rel=\"noopener\">de Young’s current Summer of Love extravaganza\u003c/a>, the California Historical Society’s current exhibition \u003cem>\u003ca href=\"https://www.californiahistoricalsociety.org/exhibitions/summer_of_love/\" target=\"_blank\" rel=\"noopener\">On the Road to the Summer of Love\u003c/a>\u003c/em>, running through Sept. 10, offers important context through photos, memorabilia, and audiovisuals. (And at $5, the price is right.) Rooms on the Beats and the Free Speech Movement trace the Bay Area’s proudly rebellious bohemianism back to the late 1950s and early 1960s. The folk revival (check the pictures of a pre-rock Janis Joplin and short-haired Jerry Garcia and Jorma Kaukonen), the San Francisco Mime Troupe, and the experimental music of the San Francisco Tape Music Center all get their due as vital forces in the city’s simmering volcano.\u003c/p>\n\u003cfigure id=\"attachment_13215536\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/SOL2-800x558.jpg\" alt=\"Death of Money Parade, Haight Street, 1967. \" width=\"800\" height=\"558\" class=\"size-medium wp-image-13215536\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/SOL2-800x558.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/SOL2-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/SOL2-768x535.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/SOL2-1020x711.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/SOL2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/SOL2-1180x822.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/SOL2-960x669.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/SOL2-240x167.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/SOL2-375x261.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/SOL2-520x362.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The ‘Death of Money’ parade, Haight Street, 1967. \u003ccite>(Photo: Gene Anthony; Collection of the California Historical Society)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Yet the heart of the displays focus on that brief time from around late 1965 to late 1967, when psychedelic rock and the counterculture made San Francisco \u003cem>the\u003c/em> place to be. Smack in the middle of those two years, the Grateful Dead played a “Love Pageant Rally” in Golden Gate Park’s panhandle, held on the very day (October 6, 1966) LSD became illegal, as captured in one particularly vivid color shot. As Jefferson Airplane’s Paul Kantner remembers in one of the interviews visitors can hear at audio stations, “It was just Halloween all the time.”\u003c/p>\n\u003cfigure id=\"attachment_13215537\" class=\"wp-caption alignright\" style=\"max-width: 788px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/SOL3.jpg\" alt=\"San Francisco Mime Troupe, c. 1966.\" width=\"788\" height=\"1002\" class=\"size-full wp-image-13215537\">\u003cfigcaption class=\"wp-caption-text\">San Francisco Mime Troupe, c. 1966. \u003ccite>(Gene Anthony; Collection of the California Historical Society)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Some of the images will be familiar to visitors well-versed in the time and place, whether it’s Joplin at the Monterey Pop Festival or the “Death of Hippie” procession down Haight Street in fall 1967. However, many pictures are uncommon, even some of the ones that are focused on celebrities. For instance, major collectors might not have seen the poster for a pre-Janis Big Brother & the Holding Company benefit show for Berkeley’s Open Theater, or an ad for the “Jefferson Airplane Loves You” fan club (housed at “Jefferson Airport” in Millbrae, $1 entitling members to a “Far-Out” Flight Card, among other goodies). The Free Speech section features not just the expected shot of Joan Baez, but also a couple shots of folkie Barbara Dane, who was probably even further to the left of Baez.\u003c/p>\n\u003cp>Both the Airplane and Big Brother made big splashes at the Monterey Pop Festival, and photographs of them and others in action at the event make their expected presence. But so do color shots from the Fantasy Fair and Magic Mountain Music Festival, a much smaller yet almost equally vibrant festival on Mount Tamalpais held the weekend before Monterey. Other artifacts remind us the new dawn was far from universally welcomed, whether it’s a somber Lawrence Ferlinghetti standing in front of a “Banned Books” window display at City Lights in 1958, or an issue of \u003cem>Record\u003c/em>, the neighborhood Haight-Ashbury paper, headlined “SUPERVISORS FACE HIPPIE AVALANCHE” nearly a decade later.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>If you have ample time on your visit, one screen shows the full-length documentary \u003cem>The Life and Times of the Red Dog Saloon\u003c/em>, spotlighting the Virginia City venue that hosted a lengthy residency by one of San Francisco’s first psychedelic bands, the Charlatans. As a shorter audio soundbite, there’s a five-minute recording of the Grateful Dead jamming with jazz flutist Charles Lloyd on “Good Morning Little Schoolgirl” at the January 1967 Human Be-In at Golden Gate Park’s Polo Fields. Paul Kantner’s seven-minute history of the launch of the Airplane is quite entertaining, too, revealing how the band considered naming themselves the Other Side before settling on “Jefferson Airplane, [which] was the name of somebody’s dog.”\u003c/p>\n\u003cfigure id=\"attachment_13215534\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Revelations2X-800x549.jpg\" alt=\"Revelations 2, 1965\" width=\"800\" height=\"549\" class=\"size-medium wp-image-13215534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Revelations2X-800x549.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Revelations2X-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Revelations2X-768x527.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Revelations2X-1020x700.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Revelations2X.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Revelations2X-1180x809.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Revelations2X-960x659.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Revelations2X-240x165.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Revelations2X-375x257.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Revelations2X-520x357.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Revelations 2, 1965. \u003ccite>(Kelly Hart)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For all the great music and charismatic figures around which the Summer of Love revolved, some of the most affecting relics remind us that many of the hundreds of thousands flocking to the Haight were ordinary, sometimes struggling youngsters. One shows a group of anonymous young guys – all with backs turned to the camera – looking over the city from a rooftop, some perhaps to make a big impression on the community, like the longhair on the left with a guitar. Others, perhaps, became some of the runaways who ended up on the streets, relying on free food giveaways by the Diggers to survive. A contact sheet of pedestrian traffic on Haight Street shows a mixture of such street kids and hippies, as well as the odd pair of straight businessmen in suits somehow caught in the sweet madness that this exhibit revives.\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>‘On the Road to the Summer of Love’ runs through Sept. 10, 2017, at the California Historical Society. In a joint event, the Contemporary Jewish Museum hosts a conversation with Lou Adler, co-producer of the Monterey Pop Festival, on Saturday, May 13, at 3:30pm. For more details about the exhibit and corresponding events, see \u003ca href=\"http://californiahistoricalsociety.org\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13215329/road-to-the-summer-of-love-a-snapshot-of-sweet-60s-madness",
