New Collages by Winston Smith Continue His Mission to Hack Up Capitalism
Post-Apocalyptic Visions of Earth Aren’t So Far-Fetched at 111 Minna Gallery
‘Guilty Pleasures’ Invites You to Wrestle With Your Secret Indulgences
SF’s Hardest-Partying Gallery Turns 30, Shows No Signs of Slowing Down
Tattoo Artists Keep the ‘Year of the Tiger’ Roaring in New SF Exhibit
Street Artists Chor Boogie and Jet Martinez Explore the Love Factor
Shinkansen Conspiracy at 111 Minna Gallery
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"content": "\u003cp>At the end of May, beloved \u003ca href=\"https://www.kqed.org/arts/tag/san-francisco\">San Francisco\u003c/a> collage artist Winston Smith \u003ca href=\"https://www.gofundme.com/f/winstons-heart-needs-your-help-to-heal\">suffered a heart attack\u003c/a> that stopped him in his tracks. At the time, he was due to premiere a show of new and classic works on June 6 at North Beach’s \u003ca href=\"https://www.studiofallout.com/sfnorthbeach\">Studio Fallout\u003c/a>, a gallery that the artist also curates.\u003c/p>\n\u003cp>[aside postid='arts_13980064']With characteristic good humor, Smith told his fans that while he would be resting for the foreseeable future, his “guardian angels were definitely working over-time,” and that the health scare made him feel “just a little bit pregnant.”\u003c/p>\n\u003cp>Smith’s planned show, \u003cem>I Saw But I Did Not See\u003c/em>, will now go up for one night only at \u003ca href=\"https://www.kqed.org/arts/tag/111-minna\">111 Minna\u003c/a> on Aug. 21, accompanied by a punk rock karaoke event. Alongside classic works capturing the pain and absurdity of modern living, there will be a number of new pieces that present — among other things — images of childhood glee and wholesome living corrupted by the presence of cold, hard cash.\u003c/p>\n\u003cfigure id=\"attachment_13980196\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13980196\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/cash-winston-smith.jpg\" alt=\"Two artworks, side-by-side, show pairs of children playing. The old-fashioned illustrations have been altered to include showers of dollar bills raining down on them.\" width=\"2000\" height=\"1238\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/cash-winston-smith.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/cash-winston-smith-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/cash-winston-smith-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/cash-winston-smith-1536x951.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">(L) ‘WIndfall’ and (R) ‘Girls Just Wanna Have Cash,’ two new works by Winston Smith. \u003ccite>(Courtesy of Fallout Gallery/111 Minna)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Smith is most widely known for his album artwork for likes of \u003ca href=\"https://www.kqed.org/arts/tag/green-day\">Green Day\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13845645/dianne-feinstein-jello-biafra-san-francisco-punk\">Dead Kennedys\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13912863/george-carlin-hbo-american-dream-judd-apatow-documentary-stand-up-comedy\">George Carlin\u003c/a>. This new work continues Smith’s legacy of creating anarchic images that question the status quo, American concepts of progress, and the state of democracy.\u003c/p>\n\u003cp>[aside postid='arts_13979518']One new piece, \u003cem>A Paranoid’s Dilemma\u003c/em>, features the face of a screaming man surrounded on all sides by a confusion of camera lenses. Another, \u003cem>Saint Nick’s Big Bash\u003c/em>, presents Leonardo da Vinci’s \u003cem>The Last Supper\u003c/em> interspersed with ’50s-era partygoers, children carrying firearms and, yes, you’ve guessed it, more cold hard cash.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Since \u003cem>I Saw But I Did Not See\u003c/em> is now a pop-up event, art lovers will be able to buy artworks “off the wall” — something that should make for an amusing BART ride home for anyone who picks one of the 11 artworks rendered directly onto handsaws. (Safety gloves not included.)\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.studiofallout.com/?mc_cid=277e225af7&mc_eid=72f139febb\">I Saw But I Did Not See\u003c/a>’ will be on view at 111 Minna in San Francisco on Aug. 21, 2025. The gallery opens at 5 p.m. Punk rock karaoke will take place 6–8 p.m. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cfigure id=\"attachment_13955981\" class=\"wp-caption aligncenter\" style=\"max-width: 1010px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955981\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-15-at-11.55.58-AM.png\" alt=\"A human skull lies on its side in the dirt, covered in cockroaches. Behind stand two electrical pylons and wires while a flying saucer hovers in the sky.\" width=\"1010\" height=\"1226\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-15-at-11.55.58-AM.png 1010w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-15-at-11.55.58-AM-800x971.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-15-at-11.55.58-AM-160x194.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-15-at-11.55.58-AM-768x932.png 768w\" sizes=\"auto, (max-width: 1010px) 100vw, 1010px\">\u003cfigcaption class=\"wp-caption-text\">‘Communication is Key’ by Mike Davis. \u003ccite>(Mike Davis/111 Minna)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Picture if you will, a very large painting (4 by 5 feet, to be precise) that acts a little bit like a \u003cem>Where’s Waldo\u003c/em> scene for adults. Except, instead of Waldo and friends, the image is one of debauched, unchecked anarchy. \u003c/p>\n\u003cp>Men vomit, boys pee in corners, women are caught in moments of sexual congress, drunks are pickpocketed, small children ready themselves to set off firecrackers and attack people with raised knives. Making this \u003ca href=\"https://en.wikipedia.org/wiki/Pieter_Bruegel_the_Elder#/media/File:Pieter_Bruegel_the_Elder_-_The_Wedding_Dance_-_30.374_-_Detroit_Institute_of_Arts.jpg\">Breugel-esque scene\u003c/a> even stranger? The time period would appear entirely medieval if not for a banner displaying a UFO and Saturn.\u003c/p>\n\u003cp>[aside postid='arts_13951379']This is \u003cem>The Wedding Party\u003c/em> by \u003ca href=\"https://www.mikedavisfineart.com/\">Mike Davis\u003c/a>, the natural end point of a compelling and disturbing exhibit titled \u003ca href=\"https://111minnagallery.com/product-category/exhibit/survivors-of-the-plague/\">\u003cem>Surviving the Plague\u003c/em>\u003c/a>. The paintings, currently hanging in San Francisco’s 111 Minna Gallery, depict a version of humanity that has been plunged back to the Dark Ages, save for a few surviving cell phones. Alien overlords lurk overhead in flying saucers and artwork hanging around what’s left of humanity. In this new old world, civilization as we know it is gone — and with it, modern social mores.\u003c/p>\n\u003cfigure id=\"attachment_13955968\" class=\"wp-caption aligncenter\" style=\"max-width: 1690px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955968\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-15-at-10.19.38-AM.png\" alt=\"A painting depicting a medieval scene of chaotic revelry.\" width=\"1690\" height=\"1382\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-15-at-10.19.38-AM.png 1690w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-15-at-10.19.38-AM-800x654.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-15-at-10.19.38-AM-1020x834.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-15-at-10.19.38-AM-160x131.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-15-at-10.19.38-AM-768x628.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-15-at-10.19.38-AM-1536x1256.png 1536w\" sizes=\"auto, (max-width: 1690px) 100vw, 1690px\">\u003cfigcaption class=\"wp-caption-text\">‘The Wedding Party’ by Mike Davis. \u003ccite>(Mike Davis/111 Minna)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Davis, the owner of San Francisco’s \u003ca href=\"https://www.everlastingtattoo.com/\">Everlasting Tattoo\u003c/a> shop, unabashedly embraces the bleak in this series of paintings, but never once loses his sense of humor. And the devil is in the details.\u003c/p>\n\u003cp>On first glance, \u003cem>\u003ca href=\"https://111minnagallery.com/shop/always-looking-the-other-way/\">Always Looking the Other Way\u003c/a>\u003c/em>, for example, is simply a gathering of tired-looking souls outside a tavern. On closer inspection, they’re all going out of their way to ignore the fiery flying saucer that has crash-landed nearby. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In \u003ca href=\"https://111minnagallery.com/shop/no-time-to-lose-2/\">\u003cem>No Time to Lose\u003c/em>\u003c/a>, a man is pinned down by a giant red scorpion and forced to sketch explanatory diagrams of every day objects. He is drawing with a feather quill despite the fact that a functioning laptop lies open on the ground before him.\u003c/p>\n\u003cfigure id=\"attachment_13955975\" class=\"wp-caption aligncenter\" style=\"max-width: 1460px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955975\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-15-at-11.02.29-AM.png\" alt=\"A dark medieval tavern with gathered drinkers. One, with a bandaged face, holds a glowing model of Saturn. Another sits in front of a waving skeleton with oversized head.\" width=\"1460\" height=\"1228\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-15-at-11.02.29-AM.png 1460w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-15-at-11.02.29-AM-800x673.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-15-at-11.02.29-AM-1020x858.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-15-at-11.02.29-AM-160x135.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-15-at-11.02.29-AM-768x646.png 768w\" sizes=\"auto, (max-width: 1460px) 100vw, 1460px\">\u003cfigcaption class=\"wp-caption-text\">‘Plots and Skullduggery’ by Mike Davis. \u003ccite>(Mike Davis/111 Minna)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The clashing visual time cues inherent across \u003cem>Surviving the Plague\u003c/em> are mirrored by the other exhibit currently on display at 111 Minna. In \u003ca href=\"https://www.michaelkerbow.com/\">Michael Kerbow\u003c/a>’s \u003cem>Reversal of Fortune\u003c/em>, dinosaurs have reclaimed the Earth after a series of climate disasters that are hinted at by obscured sunlight, floods and erupting volcanoes on the horizon. These post-historic monsters wade through flooded cities, around plastic detritus, over rusting car piles and underneath dilapidated fast food signs.\u003c/p>\n\u003cp>The wastefulness of modern comfort is writ large throughout.\u003c/p>\n\u003cfigure id=\"attachment_13955882\" class=\"wp-caption aligncenter\" style=\"max-width: 1470px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955882\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-11-at-5.38.43-PM.png\" alt=\"A painting of a group of wooly mammoth congregating outside a Wal-Mart in the snow.\" width=\"1470\" height=\"1118\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-11-at-5.38.43-PM.png 1470w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-11-at-5.38.43-PM-800x608.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-11-at-5.38.43-PM-1020x776.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-11-at-5.38.43-PM-160x122.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-11-at-5.38.43-PM-768x584.png 768w\" sizes=\"auto, (max-width: 1470px) 100vw, 1470px\">\u003cfigcaption class=\"wp-caption-text\">‘Frozen Markets’ by Michael Kerbow. \u003ccite>(Michael Kerbow/111 Minna)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The most disquieting aspect of Kerbow’s work is just how natural it all seems. In Kerbow’s hands, a herd of woolly mammoths outside a Walmart (\u003ca href=\"https://111minnagallery.com/shop/frozen-markets/\">\u003cem>Frozen Markets\u003c/em>\u003c/a>) looks eerily at home. In \u003ca href=\"https://111minnagallery.com/shop/highwater/\">\u003cem>Highwater\u003c/em>\u003c/a>, a trio of brachiosauruses wading through a flooded downtown full of high-rises reclaimed by nature feels somehow … inevitable.\u003c/p>\n\u003cp>More than anything, Kerbow reminds us that humanity’s waste will be around on Earth eons after we’re gone. Whomever — or whatever — comes next will be left to deal with our marriage to convenience over self preservation.\u003c/p>\n\u003cfigure id=\"attachment_13955878\" class=\"wp-caption aligncenter\" style=\"max-width: 1798px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955878\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-11-at-5.30.21-PM.png\" alt=\"A painting of three long necked dinosaur wading through a flooded city. Under the water, cars are scattered.\" width=\"1798\" height=\"1082\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-11-at-5.30.21-PM.png 1798w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-11-at-5.30.21-PM-800x481.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-11-at-5.30.21-PM-1020x614.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-11-at-5.30.21-PM-160x96.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-11-at-5.30.21-PM-768x462.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-11-at-5.30.21-PM-1536x924.png 1536w\" sizes=\"auto, (max-width: 1798px) 100vw, 1798px\">\u003cfigcaption class=\"wp-caption-text\">‘Highwater’ by Michael Kerbow. \u003ccite>(Michael Kerbow/111 Minna)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Looking at Kerbow’s work, one can’t help but think about the fact that the dinosaurs were meteor-ed into extinction while living in ecological harmony with the planet. If that’s the fate that befell them, what the hell is humanity lining up for itself?\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Survivors of the Plague x Reversal of Fortune’ is on display at \u003ca href=\"https://111minnagallery.com/\">111 Minna Gallery\u003c/a> through June 20, 2024. Viewing appointments can be made by emailing David Young at \u003ca href=\"mailto:dyoungv@111minnagallery.com\">dyoungv@111minnagallery.com\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13955981\" class=\"wp-caption aligncenter\" style=\"max-width: 1010px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955981\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-15-at-11.55.58-AM.png\" alt=\"A human skull lies on its side in the dirt, covered in cockroaches. Behind stand two electrical pylons and wires while a flying saucer hovers in the sky.\" width=\"1010\" height=\"1226\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-15-at-11.55.58-AM.png 1010w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-15-at-11.55.58-AM-800x971.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-15-at-11.55.58-AM-160x194.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-15-at-11.55.58-AM-768x932.png 768w\" sizes=\"auto, (max-width: 1010px) 100vw, 1010px\">\u003cfigcaption class=\"wp-caption-text\">‘Communication is Key’ by Mike Davis. \u003ccite>(Mike Davis/111 Minna)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Picture if you will, a very large painting (4 by 5 feet, to be precise) that acts a little bit like a \u003cem>Where’s Waldo\u003c/em> scene for adults. Except, instead of Waldo and friends, the image is one of debauched, unchecked anarchy. \u003c/p>\n\u003cp>Men vomit, boys pee in corners, women are caught in moments of sexual congress, drunks are pickpocketed, small children ready themselves to set off firecrackers and attack people with raised knives. Making this \u003ca href=\"https://en.wikipedia.org/wiki/Pieter_Bruegel_the_Elder#/media/File:Pieter_Bruegel_the_Elder_-_The_Wedding_Dance_-_30.374_-_Detroit_Institute_of_Arts.jpg\">Breugel-esque scene\u003c/a> even stranger? The time period would appear entirely medieval if not for a banner displaying a UFO and Saturn.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>This is \u003cem>The Wedding Party\u003c/em> by \u003ca href=\"https://www.mikedavisfineart.com/\">Mike Davis\u003c/a>, the natural end point of a compelling and disturbing exhibit titled \u003ca href=\"https://111minnagallery.com/product-category/exhibit/survivors-of-the-plague/\">\u003cem>Surviving the Plague\u003c/em>\u003c/a>. The paintings, currently hanging in San Francisco’s 111 Minna Gallery, depict a version of humanity that has been plunged back to the Dark Ages, save for a few surviving cell phones. Alien overlords lurk overhead in flying saucers and artwork hanging around what’s left of humanity. In this new old world, civilization as we know it is gone — and with it, modern social mores.\u003c/p>\n\u003cfigure id=\"attachment_13955968\" class=\"wp-caption aligncenter\" style=\"max-width: 1690px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955968\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-15-at-10.19.38-AM.png\" alt=\"A painting depicting a medieval scene of chaotic revelry.\" width=\"1690\" height=\"1382\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-15-at-10.19.38-AM.png 1690w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-15-at-10.19.38-AM-800x654.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-15-at-10.19.38-AM-1020x834.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-15-at-10.19.38-AM-160x131.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-15-at-10.19.38-AM-768x628.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-15-at-10.19.38-AM-1536x1256.png 1536w\" sizes=\"auto, (max-width: 1690px) 100vw, 1690px\">\u003cfigcaption class=\"wp-caption-text\">‘The Wedding Party’ by Mike Davis. \u003ccite>(Mike Davis/111 Minna)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Davis, the owner of San Francisco’s \u003ca href=\"https://www.everlastingtattoo.com/\">Everlasting Tattoo\u003c/a> shop, unabashedly embraces the bleak in this series of paintings, but never once loses his sense of humor. And the devil is in the details.\u003c/p>\n\u003cp>On first glance, \u003cem>\u003ca href=\"https://111minnagallery.com/shop/always-looking-the-other-way/\">Always Looking the Other Way\u003c/a>\u003c/em>, for example, is simply a gathering of tired-looking souls outside a tavern. On closer inspection, they’re all going out of their way to ignore the fiery flying saucer that has crash-landed nearby. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In \u003ca href=\"https://111minnagallery.com/shop/no-time-to-lose-2/\">\u003cem>No Time to Lose\u003c/em>\u003c/a>, a man is pinned down by a giant red scorpion and forced to sketch explanatory diagrams of every day objects. He is drawing with a feather quill despite the fact that a functioning laptop lies open on the ground before him.\u003c/p>\n\u003cfigure id=\"attachment_13955975\" class=\"wp-caption aligncenter\" style=\"max-width: 1460px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955975\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-15-at-11.02.29-AM.png\" alt=\"A dark medieval tavern with gathered drinkers. One, with a bandaged face, holds a glowing model of Saturn. Another sits in front of a waving skeleton with oversized head.\" width=\"1460\" height=\"1228\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-15-at-11.02.29-AM.png 1460w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-15-at-11.02.29-AM-800x673.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-15-at-11.02.29-AM-1020x858.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-15-at-11.02.29-AM-160x135.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-15-at-11.02.29-AM-768x646.png 768w\" sizes=\"auto, (max-width: 1460px) 100vw, 1460px\">\u003cfigcaption class=\"wp-caption-text\">‘Plots and Skullduggery’ by Mike Davis. \u003ccite>(Mike Davis/111 Minna)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The clashing visual time cues inherent across \u003cem>Surviving the Plague\u003c/em> are mirrored by the other exhibit currently on display at 111 Minna. In \u003ca href=\"https://www.michaelkerbow.com/\">Michael Kerbow\u003c/a>’s \u003cem>Reversal of Fortune\u003c/em>, dinosaurs have reclaimed the Earth after a series of climate disasters that are hinted at by obscured sunlight, floods and erupting volcanoes on the horizon. These post-historic monsters wade through flooded cities, around plastic detritus, over rusting car piles and underneath dilapidated fast food signs.\u003c/p>\n\u003cp>The wastefulness of modern comfort is writ large throughout.\u003c/p>\n\u003cfigure id=\"attachment_13955882\" class=\"wp-caption aligncenter\" style=\"max-width: 1470px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955882\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-11-at-5.38.43-PM.png\" alt=\"A painting of a group of wooly mammoth congregating outside a Wal-Mart in the snow.\" width=\"1470\" height=\"1118\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-11-at-5.38.43-PM.png 1470w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-11-at-5.38.43-PM-800x608.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-11-at-5.38.43-PM-1020x776.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-11-at-5.38.43-PM-160x122.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-11-at-5.38.43-PM-768x584.png 768w\" sizes=\"auto, (max-width: 1470px) 100vw, 1470px\">\u003cfigcaption class=\"wp-caption-text\">‘Frozen Markets’ by Michael Kerbow. \u003ccite>(Michael Kerbow/111 Minna)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The most disquieting aspect of Kerbow’s work is just how natural it all seems. In Kerbow’s hands, a herd of woolly mammoths outside a Walmart (\u003ca href=\"https://111minnagallery.com/shop/frozen-markets/\">\u003cem>Frozen Markets\u003c/em>\u003c/a>) looks eerily at home. In \u003ca href=\"https://111minnagallery.com/shop/highwater/\">\u003cem>Highwater\u003c/em>\u003c/a>, a trio of brachiosauruses wading through a flooded downtown full of high-rises reclaimed by nature feels somehow … inevitable.\u003c/p>\n\u003cp>More than anything, Kerbow reminds us that humanity’s waste will be around on Earth eons after we’re gone. Whomever — or whatever — comes next will be left to deal with our marriage to convenience over self preservation.\u003c/p>\n\u003cfigure id=\"attachment_13955878\" class=\"wp-caption aligncenter\" style=\"max-width: 1798px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955878\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-11-at-5.30.21-PM.png\" alt=\"A painting of three long necked dinosaur wading through a flooded city. Under the water, cars are scattered.\" width=\"1798\" height=\"1082\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-11-at-5.30.21-PM.png 1798w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-11-at-5.30.21-PM-800x481.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-11-at-5.30.21-PM-1020x614.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-11-at-5.30.21-PM-160x96.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-11-at-5.30.21-PM-768x462.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-11-at-5.30.21-PM-1536x924.png 1536w\" sizes=\"auto, (max-width: 1798px) 100vw, 1798px\">\u003cfigcaption class=\"wp-caption-text\">‘Highwater’ by Michael Kerbow. \u003ccite>(Michael Kerbow/111 Minna)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Looking at Kerbow’s work, one can’t help but think about the fact that the dinosaurs were meteor-ed into extinction while living in ecological harmony with the planet. If that’s the fate that befell them, what the hell is humanity lining up for itself?\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Survivors of the Plague x Reversal of Fortune’ is on display at \u003ca href=\"https://111minnagallery.com/\">111 Minna Gallery\u003c/a> through June 20, 2024. Viewing appointments can be made by emailing David Young at \u003ca href=\"mailto:dyoungv@111minnagallery.com\">dyoungv@111minnagallery.com\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cfigure id=\"attachment_13950685\" class=\"wp-caption aligncenter\" style=\"max-width: 916px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950685\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-19-at-2.00.13-PM.png\" alt=\"\" width=\"916\" height=\"1222\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-19-at-2.00.13-PM.png 916w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-19-at-2.00.13-PM-800x1067.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-19-at-2.00.13-PM-160x213.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-19-at-2.00.13-PM-768x1025.png 768w\" sizes=\"auto, (max-width: 916px) 100vw, 916px\">\u003cfigcaption class=\"wp-caption-text\">Nicole Hayden’s ‘The Body,’ as seen in new 111 Minna group show, ‘Guilty Pleasures.’ \u003ccite>(Courtesy of 111 Minna Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There is something deliciously unexpected about it. An art show by seven women, specifically dedicated to guilty feminine pleasures, that includes an entire wall of nothing but … hyper-masculine WWF wrestlers?