"authors": [
"11302"
],
"categories": [
"arts_69",
"arts_70"
],
"tags": [
"arts_1118",
"arts_596",
"arts_769",
"arts_1761",
"arts_1864"
],
"featImg": "arts_13388208",
"label": "arts"
}
},
"podcastsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"podcasts": {}
},
"radioProgramsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"radioPrograms": {}
},
"radioSearchSegmentsReducer": {},
"programsReducer": {
"all-things-considered": {
"id": "all-things-considered",
"title": "All Things Considered",
"info": "Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. Michel Martin hosts on the weekends.",
"airtime": "MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/all-things-considered/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/all-things-considered"
},
"american-suburb-podcast": {
"id": "american-suburb-podcast",
"title": "American Suburb: The Podcast",
"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg",
"officialWebsiteLink": "/news/series/american-suburb-podcast",
"meta": {
"site": "news",
"source": "kqed",
"order": 19
},
"link": "/news/series/american-suburb-podcast/",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/RBrW",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328",
"tuneIn": "https://tunein.com/radio/American-Suburb-p1086805/",
"rss": "https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"
}
},
"baycurious": {
"id": "baycurious",
"title": "Bay Curious",
"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Bay Curious",
"officialWebsiteLink": "/news/series/baycurious",
"meta": {
"site": "news",
"source": "kqed",
"order": 3
},
"link": "/podcasts/baycurious",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/bay-curious/id1172473406",
"npr": "https://www.npr.org/podcasts/500557090/bay-curious",
"rss": "https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast",
"amazon": "https://music.amazon.com/podcasts/9a90d476-aa04-455d-9a4c-0871ed6216d4/bay-curious",
"stitcher": "https://www.stitcher.com/podcast/kqed/bay-curious",
"spotify": "https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"
}
},
"bbc-world-service": {
"id": "bbc-world-service",
"title": "BBC World Service",
"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
"airtime": "MON-FRI 9pm-10pm, TUE-FRI 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.bbc.co.uk/sounds/play/live:bbc_world_service",
"meta": {
"site": "news",
"source": "BBC World Service"
},
"link": "/radio/program/bbc-world-service",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2",
"tuneIn": "https://tunein.com/radio/BBC-World-Service-p455581/",
"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report",
"officialWebsiteLink": "/californiareport",
"meta": {
"site": "news",
"source": "kqed",
"order": 8
},
"link": "/californiareport",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-the-california-report/id79681292",
"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
"npr": "https://www.npr.org/podcasts/432285393/the-california-report",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-the-california-report-podcast-8838",
"rss": "https://ww2.kqed.org/news/tag/tcram/feed/podcast"
}
},
"californiareportmagazine": {
"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Magazine-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report Magazine",
"officialWebsiteLink": "/californiareportmagazine",
"meta": {
"site": "news",
"source": "kqed",
"order": 10
},
"link": "/californiareportmagazine",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-california-report-magazine/id1314750545",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
"npr": "https://www.npr.org/podcasts/564733126/the-california-report-magazine",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-california-report-magazine",
"rss": "https://ww2.kqed.org/news/tag/tcrmag/feed/podcast"
}
},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
"tagline": "Your irreverent guide to the trends redefining our world",
"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/02/CAT_2_Tile-scaled.jpg",
"imageAlt": "KQED Close All Tabs",
"officialWebsiteLink": "/podcasts/closealltabs",
"meta": {
"site": "news",
"source": "kqed",
"order": 1
},
"link": "/podcasts/closealltabs",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/close-all-tabs/id214663465",
"rss": "https://feeds.megaphone.fm/KQINC6993880386",
"amazon": "https://music.amazon.com/podcasts/92d9d4ac-67a3-4eed-b10a-fb45d45b1ef2/close-all-tabs",
"spotify": "https://open.spotify.com/show/6LAJFHnGK1pYXYzv6SIol6?si=deb0cae19813417c"
}
},
"code-switch-life-kit": {
"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
"airtime": "SUN 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/code-switch-life-kit",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
"spotify": "https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV",
"rss": "https://feeds.npr.org/510312/podcast.xml"
}
},
"commonwealth-club": {
"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
"tuneIn": "https://tunein.com/radio/Commonwealth-Club-of-California-p1060/"
}
},
"forum": {
"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
"officialWebsiteLink": "/forum",
"meta": {
"site": "news",
"source": "kqed",
"order": 9
},
"link": "/forum",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-forum/id73329719",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
"npr": "https://www.npr.org/podcasts/432307980/forum",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-forum-podcast",
"rss": "https://feeds.megaphone.fm/KQINC9557381633"
}
},
"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
"airtime": "MON-FRI 7pm-8pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Fresh-Air-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/fresh-air/",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/fresh-air",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Fresh-Air-p17/",
"rss": "https://feeds.npr.org/381444908/podcast.xml"
}
},
"here-and-now": {
"id": "here-and-now",
"title": "Here & Now",
"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
"airtime": "MON-THU 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Here-And-Now-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://www.wbur.org/hereandnow",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/here-and-now",
"subsdcribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=426698661",
"tuneIn": "https://tunein.com/radio/Here--Now-p211/",
"rss": "https://feeds.npr.org/510051/podcast.xml"
}
},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/hiddenbrain.jpg",
"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/hidden-brain/id1028908750?mt=2",
"tuneIn": "https://tunein.com/podcasts/Science-Podcasts/Hidden-Brain-p787503/",
"rss": "https://feeds.npr.org/510308/podcast.xml"
}
},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
"tuneIn": "https://tunein.com/podcasts/Arts--Culture-Podcasts/How-I-Built-This-p910896/",
"rss": "https://feeds.npr.org/510313/podcast.xml"
}
},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
"site": "news",
"source": "kqed",
"order": 15
},
"link": "/podcasts/hyphenacion",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/hyphenaci%C3%B3n/id1191591838",
"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
"youtube": "https://www.youtube.com/c/kqedarts",
"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
"site": "news",
"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
"subscribe": {
"npr": "https://www.npr.org/podcasts/790253322/the-political-mind-of-jerry-brown",
"apple": "https://itunes.apple.com/us/podcast/id1492194549",
"rss": "https://ww2.kqed.org/news/series/jerrybrown/feed/podcast/",
"tuneIn": "http://tun.in/pjGcK",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-political-mind-of-jerry-brown",
"spotify": "https://open.spotify.com/show/54C1dmuyFyKMFttY6X2j6r?si=K8SgRCoISNK6ZbjpXrX5-w",
"amazon": "https://music.amazon.com/podcasts/44420f75-3b0e-4301-ab3b-16da6b09e543/the-political-mind-of-jerry-brown"
}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/xtTd",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Latino-USA-p621/",
"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201853034&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/APM-Marketplace-p88/",
"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
"site": "news",
"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
"spotify": "https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"
}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
"npr": "https://rpb3r.app.goo.gl/onourwatch",
"spotify": "https://open.spotify.com/show/0OLWoyizopu6tY1XiuX70x",
"tuneIn": "https://tunein.com/radio/On-Our-Watch-p1436229/",
"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
"site": "news",
"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
"site": "radio",
"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
}
},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
"site": "radio",
"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/political-breakdown/id1327641087",
"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
"stitcher": "https://www.stitcher.com/podcast/kqed/political-breakdown",
"spotify": "https://open.spotify.com/show/07RVyIjIdk2WDuVehvBMoN",
"rss": "https://ww2.kqed.org/news/tag/political-breakdown/feed/podcast"
}
},
"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
"meta": {
"site": "news",
"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/possible/id1677184070",
"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
}
},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pri.org/programs/the-world",
"meta": {
"site": "news",
"source": "PRI"
},
"link": "/radio/program/pri-the-world",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pris-the-world-latest-edition/id278196007?mt=2",
"tuneIn": "https://tunein.com/podcasts/News--Politics-Podcasts/PRIs-The-World-p24/",
"rss": "http://feeds.feedburner.com/pri/theworld"
}
},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
"airtime": "SUN 12am-1am, SAT 2pm-3pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/radiolab1400.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/radiolab/",
"meta": {
"site": "science",
"source": "WNYC"
},
"link": "/radio/program/radiolab",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/radiolab/id152249110?mt=2",
"tuneIn": "https://tunein.com/radio/RadioLab-p68032/",
"rss": "https://feeds.wnyc.org/radiolab"
}
},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png",
"officialWebsiteLink": "https://www.revealnews.org/episodes/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/reveal",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/reveal/id886009669",
"tuneIn": "https://tunein.com/radio/Reveal-p679597/",
"rss": "http://feeds.revealradio.org/revealpodcast"
}
},
"rightnowish": {
"id": "rightnowish",
"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.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Rightnowish-Podcast-Tile-500x500-1.jpg",
"imageAlt": "KQED Rightnowish with Pendarvis Harshaw",
"officialWebsiteLink": "/podcasts/rightnowish",
"meta": {
"site": "arts",
"source": "kqed",
"order": 16
},
"link": "/podcasts/rightnowish",
"subscribe": {
"npr": "https://www.npr.org/podcasts/721590300/rightnowish",
"rss": "https://ww2.kqed.org/arts/programs/rightnowish/feed/podcast",
"apple": "https://podcasts.apple.com/us/podcast/rightnowish/id1482187648",
"stitcher": "https://www.stitcher.com/podcast/kqed/rightnowish",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMxMjU5MTY3NDc4",
"spotify": "https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I"
}
},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
"airtime": "FRI 11am-1pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Science-Friday-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/science-friday",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/science-friday",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=73329284&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Science-Friday-p394/",
"rss": "http://feeds.wnyc.org/science-friday"
}
},
"snap-judgment": {
"id": "snap-judgment",
"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"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.",
"airtime": "SAT 1pm-2pm, 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/05/Snap-Judgment-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Snap Judgment",
"officialWebsiteLink": "https://snapjudgment.org",
"meta": {
"site": "arts",
"source": "kqed",
"order": 4
},
"link": "https://snapjudgment.org",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/snap-judgment/id283657561",
"npr": "https://www.npr.org/podcasts/449018144/snap-judgment",
"stitcher": "https://www.pandora.com/podcast/snap-judgment/PC:241?source=stitcher-sunset",
"spotify": "https://open.spotify.com/show/3Cct7ZWmxHNAtLgBTqjC5v",
"rss": "https://snap.feed.snapjudgment.org/"
}
},
"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Sold-Out-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Sold Out: Rethinking Housing in America",