\u003c/p>\n\u003cp>\u003ca href=\"https://www.nicolehaydenart.com/index\">Nicole Hayden\u003c/a>’s splashy portraits of ’80s wrestling stars — including Hulk Hogan, Randy Savage and The Iron Sheik — are fantastically alive with shirt-ripping, muscle-flexing bravado and a steady stream of questionable wardrobe choices. It is Hayden’s work that’s unquestionably the star of \u003cem>Guilty Pleasures\u003c/em>, a new show at 111 Minna, curated by \u003ca href=\"http://www.alynnpaint.com/\">Amandalynn\u003c/a> and \u003ca href=\"https://www.emilyfromm.com/\">Emily Fromm\u003c/a>, and produced entirely by artists from the Bay Area.\u003c/p>\n\u003cfigure id=\"attachment_13950740\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/amandalynn-1-scaled.jpg\" alt=\"Paintings of a woman in her underwear posed amongst a bouquet of soft pink and white flowers, and a painting of a pregnant woman kneeling down and holding her belly which contains an image of a lion cub.\" width=\"2560\" height=\"1584\" class=\"size-full wp-image-13950740\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/amandalynn-1-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/amandalynn-1-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/amandalynn-1-1020x631.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/amandalynn-1-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/amandalynn-1-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/amandalynn-1-1536x951.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/amandalynn-1-2048x1267.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/amandalynn-1-1920x1188.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">(L) ‘Secret Garden’ and (R) ‘Leo’ by Amandalynn. \u003ccite>(Photos by Rae Alexandra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Amandalynn, best known for injecting sumptuous beauty into the grittiest of urban environs via her large scale murals, here leans far more into the pleasure than the guilt. Her contributions to the show are exactly what we’ve come to expect from her: sensuous depictions of powerful women combined with delicate images of the natural world. Lovely they are, but aside from \u003ca href=\"https://111minnagallery.com/shop/something-about-a-sundae/\">\u003cem>Something About a Sundae\u003c/em>\u003c/a> — a vivid meshing of girly and gummy delights — they are almost entirely guilt-free.\u003c/p>\n\u003cp>No such problem exists for \u003ca href=\"http://www.messybeck.com/\">Messy Beck\u003c/a>’s cubist-inspired paintings — another highpoint in the show — that explore defiantly unfiltered incidents of sexual expression. The pleasure and the guilt scream from the canvas in equal measure, one part discomfiting, one part mesmerizing.\u003c/p>\n\u003cfigure id=\"attachment_13950746\" class=\"wp-caption aligncenter\" style=\"max-width: 1304px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950746\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-22-at-2.05.20-PM.png\" alt=\"A cubist-inspired painting of a woman on her knees, head tilted to one side grotesquely, pinching one of her breasts.\" width=\"1304\" height=\"1310\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-22-at-2.05.20-PM.png 1304w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-22-at-2.05.20-PM-800x804.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-22-at-2.05.20-PM-1020x1025.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-22-at-2.05.20-PM-160x161.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-22-at-2.05.20-PM-768x772.png 768w\" sizes=\"auto, (max-width: 1304px) 100vw, 1304px\">\u003cfigcaption class=\"wp-caption-text\">‘Plucked’ by Messy Beck. \u003ccite>(Courtesy of 111 Minna)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Amandalynn’s co-curator Fromm usually makes bold and colorful renditions of Bay Area landmarks. For \u003cem>Guilty Pleasures\u003c/em> she’s focused on the sleazy delights of a variety of cheap motels. The fine establishments she’s immortalized here include \u003ca href=\"https://111minnagallery.com/shop/geary-parkway-motel/\">San Francisco’s Geary Parkway Motel\u003c/a> and Sunnyvale’s Sundowner Inn.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Elsewhere in the show, \u003ca href=\"https://michellemeng.com/\">Michelle Nguyen\u003c/a> explores \u003ca href=\"https://111minnagallery.com/shop/girls-girls-girls/\">smutty signage\u003c/a>, \u003ca href=\"https://www.instagram.com/yourfacecreations\">Mollie Johnson\u003c/a> knits her way through \u003ca href=\"https://111minnagallery.com/shop/baguette-and-butter/\">a buffet\u003c/a> of tasty (albeit woolen) delights, and \u003ca href=\"https://www.instagram.com/sadiegreyduck?img_index=1\">Sadie Greyduck\u003c/a> offers sharp and \u003ca href=\"https://111minnagallery.com/shop/burn-survivor-talisman-2/\">curious talismans\u003c/a>.\u003c/p>\n\u003cp>But it’s Hayden’s wrestlers that somehow feel the most indulgent of all — a screaming, spandex-clad ode to one of the most ridiculous periods of one of the most ridiculous sports of all time. All 10 paintings can’t help but poke shamelessly at your pleasure receptors.\u003c/p>\n\u003cfigure id=\"attachment_13950742\" class=\"wp-caption aligncenter\" style=\"max-width: 1016px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950742\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-22-at-1.51.30-PM.png\" alt=\"A brightly colored painting of a spandex-clad wrestler from the 1980s in front of a bright red background.\" width=\"1016\" height=\"1310\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-22-at-1.51.30-PM.png 1016w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-22-at-1.51.30-PM-800x1031.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-22-at-1.51.30-PM-160x206.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-22-at-1.51.30-PM-768x990.png 768w\" sizes=\"auto, (max-width: 1016px) 100vw, 1016px\">\u003cfigcaption class=\"wp-caption-text\">‘The Hitman’ by Nicole Hayden. \u003ccite>(Courtesy of 111 Minna)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://111minnagallery.com/product-category/exhibit/guilty-pleasures/\">Guilty Pleasures\u003c/a>’ is on display at \u003ca href=\"https://111minnagallery.com/\">111 Minna Gallery\u003c/a> through April 1, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13950685\" class=\"wp-caption aligncenter\" style=\"max-width: 916px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950685\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-19-at-2.00.13-PM.png\" alt=\"\" width=\"916\" height=\"1222\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-19-at-2.00.13-PM.png 916w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-19-at-2.00.13-PM-800x1067.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-19-at-2.00.13-PM-160x213.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-19-at-2.00.13-PM-768x1025.png 768w\" sizes=\"auto, (max-width: 916px) 100vw, 916px\">\u003cfigcaption class=\"wp-caption-text\">Nicole Hayden’s ‘The Body,’ as seen in new 111 Minna group show, ‘Guilty Pleasures.’ \u003ccite>(Courtesy of 111 Minna Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There is something deliciously unexpected about it. An art show by seven women, specifically dedicated to guilty feminine pleasures, that includes an entire wall of nothing but … hyper-masculine WWF wrestlers?\u003c/p>\n\u003cp>\u003ca href=\"https://www.nicolehaydenart.com/index\">Nicole Hayden\u003c/a>’s splashy portraits of ’80s wrestling stars — including Hulk Hogan, Randy Savage and The Iron Sheik — are fantastically alive with shirt-ripping, muscle-flexing bravado and a steady stream of questionable wardrobe choices. It is Hayden’s work that’s unquestionably the star of \u003cem>Guilty Pleasures\u003c/em>, a new show at 111 Minna, curated by \u003ca href=\"http://www.alynnpaint.com/\">Amandalynn\u003c/a> and \u003ca href=\"https://www.emilyfromm.com/\">Emily Fromm\u003c/a>, and produced entirely by artists from the Bay Area.\u003c/p>\n\u003cfigure id=\"attachment_13950740\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/amandalynn-1-scaled.jpg\" alt=\"Paintings of a woman in her underwear posed amongst a bouquet of soft pink and white flowers, and a painting of a pregnant woman kneeling down and holding her belly which contains an image of a lion cub.\" width=\"2560\" height=\"1584\" class=\"size-full wp-image-13950740\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/amandalynn-1-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/amandalynn-1-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/amandalynn-1-1020x631.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/amandalynn-1-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/amandalynn-1-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/amandalynn-1-1536x951.