"officialWebsiteLink": "/podcasts/soldout",
"meta": {
"site": "news",
"source": "kqed",
"order": 13
},
"link": "/podcasts/soldout",
"subscribe": {
"npr": "https://www.npr.org/podcasts/911586047/s-o-l-d-o-u-t-a-new-future-for-housing",
"apple": "https://podcasts.apple.com/us/podcast/introducing-sold-out-rethinking-housing-in-america/id1531354937",
"rss": "https://feeds.megaphone.fm/soldout",
"spotify": "https://open.spotify.com/show/38dTBSk2ISFoPiyYNoKn1X",
"stitcher": "https://www.stitcher.com/podcast/kqed/sold-out-rethinking-housing-in-america",
"tunein": "https://tunein.com/radio/SOLD-OUT-Rethinking-Housing-in-America-p1365871/"
}
},
"spooked": {
"id": "spooked",
"title": "Spooked",
"tagline": "True-life supernatural stories",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/10/Spooked-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Spooked",
"officialWebsiteLink": "https://spookedpodcast.org/",
"meta": {
"site": "news",
"source": "kqed",
"order": 7
},
"link": "https://spookedpodcast.org/",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/spooked/id1279361017",
"npr": "https://www.npr.org/podcasts/549547848/snap-judgment-presents-spooked",
"spotify": "https://open.spotify.com/show/76571Rfl3m7PLJQZKQIGCT",
"rss": "https://feeds.simplecast.com/TBotaapn"
}
},
"tech-nation": {
"id": "tech-nation",
"title": "Tech Nation Radio Podcast",
"info": "Tech Nation is a weekly public radio program, hosted by Dr. Moira Gunn. Founded in 1993, it has grown from a simple interview show to a multi-faceted production, featuring conversations with noted technology and science leaders, and a weekly science and technology-related commentary.",
"airtime": "FRI 10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Tech-Nation-Radio-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://technation.podomatic.com/",
"meta": {
"site": "science",
"source": "Tech Nation Media"
},
"link": "/radio/program/tech-nation",
"subscribe": {
"rss": "https://technation.podomatic.com/rss2.xml"
}
},
"ted-radio-hour": {
"id": "ted-radio-hour",
"title": "TED Radio Hour",
"info": "The TED Radio Hour is a journey through fascinating ideas, astonishing inventions, fresh approaches to old problems, and new ways to think and create.",
"airtime": "SUN 3pm-4pm, SAT 10pm-11pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/tedRadioHour.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/ted-radio-hour/?showDate=2018-06-22",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/ted-radio-hour",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/8vsS",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=523121474&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/TED-Radio-Hour-p418021/",
"rss": "https://feeds.npr.org/510298/podcast.xml"
}
},
"thebay": {
"id": "thebay",
"title": "The Bay",
"tagline": "Local news to keep you rooted",
"info": "Host Devin Katayama walks you through the biggest story of the day with reporters and newsmakers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Bay-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Bay",
"officialWebsiteLink": "/podcasts/thebay",
"meta": {
"site": "radio",
"source": "kqed",
"order": 2
},
"link": "/podcasts/thebay",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-bay/id1350043452",
"amazon": "https://music.amazon.com/podcasts/d800ea4c-7a2c-42f2-b861-edaf78a5db0b/the-bay",
"npr": "https://www.npr.org/podcasts/586725995/the-bay",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-bay",
"spotify": "https://open.spotify.com/show/4BIKBKIujizLHlIlBNaAqQ",
"rss": "https://feeds.megaphone.fm/KQINC8259786327"
}
},
"thelatest": {
"id": "thelatest",
"title": "The Latest",
"tagline": "Trusted local news in real time",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/05/The-Latest-2025-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Latest",
"officialWebsiteLink": "/thelatest",
"meta": {
"site": "news",
"source": "kqed",
"order": 6
},
"link": "/thelatest",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-latest-from-kqed/id1197721799",
"npr": "https://www.npr.org/podcasts/1257949365/the-latest-from-k-q-e-d",
"spotify": "https://open.spotify.com/show/5KIIXMgM9GTi5AepwOYvIZ?si=bd3053fec7244dba",
"rss": "https://feeds.megaphone.fm/KQINC9137121918"
}
},
"theleap": {
"id": "theleap",
"title": "The Leap",
"tagline": "What if you closed your eyes, and jumped?",
"info": "Stories about people making dramatic, risky changes, told by award-winning public radio reporter Judy Campbell.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Leap-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Leap",
"officialWebsiteLink": "/podcasts/theleap",
"meta": {
"site": "news",
"source": "kqed",
"order": 17
},
"link": "/podcasts/theleap",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-leap/id1046668171",
"npr": "https://www.npr.org/podcasts/447248267/the-leap",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-leap",
"spotify": "https://open.spotify.com/show/3sSlVHHzU0ytLwuGs1SD1U",
"rss": "https://ww2.kqed.org/news/programs/the-leap/feed/podcast"
}
},
"the-moth-radio-hour": {
"id": "the-moth-radio-hour",
"title": "The Moth Radio Hour",
"info": "Since its launch in 1997, The Moth has presented thousands of true stories, told live and without notes, to standing-room-only crowds worldwide. Moth storytellers stand alone, under a spotlight, with only a microphone and a roomful of strangers. The storyteller and the audience embark on a high-wire act of shared experience which is both terrifying and exhilarating. Since 2008, The Moth podcast has featured many of our favorite stories told live on Moth stages around the country. For information on all of our programs and live events, visit themoth.org.",
"airtime": "SAT 8pm-9pm and SUN 11am-12pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/theMoth.jpg",
"officialWebsiteLink": "https://themoth.org/",
"meta": {
"site": "arts",
"source": "prx"
},
"link": "/radio/program/the-moth-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/the-moth-podcast/id275699983?mt=2",
"tuneIn": "https://tunein.com/radio/The-Moth-p273888/",
"rss": "http://feeds.themoth.org/themothpodcast"
}
},
"the-new-yorker-radio-hour": {
"id": "the-new-yorker-radio-hour",
"title": "The New Yorker Radio Hour",
"info": "The New Yorker Radio Hour is a weekly program presented by the magazine's editor, David Remnick, and produced by WNYC Studios and The New Yorker. Each episode features a diverse mix of interviews, profiles, storytelling, and an occasional burst of humor inspired by the magazine, and shaped by its writers, artists, and editors. This isn't a radio version of a magazine, but something all its own, reflecting the rich possibilities of audio storytelling and conversation. Theme music for the show was composed and performed by Merrill Garbus of tUnE-YArDs.",
"airtime": "SAT 10am-11am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-New-Yorker-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/tnyradiohour",