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/amandalynn-1-2048x1267.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/amandalynn-1-1920x1188.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">(L) ‘Secret Garden’ and (R) ‘Leo’ by Amandalynn. \u003ccite>(Photos by Rae Alexandra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Amandalynn, best known for injecting sumptuous beauty into the grittiest of urban environs via her large scale murals, here leans far more into the pleasure than the guilt. Her contributions to the show are exactly what we’ve come to expect from her: sensuous depictions of powerful women combined with delicate images of the natural world. Lovely they are, but aside from \u003ca href=\"https://111minnagallery.com/shop/something-about-a-sundae/\">\u003cem>Something About a Sundae\u003c/em>\u003c/a> — a vivid meshing of girly and gummy delights — they are almost entirely guilt-free.\u003c/p>\n\u003cp>No such problem exists for \u003ca href=\"http://www.messybeck.com/\">Messy Beck\u003c/a>’s cubist-inspired paintings — another highpoint in the show — that explore defiantly unfiltered incidents of sexual expression. The pleasure and the guilt scream from the canvas in equal measure, one part discomfiting, one part mesmerizing.\u003c/p>\n\u003cfigure id=\"attachment_13950746\" class=\"wp-caption aligncenter\" style=\"max-width: 1304px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950746\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-22-at-2.05.20-PM.png\" alt=\"A cubist-inspired painting of a woman on her knees, head tilted to one side grotesquely, pinching one of her breasts.\" width=\"1304\" height=\"1310\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-22-at-2.05.20-PM.png 1304w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-22-at-2.05.20-PM-800x804.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-22-at-2.05.20-PM-1020x1025.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-22-at-2.05.20-PM-160x161.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-22-at-2.05.20-PM-768x772.png 768w\" sizes=\"auto, (max-width: 1304px) 100vw, 1304px\">\u003cfigcaption class=\"wp-caption-text\">‘Plucked’ by Messy Beck. \u003ccite>(Courtesy of 111 Minna)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Amandalynn’s co-curator Fromm usually makes bold and colorful renditions of Bay Area landmarks. For \u003cem>Guilty Pleasures\u003c/em> she’s focused on the sleazy delights of a variety of cheap motels. The fine establishments she’s immortalized here include \u003ca href=\"https://111minnagallery.com/shop/geary-parkway-motel/\">San Francisco’s Geary Parkway Motel\u003c/a> and Sunnyvale’s Sundowner Inn.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Elsewhere in the show, \u003ca href=\"https://michellemeng.com/\">Michelle Nguyen\u003c/a> explores \u003ca href=\"https://111minnagallery.com/shop/girls-girls-girls/\">smutty signage\u003c/a>, \u003ca href=\"https://www.instagram.com/yourfacecreations\">Mollie Johnson\u003c/a> knits her way through \u003ca href=\"https://111minnagallery.com/shop/baguette-and-butter/\">a buffet\u003c/a> of tasty (albeit woolen) delights, and \u003ca href=\"https://www.instagram.com/sadiegreyduck?img_index=1\">Sadie Greyduck\u003c/a> offers sharp and \u003ca href=\"https://111minnagallery.com/shop/burn-survivor-talisman-2/\">curious talismans\u003c/a>.\u003c/p>\n\u003cp>But it’s Hayden’s wrestlers that somehow feel the most indulgent of all — a screaming, spandex-clad ode to one of the most ridiculous periods of one of the most ridiculous sports of all time. All 10 paintings can’t help but poke shamelessly at your pleasure receptors.\u003c/p>\n\u003cfigure id=\"attachment_13950742\" class=\"wp-caption aligncenter\" style=\"max-width: 1016px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950742\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-22-at-1.51.30-PM.png\" alt=\"A brightly colored painting of a spandex-clad wrestler from the 1980s in front of a bright red background.\" width=\"1016\" height=\"1310\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-22-at-1.51.30-PM.png 1016w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-22-at-1.51.30-PM-800x1031.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-22-at-1.51.30-PM-160x206.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-22-at-1.51.30-PM-768x990.png 768w\" sizes=\"auto, (max-width: 1016px) 100vw, 1016px\">\u003cfigcaption class=\"wp-caption-text\">‘The Hitman’ by Nicole Hayden. \u003ccite>(Courtesy of 111 Minna)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://111minnagallery.com/product-category/exhibit/guilty-pleasures/\">Guilty Pleasures\u003c/a>’ is on display at \u003ca href=\"https://111minnagallery.com/\">111 Minna Gallery\u003c/a> through April 1, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The first time I set foot in 111 Minna was the first time I realized there were galleries that catered to delinquents. That night in downtown San Francisco 21 years ago, the venue was packed wall-to-wall with skaters, bike messengers, punks, hip-hoppers and graffiti crews. Huddled outside in the alley were small groups of twenty-somethings, smoking weed and brown-bagging tall cans. It was the very first time I’d ever been in a gallery where I felt at home, where I actually had fun, and where I responded with visceral enthusiasm to the art. Like so many other people I met that night, I have been going back to 111 Minna ever since.\u003c/p>\n\u003cp>[aside postid='arts_13923399']Against a lot of odds, 111 Minna is turning 30 this month and, in honor of the anniversary, a new group exhibit is on display at the spacious, two-bar gallery. The new show reflects exactly the kind of work that Minna has always embraced: Art that appreciates and elevates street culture, and art that reflects San Francisco’s diverse array of underground communities. Appropriately, the collection features works by many of the artists who have faithfully shown — and grown their audiences — at Minna over the years: \u003ca href=\"https://sillypinkbunnies.com/\">Jeremy Fish\u003c/a>, \u003ca href=\"https://samflores.com/\">Sam Flores\u003c/a>, \u003ca href=\"https://www.artbyladymags.com/\">Lady Mags\u003c/a>, \u003ca href=\"https://www.mikegiant.com/\">Mike Giant\u003c/a>, \u003ca href=\"https://alechuxley.com/\">Alec Huxley\u003c/a>, \u003ca href=\"http://www.alynnpaint.com/\">Amandalynn\u003c/a>, \u003ca href=\"https://www.winstonsmith.com/\">Winston Smith\u003c/a>, \u003ca href=\"https://henrylewistattoo.com/\">Henry Lewis\u003c/a>,\u003ca href=\"https://www.kqed.org/arts/13923399/honoring-dave-schubert-san-franciscos-wildest-street-photographer\"> Dave Schubert\u003c/a> and many more.\u003c/p>\n\u003cfigure id=\"attachment_13936490\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936490\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/jeremy-giant-scaled.jpg\" alt=\"(L) White artwork on a black background featuring a cocktail with a man's face on it, backed by a pencil and paintbrush crossed behind it. There is a drawing hand coming out of the top of the glass with wings spread out either side. Atop the hand is a hat with a fish face emerging from the top of it. A banner at the bottom of the painting says '111 Minna.' (R) A black and white diagram of a black skateboard featuring a skull and a rose.\" width=\"2560\" height=\"1584\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/jeremy-giant-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/jeremy-giant-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/jeremy-giant-1020x631.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/jeremy-giant-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/jeremy-giant-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/jeremy-giant-1536x951.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/jeremy-giant-2048x1267.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/jeremy-giant-1920x1188.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">(L) A Jeremy Fish piece designed to celebrate 111 Minna’s 30th anniversary, (R) A skateboard diagram drawn by Mike Giant at the gallery 13 years ago. \u003ccite>(Courtesy of 111 Minna/ Rae Alexandra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Michelle Delaney, Minna’s events manager, has been working at the gallery since starting as a bartender in 2000. She thinks the trust that Minna’s roster of regular artists places in the gallery is rooted in the principles laid out by its founder, Eiming Jung. Delaney says that Jung — an artist and UC Berkeley graduate who opened Minna in 1993 — succeeded early because he “never tried to hold on to artists and represent them. All he tried to do was support them and lift them up [and] give them the freedom to fly. He wanted them to be able to be successful.”\u003c/p>\n\u003cp>Delaney says the “original culture” set by Jung — who departed 111 Minna five years ago to live in Cambodia — “is what still makes this place strong.” She points to the fact that a great many of Minna’s patrons, many of whom first heard about the place by word of mouth, have been hanging around the venue for years now.\u003c/p>\n\u003cfigure id=\"attachment_13936497\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936497\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/featured-FINAL-scaled.jpg\" alt=\"Four photos arranged in a square. They show (1) a man with his pants around his ankles standing in a doorway, showing off a speedo while a friend gestures wildly next to him. (2) A white man with a grey beard stands in a busy gallery with a shorter Asian man at his side. They both look very happy. (3) Three men in very colorful jackets lined up against a wall, as if they're being arrested. (4) A heavily tattooed white woman sits and paints, smiling for the camera.\" width=\"2560\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/featured-FINAL-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/featured-FINAL-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/featured-FINAL-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/featured-FINAL-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/featured-FINAL-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/featured-FINAL-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/featured-FINAL-2048x2048.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/featured-FINAL-1920x1920.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">(Top, L): Artists Nate Geare and Carlile Ralph Browne horsing around in the 111 Minna doorway, (R) Artists Jeremy Fish and Kim Cogan at 111 Minna’s 30th anniversary opening. (Bottom, L): Artists at one of 111 Minna’s ‘Sketch Tuesday’ events line up to show off their hand-painted jackets, (R) Artist Denise T. Pinto hard at work in the gallery. \u003ccite>(Courtesy of 111 Minna/ Instagram @111minnagallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“This was always a place for people to find their community and their friends and their home,” Delaney explains. “It was always a place for all of us weirdos to find each other. We still live by the inclusivity that Eiming encouraged. We want to celebrate \u003cem>all\u003c/em> of the artists too — musicians, poets, dancers, comedians. Having a gathering place for all of these alternative communities is amazing.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postid='arts_13923317']Delaney is not exaggerating. The first night I went to 111 Minna, I was only there because the art opening doubled as a hip-hop show. In the years since, the venue has held a plethora of live music during exhibits, warrior dance classes during happy hour and even \u003ca href=\"https://www.instagram.com/p/B9SuKXGnyUo/\">yoga classes during lunch\u003c/a> — some of which were taught by Delaney herself.\u003c/p>\n\u003cp>“With all of the dance parties we’ve had here and all of the fun we’ve had,” Delaney notes, “it’s amazing to me that people always protect the art. Regardless of what’s going on in here, the art never gets hurt. People are totally respectful. The art has been really cared for by everyone who comes here because people feel like [111 Minna is] their home — because it is.”\u003c/p>\n\u003cfigure id=\"attachment_13936391\" class=\"wp-caption aligncenter\" style=\"max-width: 2210px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936391\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Past-Life-Experience-Alec-Huxley.png\" alt=\"A panoramic realistic painting of a downtown San Francisco alleyway. A small child dressed as an astronaut stands across the street from a building with red doors.\" width=\"2210\" height=\"1248\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Past-Life-Experience-Alec-Huxley.png 2210w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Past-Life-Experience-Alec-Huxley-800x452.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Past-Life-Experience-Alec-Huxley-1020x576.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Past-Life-Experience-Alec-Huxley-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Past-Life-Experience-Alec-Huxley-768x434.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Past-Life-Experience-Alec-Huxley-1536x867.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Past-Life-Experience-Alec-Huxley-2048x1157.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Past-Life-Experience-Alec-Huxley-1920x1084.png 1920w\" sizes=\"auto, (max-width: 2210px) 100vw, 2210px\">\u003cfigcaption class=\"wp-caption-text\">The setting for ‘Past Life Experience’ by Alec Huxley is the alley outside 111 Minna and the gallery’s signature red doors. \u003ccite>(Courtesy of 111 Minna)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Staying open for three decades is an especially extraordinary feat for a gallery that, in its earliest days, was looked down upon by other art spaces for being too hedonistic, too much of a wildcard and, frankly, too lowbrow. Pre-pandemic, Minna served as a popular coffee spot for surrounding office workers, but the cafe has not reopened post-shutdown because of the dwindling foot traffic downtown. These days, the reason 111 Minna is still able to put on events with a more underground flavor is because it’s also willing to host one-off corporate gatherings and parties.\u003c/p>\n\u003cp>Delaney is thrilled that 111 Minna hasn’t just managed to survive all of this time, but to thrive too.\u003c/p>\n\u003cp>“I would like 111 Minna to go on forever,” she says. “San Francisco needs these staples, these jewels, these beacons of community. They’re the reason people come to San Francisco in the first place. I want to be buried here.” Delaney pauses then smiles. “We drank a lot, we partied hard, but we loved life and we made it through.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>111 Minna’s ‘\u003ca href=\"https://111minnagallery.com/product-category/exhibit/30-year-anniversary/\">30 Anniversary Show\u003c/a>,’ curated by \u003ca href=\"https://www.mutualart.com/Artist/David-Scott-Mabry/D3D9D2FB681B23E7\">David Scott Mabry\u003c/a>, is on display through Jan. 12, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The first time I set foot in 111 Minna was the first time I realized there were galleries that catered to delinquents. That night in downtown San Francisco 21 years ago, the venue was packed wall-to-wall with skaters, bike messengers, punks, hip-hoppers and graffiti crews. Huddled outside in the alley were small groups of twenty-somethings, smoking weed and brown-bagging tall cans. It was the very first time I’d ever been in a gallery where I felt at home, where I actually had fun, and where I responded with visceral enthusiasm to the art. Like so many other people I met that night, I have been going back to 111 Minna ever since.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Against a lot of odds, 111 Minna is turning 30 this month and, in honor of the anniversary, a new group exhibit is on display at the spacious, two-bar gallery. The new show reflects exactly the kind of work that Minna has always embraced: Art that appreciates and elevates street culture, and art that reflects San Francisco’s diverse array of underground communities. Appropriately, the collection features works by many of the artists who have faithfully shown — and grown their audiences — at Minna over the years: \u003ca href=\"https://sillypinkbunnies.com/\">Jeremy Fish\u003c/a>, \u003ca href=\"https://samflores.com/\">Sam Flores\u003c/a>, \u003ca href=\"https://www.artbyladymags.com/\">Lady Mags\u003c/a>, \u003ca href=\"https://www.mikegiant.com/\">Mike Giant\u003c/a>, \u003ca href=\"https://alechuxley.com/\">Alec Huxley\u003c/a>, \u003ca href=\"http://www.alynnpaint.com/\">Amandalynn\u003c/a>, \u003ca href=\"https://www.winstonsmith.com/\">Winston Smith\u003c/a>, \u003ca href=\"https://henrylewistattoo.com/\">Henry Lewis\u003c/a>,\u003ca href=\"https://www.kqed.org/arts/13923399/honoring-dave-schubert-san-franciscos-wildest-street-photographer\"> Dave Schubert\u003c/a> and many more.