"meta": {
"site": "arts",
"source": "WNYC"
},
"link": "/radio/program/the-new-yorker-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/id1050430296",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/New-Yorker-Radio-Hour-p803804/",
"rss": "https://feeds.feedburner.com/newyorkerradiohour"
}
},
"the-sam-sanders-show": {
"id": "the-sam-sanders-show",
"title": "The Sam Sanders Show",
"info": "One of public radio's most dynamic voices, Sam Sanders helped launch The NPR Politics Podcast and hosted NPR's hit show It's Been A Minute. Now, the award-winning host returns with something brand new, The Sam Sanders Show. Every week, Sam Sanders and friends dig into the culture that shapes our lives: what's driving the biggest trends, how artists really think, and even the memes you can't stop scrolling past. Sam is beloved for his way of unpacking the world and bringing you up close to fresh currents and engaging conversations. The Sam Sanders Show is smart, funny and always a good time.",
"airtime": "FRI 12-1pm AND SAT 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/11/The-Sam-Sanders-Show-Podcast-Tile-400x400-1.jpg",
"officialWebsiteLink": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"meta": {
"site": "arts",
"source": "KCRW"
},
"link": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"subscribe": {
"rss": "https://feed.cdnstream1.com/zjb/feed/download/ac/28/59/ac28594c-e1d0-4231-8728-61865cdc80e8.xml"
}
},
"the-splendid-table": {
"id": "the-splendid-table",
"title": "The Splendid Table",
"info": "\u003cem>The Splendid Table\u003c/em> hosts our nation's conversations about cooking, sustainability and food culture.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Splendid-Table-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.splendidtable.org/",
"airtime": "SUN 10-11 pm",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/the-splendid-table"
},
"this-american-life": {
"id": "this-american-life",
"title": "This American Life",
"info": "This American Life is a weekly public radio show, heard by 2.2 million people on more than 500 stations. Another 2.5 million people download the weekly podcast. It is hosted by Ira Glass, produced in collaboration with Chicago Public Media, delivered to stations by PRX The Public Radio Exchange, and has won all of the major broadcasting awards.",
"airtime": "SAT 12pm-1pm, 7pm-8pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/thisAmericanLife.png",
"officialWebsiteLink": "https://www.thisamericanlife.org/",
"meta": {
"site": "news",
"source": "wbez"
},
"link": "/radio/program/this-american-life",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201671138&at=11l79Y&ct=nprdirectory",
"rss": "https://www.thisamericanlife.org/podcast/rss.xml"
}
},
"tinydeskradio": {
"id": "tinydeskradio",
"title": "Tiny Desk Radio",
"info": "We're bringing the best of Tiny Desk to the airwaves, only on public radio.",
"airtime": "SUN 8pm and SAT 9pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/04/300x300-For-Member-Station-Logo-Tiny-Desk-Radio-@2x.png",
"officialWebsiteLink": "https://www.npr.org/series/g-s1-52030/tiny-desk-radio",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/tinydeskradio",
"subscribe": {
"rss": "https://feeds.npr.org/g-s1-52030/rss.xml"
}
},
"wait-wait-dont-tell-me": {
"id": "wait-wait-dont-tell-me",
"title": "Wait Wait... Don't Tell Me!",
"info": "Peter Sagal and Bill Kurtis host the weekly NPR News quiz show alongside some of the best and brightest news and entertainment personalities.",
"airtime": "SUN 10am-11am, SAT 11am-12pm, SAT 6pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Wait-Wait-Podcast-Tile-300x300-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/wait-wait-dont-tell-me/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/wait-wait-dont-tell-me",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/Xogv",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=121493804&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Wait-Wait-Dont-Tell-Me-p46/",
"rss": "https://feeds.npr.org/344098539/podcast.xml"
}
},
"weekend-edition-saturday": {
"id": "weekend-edition-saturday",
"title": "Weekend Edition Saturday",
"info": "Weekend Edition Saturday wraps up the week's news and offers a mix of analysis and features on a wide range of topics, including arts, sports, entertainment, and human interest stories. The two-hour program is hosted by NPR's Peabody Award-winning Scott Simon.",
"airtime": "SAT 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-saturday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-saturday"
},
"weekend-edition-sunday": {
"id": "weekend-edition-sunday",
"title": "Weekend Edition Sunday",
"info": "Weekend Edition Sunday features interviews with newsmakers, artists, scientists, politicians, musicians, writers, theologians and historians. The program has covered news events from Nelson Mandela's 1990 release from a South African prison to the capture of Saddam Hussein.",
"airtime": "SUN 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-sunday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-sunday"
}
},
"racesReducer": {},
"racesGenElectionReducer": {},
"racesGenElection2026Reducer": {},
"radioSchedulesReducer": {},
"listsReducer": {
"posts/arts?category=visualarts": {
"isFetching": false,
"latestQuery": {
"from": 1176,
"size": 12
},
"vitalsOnly": false,
"totalRequested": 12,
"isLoading": false,
"isLoadingMore": true,
"total": {
"value": 2479,
"relation": "eq"
},
"items": [
"arts_13304649",
"arts_13300920",
"arts_13280241",
"arts_13279959",
"news_11466985",
"arts_13263478",
"arts_13257619",
"arts_13232565",
"arts_13234846",
"arts_13232561",
"arts_13235759",
"arts_13215329"
],
"complete": true
}
},
"recallGuideReducer": {
"intros": {},
"policy": {},
"candidates": {}
},
"savedArticleReducer": {
"articles": [],
"status": {}
},
"newslettersReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"newsletters": {},
"isSubscribing": false,
"isUnsubscribing": false,
"subscribedNewsletters": {}
},
"termsReducer": {
"about": {
"name": "About",
"type": "terms",
"id": "about",
"slug": "about",
"link": "/about",
"taxonomy": "site"
},
"arts": {
"name": "Arts & Culture",
"grouping": [
"arts",
"pop",
"trulyca"
],
"description": "KQED Arts provides daily in-depth coverage of the Bay Area's music, art, film, performing arts, literature and arts news, as well as cultural commentary and criticism.",
"type": "terms",
"id": "arts",
"slug": "arts",
"link": "/arts",
"taxonomy": "site"
},
"artschool": {
"name": "Art School",
"parent": "arts",
"type": "terms",
"id": "artschool",
"slug": "artschool",
"link": "/artschool",
"taxonomy": "site"
},
"bayareabites": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"parent": "food",
"type": "terms",
"id": "bayareabites",
"slug": "bayareabites",
"link": "/food",
"taxonomy": "site"
},
"bayareahiphop": {
"name": "Bay Area Hiphop",
"type": "terms",
"id": "bayareahiphop",
"slug": "bayareahiphop",
"link": "/bayareahiphop",
"taxonomy": "site"
},
"campaign21": {
"name": "Campaign 21",
"type": "terms",
"id": "campaign21",
"slug": "campaign21",
"link": "/campaign21",
"taxonomy": "site"
},
"careers": {
"name": "Careers",
"type": "terms",
"id": "careers",
"slug": "careers",
"link": "/careers",
"taxonomy": "site"
},
"checkplease": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"parent": "food",
"type": "terms",
"id": "checkplease",
"slug": "checkplease",
"link": "/food",
"taxonomy": "site"
},
"education": {
"name": "Education",
"grouping": [
"education"
],
"type": "terms",
"id": "education",
"slug": "education",
"link": "/education",
"taxonomy": "site"
},
"elections": {
"name": "Elections",
"type": "terms",
"id": "elections",
"slug": "elections",
"link": "/elections",
"taxonomy": "site"
},
"events": {
"name": "Events",
"type": "terms",
"id": "events",
"slug": "events",
"link": "/events",
"taxonomy": "site"
},
"event": {
"name": "Event",
"alias": "events",
"type": "terms",
"id": "event",
"slug": "event",
"link": "/event",
"taxonomy": "site"
},
"filmschoolshorts": {
"name": "Film School Shorts",
"type": "terms",
"id": "filmschoolshorts",
"slug": "filmschoolshorts",
"link": "/filmschoolshorts",
"taxonomy": "site"
},
"food": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"type": "terms",
"id": "food",
"slug": "food",
"link": "/food",
"taxonomy": "site"
},
"forum": {
"name": "Forum",
"relatedContentQuery": "posts/forum?",
"parent": "news",
"type": "terms",
"id": "forum",
"slug": "forum",
"link": "/forum",
"taxonomy": "site"
},
"futureofyou": {
"name": "Future of You",
"grouping": [
"science",
"futureofyou"
],
"parent": "science",
"type": "terms",
"id": "futureofyou",
"slug": "futureofyou",
"link": "/futureofyou",
"taxonomy": "site"
},
"jpepinheart": {
"name": "KQED food",
"relatedContentQuery": "posts/food,bayareabites,checkplease",
"parent": "food",
"type": "terms",
"id": "jpepinheart",
"slug": "jpepinheart",
"link": "/food",
"taxonomy": "site"
},
"liveblog": {
"name": "Live Blog",
"type": "terms",
"id": "liveblog",
"slug": "liveblog",
"link": "/liveblog",
"taxonomy": "site"
},
"livetv": {
"name": "Live TV",
"parent": "tv",
"type": "terms",
"id": "livetv",
"slug": "livetv",
"link": "/livetv",
"taxonomy": "site"
},
"lowdown": {
"name": "The Lowdown",
"relatedContentQuery": "posts/lowdown?",
"parent": "news",
"type": "terms",
"id": "lowdown",
"slug": "lowdown",
"link": "/lowdown",
"taxonomy": "site"
},
"mindshift": {
"name": "Mindshift",
"parent": "news",
"description": "MindShift explores the future of education by highlighting the innovative – and sometimes counterintuitive – ways educators and parents are helping all children succeed.",
"type": "terms",
"id": "mindshift",
"slug": "mindshift",
"link": "/mindshift",
"taxonomy": "site"
},
"news": {
"name": "News",
"grouping": [
"news",
"forum"
],
"type": "terms",
"id": "news",
"slug": "news",
"link": "/news",
"taxonomy": "site"
},
"newsletters": {
"name": "newsletters",
"type": "terms",
"id": "newsletters",
"slug": "newsletters",
"link": "/newsletters",
"taxonomy": "site"
},
"perspectives": {
"name": "Perspectives",
"parent": "radio",
"type": "terms",
"id": "perspectives",
"slug": "perspectives",
"link": "/perspectives",
"taxonomy": "site"
},
"podcasts": {
"name": "Podcasts",
"type": "terms",
"id": "podcasts",
"slug": "podcasts",
"link": "/podcasts",
"taxonomy": "site"
},
"pop": {
"name": "Pop",
"parent": "arts",
"type": "terms",
"id": "pop",
"slug": "pop",
"link": "/pop",
"taxonomy": "site"
},
"pressroom": {
"name": "Pressroom",
"type": "terms",
"id": "pressroom",
"slug": "pressroom",
"link": "/pressroom",
"taxonomy": "site"
},
"quest": {
"name": "Quest",
"parent": "science",
"type": "terms",
"id": "quest",
"slug": "quest",
"link": "/quest",
"taxonomy": "site"
},
"radio": {
"name": "Radio",
"grouping": [
"forum",
"perspectives"
],
"description": "Listen to KQED Public Radio – home of Forum and The California Report – on 88.5 FM in San Francisco, 89.3 FM in Sacramento, 88.3 FM in Santa Rosa and 88.1 FM in Martinez.",
"type": "terms",
"id": "radio",
"slug": "radio",
"link": "/radio",
"taxonomy": "site"
},
"root": {
"name": "KQED",
"image": "https://ww2.kqed.org/app/uploads/2020/02/KQED-OG-Image@1x.png",
"imageWidth": 1200,
"imageHeight": 630,
"headData": {
"title": "KQED | News, Radio, Podcasts, TV | Public Media for Northern California",
"description": "KQED provides public radio, television, and independent reporting on issues that matter to the Bay Area. We’re the NPR and PBS member station for Northern California."
},
"type": "terms",
"id": "root",
"slug": "root",
"link": "/root",
"taxonomy": "site"
},
"science": {
"name": "Science",
"grouping": [
"science",
"futureofyou"
],
"description": "KQED Science brings you award-winning science and environment coverage from the Bay Area and beyond.",
"type": "terms",
"id": "science",
"slug": "science",
"link": "/science",
"taxonomy": "site"
},
"stateofhealth": {
"name": "State of Health",
"parent": "science",
"type": "terms",
"id": "stateofhealth",
"slug": "stateofhealth",
"link": "/stateofhealth",
"taxonomy": "site"
},
"support": {
"name": "Support",
"type": "terms",
"id": "support",
"slug": "support",
"link": "/support",
"taxonomy": "site"
},
"thedolist": {
"name": "The Do List",
"parent": "arts",
"type": "terms",
"id": "thedolist",
"slug": "thedolist",
"link": "/thedolist",
"taxonomy": "site"
},
"trulyca": {
"name": "Truly CA",
"grouping": [
"arts",
"pop",
"trulyca"
],
"parent": "arts",
"type": "terms",
"id": "trulyca",
"slug": "trulyca",
"link": "/trulyca",
"taxonomy": "site"
},
"tv": {
"name": "TV",
"type": "terms",
"id": "tv",
"slug": "tv",
"link": "/tv",
"taxonomy": "site"
},
"voterguide": {
"name": "Voter Guide",
"parent": "elections",
"alias": "elections",
"type": "terms",
"id": "voterguide",
"slug": "voterguide",
"link": "/voterguide",
"taxonomy": "site"
},
"guiaelectoral": {
"name": "Guia Electoral",
"parent": "elections",
"alias": "elections",
"type": "terms",
"id": "guiaelectoral",
"slug": "guiaelectoral",
"link": "/guiaelectoral",
"taxonomy": "site"
},
"arts_category_visualarts": {
"isLoading": true
},
"arts_70": {
"type": "terms",
"id": "arts_70",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "70",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Visual Arts",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Visual Arts Archives | KQED Arts",
"ogDescription": null
},
"ttid": 71,
"slug": "visualarts",
"isLoading": false,
"link": "/arts/category/visualarts"
},
"arts_235": {
"type": "terms",
"id": "arts_235",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "235",
"found": true
},
"relationships": {},
"featImg": null,
"name": "News",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "News Archives | KQED Arts",
"ogDescription": null
},
"ttid": 236,
"slug": "news",
"isLoading": false,
"link": "/arts/category/news"
},
"arts_1037": {
"type": "terms",
"id": "arts_1037",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1037",