\u003c/p>\n\u003cfigure id=\"attachment_13936490\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936490\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/jeremy-giant-scaled.jpg\" alt=\"(L) White artwork on a black background featuring a cocktail with a man's face on it, backed by a pencil and paintbrush crossed behind it. There is a drawing hand coming out of the top of the glass with wings spread out either side. Atop the hand is a hat with a fish face emerging from the top of it. A banner at the bottom of the painting says '111 Minna.' (R) A black and white diagram of a black skateboard featuring a skull and a rose.\" width=\"2560\" height=\"1584\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/jeremy-giant-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/jeremy-giant-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/jeremy-giant-1020x631.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/jeremy-giant-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/jeremy-giant-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/jeremy-giant-1536x951.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/jeremy-giant-2048x1267.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/jeremy-giant-1920x1188.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">(L) A Jeremy Fish piece designed to celebrate 111 Minna’s 30th anniversary, (R) A skateboard diagram drawn by Mike Giant at the gallery 13 years ago. \u003ccite>(Courtesy of 111 Minna/ Rae Alexandra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Michelle Delaney, Minna’s events manager, has been working at the gallery since starting as a bartender in 2000. She thinks the trust that Minna’s roster of regular artists places in the gallery is rooted in the principles laid out by its founder, Eiming Jung. Delaney says that Jung — an artist and UC Berkeley graduate who opened Minna in 1993 — succeeded early because he “never tried to hold on to artists and represent them. All he tried to do was support them and lift them up [and] give them the freedom to fly. He wanted them to be able to be successful.”\u003c/p>\n\u003cp>Delaney says the “original culture” set by Jung — who departed 111 Minna five years ago to live in Cambodia — “is what still makes this place strong.” She points to the fact that a great many of Minna’s patrons, many of whom first heard about the place by word of mouth, have been hanging around the venue for years now.\u003c/p>\n\u003cfigure id=\"attachment_13936497\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936497\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/featured-FINAL-scaled.jpg\" alt=\"Four photos arranged in a square. They show (1) a man with his pants around his ankles standing in a doorway, showing off a speedo while a friend gestures wildly next to him. (2) A white man with a grey beard stands in a busy gallery with a shorter Asian man at his side. They both look very happy. (3) Three men in very colorful jackets lined up against a wall, as if they're being arrested. (4) A heavily tattooed white woman sits and paints, smiling for the camera.\" width=\"2560\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/featured-FINAL-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/featured-FINAL-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/featured-FINAL-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/featured-FINAL-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/featured-FINAL-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/featured-FINAL-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/featured-FINAL-2048x2048.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/featured-FINAL-1920x1920.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">(Top, L): Artists Nate Geare and Carlile Ralph Browne horsing around in the 111 Minna doorway, (R) Artists Jeremy Fish and Kim Cogan at 111 Minna’s 30th anniversary opening. (Bottom, L): Artists at one of 111 Minna’s ‘Sketch Tuesday’ events line up to show off their hand-painted jackets, (R) Artist Denise T. Pinto hard at work in the gallery. \u003ccite>(Courtesy of 111 Minna/ Instagram @111minnagallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“This was always a place for people to find their community and their friends and their home,” Delaney explains. “It was always a place for all of us weirdos to find each other. We still live by the inclusivity that Eiming encouraged. We want to celebrate \u003cem>all\u003c/em> of the artists too — musicians, poets, dancers, comedians. Having a gathering place for all of these alternative communities is amazing.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Delaney is not exaggerating. The first night I went to 111 Minna, I was only there because the art opening doubled as a hip-hop show. In the years since, the venue has held a plethora of live music during exhibits, warrior dance classes during happy hour and even \u003ca href=\"https://www.instagram.com/p/B9SuKXGnyUo/\">yoga classes during lunch\u003c/a> — some of which were taught by Delaney herself.\u003c/p>\n\u003cp>“With all of the dance parties we’ve had here and all of the fun we’ve had,” Delaney notes, “it’s amazing to me that people always protect the art. Regardless of what’s going on in here, the art never gets hurt. People are totally respectful. The art has been really cared for by everyone who comes here because people feel like [111 Minna is] their home — because it is.”\u003c/p>\n\u003cfigure id=\"attachment_13936391\" class=\"wp-caption aligncenter\" style=\"max-width: 2210px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936391\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Past-Life-Experience-Alec-Huxley.png\" alt=\"A panoramic realistic painting of a downtown San Francisco alleyway. A small child dressed as an astronaut stands across the street from a building with red doors.\" width=\"2210\" height=\"1248\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Past-Life-Experience-Alec-Huxley.png 2210w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Past-Life-Experience-Alec-Huxley-800x452.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Past-Life-Experience-Alec-Huxley-1020x576.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Past-Life-Experience-Alec-Huxley-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Past-Life-Experience-Alec-Huxley-768x434.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Past-Life-Experience-Alec-Huxley-1536x867.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Past-Life-Experience-Alec-Huxley-2048x1157.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Past-Life-Experience-Alec-Huxley-1920x1084.png 1920w\" sizes=\"auto, (max-width: 2210px) 100vw, 2210px\">\u003cfigcaption class=\"wp-caption-text\">The setting for ‘Past Life Experience’ by Alec Huxley is the alley outside 111 Minna and the gallery’s signature red doors. \u003ccite>(Courtesy of 111 Minna)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Staying open for three decades is an especially extraordinary feat for a gallery that, in its earliest days, was looked down upon by other art spaces for being too hedonistic, too much of a wildcard and, frankly, too lowbrow. Pre-pandemic, Minna served as a popular coffee spot for surrounding office workers, but the cafe has not reopened post-shutdown because of the dwindling foot traffic downtown. These days, the reason 111 Minna is still able to put on events with a more underground flavor is because it’s also willing to host one-off corporate gatherings and parties.\u003c/p>\n\u003cp>Delaney is thrilled that 111 Minna hasn’t just managed to survive all of this time, but to thrive too.\u003c/p>\n\u003cp>“I would like 111 Minna to go on forever,” she says. “San Francisco needs these staples, these jewels, these beacons of community. They’re the reason people come to San Francisco in the first place. I want to be buried here.” Delaney pauses then smiles. “We drank a lot, we partied hard, but we loved life and we made it through.