"found": true
},
"relationships": {},
"featImg": null,
"name": "audio",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "audio Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1054,
"slug": "audio",
"isLoading": false,
"link": "/arts/tag/audio"
},
"arts_1118": {
"type": "terms",
"id": "arts_1118",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1118",
"found": true
},
"relationships": {},
"featImg": null,
"name": "featured",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "featured Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1135,
"slug": "featured",
"isLoading": false,
"link": "/arts/tag/featured"
},
"arts_596": {
"type": "terms",
"id": "arts_596",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "596",
"found": true
},
"relationships": {},
"featImg": null,
"name": "ntv",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "ntv Archives | KQED Arts",
"ogDescription": null
},
"ttid": 602,
"slug": "ntv",
"isLoading": false,
"link": "/arts/tag/ntv"
},
"arts_140": {
"type": "terms",
"id": "arts_140",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "140",
"found": true
},
"relationships": {},
"name": "The Do List",
"slug": "the-do-list",
"taxonomy": "program",
"description": null,
"featImg": "https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/The-Do-LIst-logo-2014-horizontal-015.png",
"headData": {
"title": "The Do List Archives | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 141,
"isLoading": false,
"link": "/arts/program/the-do-list"
},
"arts_968": {
"type": "terms",
"id": "arts_968",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "968",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Comedy",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Comedy Archives | KQED Arts",
"ogDescription": null
},
"ttid": 986,
"slug": "comedy",
"isLoading": false,
"link": "/arts/category/comedy"
},
"arts_69": {
"type": "terms",
"id": "arts_69",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "69",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Music",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Music Archives | KQED Arts",
"ogDescription": null
},
"ttid": 70,
"slug": "music",
"isLoading": false,
"link": "/arts/category/music"
},
"arts_967": {
"type": "terms",
"id": "arts_967",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "967",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Theater",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Theater Archives | KQED Arts",
"ogDescription": null
},
"ttid": 985,
"slug": "theater",
"isLoading": false,
"link": "/arts/category/theater"
},
"arts_626": {
"type": "terms",
"id": "arts_626",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "626",
"found": true
},
"relationships": {},
"featImg": null,
"name": "the-do-list-featured",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "the-do-list-featured Archives | KQED Arts",
"ogDescription": null
},
"ttid": 634,
"slug": "the-do-list-featured",
"isLoading": false,
"link": "/arts/tag/the-do-list-featured"
},
"arts_22352": {
"type": "terms",
"id": "arts_22352",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "22352",
"found": true
},
"relationships": {},
"name": "Immigration",
"slug": "immigration",
"taxonomy": "category",
"description": null,
"featImg": null,
"headData": {
"title": "Immigration | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 22364,
"isLoading": false,
"link": "/arts/category/immigration"
},
"arts_1522": {
"type": "terms",
"id": "arts_1522",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1522",
"found": true
},
"relationships": {},
"featImg": null,
"name": "culture cue",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "culture cue Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1534,
"slug": "culture-cue",
"isLoading": false,
"link": "/arts/tag/culture-cue"
},
"arts_1773": {
"type": "terms",
"id": "arts_1773",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1773",
"found": true
},
"relationships": {},
"featImg": null,
"name": "immigration",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "immigration Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1785,
"slug": "immigration",
"isLoading": false,
"link": "/arts/tag/immigration"
},
"arts_1119": {
"type": "terms",
"id": "arts_1119",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1119",
"found": true
},
"relationships": {},
"featImg": null,
"name": "feature",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "feature Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1136,
"slug": "feature",
"isLoading": false,
"link": "/arts/tag/feature"
},
"arts_901": {
"type": "terms",
"id": "arts_901",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "901",
"found": true
},
"relationships": {},
"featImg": null,
"name": "visual art",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "visual art Archives | KQED Arts",
"ogDescription": null
},
"ttid": 919,
"slug": "visual-art",
"isLoading": false,
"link": "/arts/tag/visual-art"
},
"news_6944": {
"type": "terms",
"id": "news_6944",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "6944",
"found": true
},
"relationships": {},
"featImg": "https://ww2.kqed.org/app/uploads/sites/10/2014/10/News-Fix-Logo-Web-Banners-04.png",
"name": "News Fix",
"description": null,
"taxonomy": "program",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": "The News Fix is a daily news podcast from KQED that breaks down the latest headlines and provides in-depth analysis of the stories that matter to the Bay Area.",
"title": "News Fix - Daily Dose of Bay Area News | KQED",
"ogDescription": null
},
"ttid": 6968,
"slug": "news-fix",
"isLoading": false,
"link": "/news/program/news-fix"
},
"news_72": {
"type": "terms",
"id": "news_72",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "72",
"found": true
},
"relationships": {},
"featImg": "https://ww2.kqed.org/app/uploads/sites/10/2014/10/TCR-2-Logo-Web-Banners-03.png",
"name": "The California Report",
"description": null,
"taxonomy": "program",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "The California Report Archives | KQED News",
"ogDescription": null
},
"ttid": 6969,
"slug": "the-california-report",
"isLoading": false,
"link": "/news/program/the-california-report"
},
"news_223": {
"type": "terms",
"id": "news_223",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "223",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Arts and Culture",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Arts and Culture Archives | KQED News",
"ogDescription": null
},
"ttid": 231,
"slug": "arts-and-culture",
"isLoading": false,
"link": "/news/category/arts-and-culture"
},
"news_6188": {
"type": "terms",
"id": "news_6188",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "6188",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Law and Justice",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Law and Justice Archives | KQED News",
"ogDescription": null
},
"ttid": 6212,
"slug": "law-and-justice",
"isLoading": false,
"link": "/news/category/law-and-justice"
},
"news_8": {
"type": "terms",
"id": "news_8",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "8",
"found": true
},
"relationships": {},
"featImg": null,
"name": "News",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "News Archives | KQED News",
"ogDescription": null
},
"ttid": 8,
"slug": "news",
"isLoading": false,
"link": "/news/category/news"
},
"news_17725": {
"type": "terms",
"id": "news_17725",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "17725",
"found": true
},
"relationships": {},
"featImg": null,
"name": "criminal justice",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "criminal justice Archives | KQED News",
"ogDescription": null
},
"ttid": 17759,
"slug": "criminal-justice",
"isLoading": false,
"link": "/news/tag/criminal-justice"
},
"news_17968": {
"type": "terms",
"id": "news_17968",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "17968",
"found": true
},
"relationships": {},
"name": "Politics",
"slug": "politics",
"taxonomy": "tag",
"description": null,
"featImg": null,
"headData": {
"title": "Politics | KQED News",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 18002,
"isLoading": false,
"link": "/news/tag/politics"
},
"news_17286": {
"type": "terms",
"id": "news_17286",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "17286",
"found": true
},
"relationships": {},
"featImg": null,
"name": "tcr",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "tcr Archives | KQED News",
"ogDescription": null
},
"ttid": 17318,
"slug": "tcr",
"isLoading": false,
"link": "/news/tag/tcr"
},
"news_17041": {
"type": "terms",
"id": "news_17041",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "17041",
"found": true
},
"relationships": {},
"featImg": null,
"name": "the-california-report-featured",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "the-california-report-featured Archives | KQED News",
"ogDescription": null
},
"ttid": 17067,
"slug": "the-california-report-featured",
"isLoading": false,
"link": "/news/tag/the-california-report-featured"
},
"arts_1448": {
"type": "terms",
"id": "arts_1448",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1448",
"found": true
},
"relationships": {},
"featImg": null,
"name": "art wire",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "art wire Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1460,
"slug": "art-wire",
"isLoading": false,
"link": "/arts/tag/art-wire"
},
"arts_137": {
"type": "terms",
"id": "arts_137",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "137",
"found": true
},
"relationships": {},
"featImg": "https://ww2.kqed.org/app/uploads/sites/2/2014/04/logo-npr-lg1.png",
"name": "NPR",
"description": null,
"taxonomy": "affiliate",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "NPR Archives | KQED Arts",
"ogDescription": null
},
"ttid": 138,
"slug": "npr",
"isLoading": false,
"link": "/arts/affiliate/npr"
},
"arts_73": {
"type": "terms",
"id": "arts_73",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "73",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Books",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Books Archives | KQED Arts",
"ogDescription": null
},
"ttid": 74,
"slug": "literature",
"isLoading": false,
"link": "/arts/category/literature"
},
"arts_966": {
"type": "terms",
"id": "arts_966",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "966",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Dance",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Dance Archives | KQED Arts",
"ogDescription": null
},
"ttid": 984,
"slug": "dance",
"isLoading": false,
"link": "/arts/category/dance"
},
"arts_1006": {
"type": "terms",
"id": "arts_1006",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1006",
"found": true
},
"relationships": {},
"featImg": null,
"name": "guide",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "guide Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1023,
"slug": "guide",
"isLoading": false,
"link": "/arts/tag/guide"
},
"arts_769": {
"type": "terms",
"id": "arts_769",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "769",
"found": true
},
"relationships": {},
"featImg": null,
"name": "review",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "review Archives | KQED Arts",
"ogDescription": null
},
"ttid": 787,
"slug": "review",
"isLoading": false,
"link": "/arts/tag/review"
},
"arts_3649": {
"type": "terms",
"id": "arts_3649",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3649",
"found": true
},
"relationships": {},
"featImg": null,
"name": "galleries",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "galleries Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3661,
"slug": "galleries",
"isLoading": false,
"link": "/arts/tag/galleries"
},
"arts_1761": {
"type": "terms",
"id": "arts_1761",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1761",
"found": true
},
"relationships": {},
"featImg": null,
"name": "summer of love",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "summer of love Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1773,
"slug": "summer-of-love",
"isLoading": false,
"link": "/arts/tag/summer-of-love"
},
"arts_1864": {
"type": "terms",
"id": "arts_1864",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1864",
"found": true
},
"relationships": {},
"featImg": null,
"name": "summer-of-love-featured",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "summer-of-love-featured Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1876,
"slug": "summer-of-love-featured",
"isLoading": false,
"link": "/arts/tag/summer-of-love-featured"
}
},
"userPermissionsReducer": {
"wpLoggedIn": false
},
"eventsReducer": {},
"fssReducer": {},
"tvDailyScheduleReducer": {},
"tvWeeklyScheduleReducer": {},
"tvPrimetimeScheduleReducer": {},
"tvMonthlyScheduleReducer": {},
"userAccountReducer": {
"user": {
"email": null,
"emailStatus": "EMAIL_UNVALIDATED",
"loggedStatus": "LOGGED_OUT",
"loggingChecked": false,
"articles": [],
"firstName": null,
"lastName": null,
"phoneNumber": null,
"fetchingMembership": false,
"membershipError": false,
"memberships": [
{
"id": null,
"startDate": null,
"firstName": null,
"lastName": null,
"familyNumber": null,
"memberNumber": null,
"memberSince": null,
"expirationDate": null,
"pfsEligible": false,
"isSustaining": false,
"membershipLevel": "Prospect",
"membershipStatus": "Non Member",
"lastGiftDate": null,
"renewalDate": null,
"lastDonationAmount": null
}
]
},
"authModal": {
"isOpen": false,
"view": "LANDING_VIEW"
},
"error": null
},
"youthMediaReducer": {},
"checkPleaseReducer": {
"filterData": {
"region": {
"key": "Restaurant Region",
"filters": [
"Any Region"
]
},
"cuisine": {
"key": "Restaurant Cuisine",
"filters": [
"Any Cuisine"
]
}
},
"restaurantDataById": {},
"restaurantIdsSorted": [],
"error": null
},
"userAgentReducer": {
"userAgent": "Mozilla/5.0 AppleWebKit/537.36 (KHTML, like Gecko; compatible; ClaudeBot/1.0; +claudebot@anthropic.com)",
"isBot": true
}
}