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>111 Minna’s ‘\u003ca href=\"https://111minnagallery.com/product-category/exhibit/30-year-anniversary/\">30 Anniversary Show\u003c/a>,’ curated by \u003ca href=\"https://www.mutualart.com/Artist/David-Scott-Mabry/D3D9D2FB681B23E7\">David Scott Mabry\u003c/a>, is on display through Jan. 12, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Over the weekend, the Lunar New Year transitioned the world from the Year of the Tiger — a period of action and strength — into the much gentler Year of the Rabbit, a time of peace and reflection. Not everyone was quite ready to let go of all that big cat energy, however. Case in point: the tattoo artists who banded together over the weekend to throw the tiger one last hurrah.\u003c/p>\n\u003cp>\u003cem>Year of the Tiger\u003c/em>, now on display at downtown San Francisco’s 111 Minna Gallery is a collection of works curated by \u003ca href=\"https://www.instagram.com/lukeseventhson/?hl=en\">Luke Stewart\u003c/a>, the owner of \u003ca href=\"https://www.seventhsontattoo.com/\">Seventh Son Tattoo\u003c/a> in the SoMa. Most of Seventh Son’s artists contributed paintings to the exhibition, including local body art legends \u003ca href=\"https://www.instagram.com/henrylewis77/?hl=en\">Henry Lewis\u003c/a>, \u003ca href=\"https://www.seventhsontattoo.com/grime.html\">Grime\u003c/a> and \u003ca href=\"http://www.jeffcrocitattoo.com/\">Jeff Croci\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13923998\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13923998\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/Screen-Shot-2023-01-23-at-12.01.55-PM-800x518.png\" alt=\"a painting depicts an aggressive tiger, teeth bared, eyes glowing yellow, as it prowls across the canvas.\" width=\"800\" height=\"518\">\u003cfigcaption class=\"wp-caption-text\">‘Soma Tiger,’ one of four paintings by Henry Lewis currently on display as part of 111 Minna’s ‘Year of the Tiger’ show. \u003ccite>(Rae Alexandra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Year of the Tiger\u003c/em> also gathers talent from other Bay Area tattoo shops, including San Francisco’s Black Heart, Berkeley’s War Horse and Albany’s \u003ca href=\"https://www.andretattoos.com/\">André Malcolm Studio\u003c/a>. Artists from further afield — like Austin’s David Grizzle and Los Angeles’ Christina Ramos — also feature.\u003c/p>\n\u003cp>Surprisingly, where \u003cem>Year of the Tiger\u003c/em> often excels is in the moments that stretch outside the realms of traditional tattoo aesthetics. \u003ca href=\"https://warhorsetattoo.com/george-campise\">George Campise\u003c/a>’s \u003cem>Tony and His Goddamn Ducks\u003c/em> is a hilarious mash up of Tony the Tiger and Tony Soprano.\u003c/p>\n\u003cfigure id=\"attachment_13923999\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13923999\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/Screen-Shot-2023-01-23-at-12.26.20-PM-800x1070.png\" alt=\"A painting depicts a cool looking tiger, walking on two legs and wearing gold chains, a bath robe and underwear. The tiger is holding a cigar. In front of him are four ducks of differing sizes with deranged facial expressions.\" width=\"800\" height=\"1070\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screen-Shot-2023-01-23-at-12.26.20-PM-800x1070.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screen-Shot-2023-01-23-at-12.26.20-PM-160x214.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screen-Shot-2023-01-23-at-12.26.20-PM-768x1027.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screen-Shot-2023-01-23-at-12.26.20-PM.png 918w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">George Campise’s ‘Tony and His Goddamn Ducks.’ \u003ccite>(Rae Alexandra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bay Area muralist \u003ca href=\"http://www.alynnpaint.com/\">Amandalynn\u003c/a> is one of only two non-tattoo artists featured in the show. Her piece \u003ci>Painted Lady\u003c/i> is a stand-out moment, bringing a soupçon of feminine street style to the proceedings.\u003c/p>\n\u003cfigure id=\"attachment_13924000\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924000\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/amandalynn-800x921.jpg\" alt=\"a wooden canvas in the shape of a woman kneeling down and looking over her shoulder assertively. Her skin is covered in tattoos, including a large tiger on her back.\" width=\"800\" height=\"921\">\u003cfigcaption class=\"wp-caption-text\">‘Painted Lady’ by fine artist and muralist Amandalynn. \u003ccite>(Rae Alexandra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Beautiful paintings by \u003ca href=\"https://www.seventhsontattoo.com/kim_stace_thomas.html\">Kim Stace Thomas\u003c/a>, \u003ca href=\"https://www.instagram.com/sweetleib/?hl=en\">Matt Leibowitz\u003c/a> and \u003ca href=\"https://www.instagram.com/jaredsmith_art/?hl=en\">Jared Smith\u003c/a> — all Seventh Son artists — include rabbits in their tiger renditions, respectful nods to the Lunar New Year’s influx of fresh energy. All of which are delightful additions to a show that tattoo lovers will definitely want to take a prowl around.\u003c/p>\n\u003cfigure id=\"attachment_13924001\" class=\"wp-caption aligncenter\" style=\"max-width: 634px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13924001\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/Screen-Shot-2023-01-23-at-12.54.08-PM.png\" alt=\"A painting featuring a tiger sitting upright, viewed from the rear. On its head sits a white rabbit facing forwards.\" width=\"634\" height=\"1234\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screen-Shot-2023-01-23-at-12.54.08-PM.png 634w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screen-Shot-2023-01-23-at-12.54.08-PM-160x311.png 160w\" sizes=\"auto, (max-width: 634px) 100vw, 634px\">\u003cfigcaption class=\"wp-caption-text\">‘Welcome the Rabbit’ by Kim Stace Thomas. \u003ccite>(Rae Alexandra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cem>‘Year of the Tiger’ is on view at 111 Minna Gallery, San Francisco, through March 23, 2023. \u003ca href=\"https://111minnagallery.com/event-space/\">Exhibition details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Over the weekend, the Lunar New Year transitioned the world from the Year of the Tiger — a period of action and strength — into the much gentler Year of the Rabbit, a time of peace and reflection. Not everyone was quite ready to let go of all that big cat energy, however. Case in point: the tattoo artists who banded together over the weekend to throw the tiger one last hurrah.\u003c/p>\n\u003cp>\u003cem>Year of the Tiger\u003c/em>, now on display at downtown San Francisco’s 111 Minna Gallery is a collection of works curated by \u003ca href=\"https://www.instagram.com/lukeseventhson/?hl=en\">Luke Stewart\u003c/a>, the owner of \u003ca href=\"https://www.seventhsontattoo.com/\">Seventh Son Tattoo\u003c/a> in the SoMa. Most of Seventh Son’s artists contributed paintings to the exhibition, including local body art legends \u003ca href=\"https://www.instagram.com/henrylewis77/?hl=en\">Henry Lewis\u003c/a>, \u003ca href=\"https://www.seventhsontattoo.com/grime.html\">Grime\u003c/a> and \u003ca href=\"http://www.jeffcrocitattoo.com/\">Jeff Croci\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13923998\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13923998\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/Screen-Shot-2023-01-23-at-12.01.55-PM-800x518.png\" alt=\"a painting depicts an aggressive tiger, teeth bared, eyes glowing yellow, as it prowls across the canvas.\" width=\"800\" height=\"518\">\u003cfigcaption class=\"wp-caption-text\">‘Soma Tiger,’ one of four paintings by Henry Lewis currently on display as part of 111 Minna’s ‘Year of the Tiger’ show. \u003ccite>(Rae Alexandra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Year of the Tiger\u003c/em> also gathers talent from other Bay Area tattoo shops, including San Francisco’s Black Heart, Berkeley’s War Horse and Albany’s \u003ca href=\"https://www.andretattoos.com/\">André Malcolm Studio\u003c/a>. Artists from further afield — like Austin’s David Grizzle and Los Angeles’ Christina Ramos — also feature.\u003c/p>\n\u003cp>Surprisingly, where \u003cem>Year of the Tiger\u003c/em> often excels is in the moments that stretch outside the realms of traditional tattoo aesthetics. \u003ca href=\"https://warhorsetattoo.com/george-campise\">George Campise\u003c/a>’s \u003cem>Tony and His Goddamn Ducks\u003c/em> is a hilarious mash up of Tony the Tiger and Tony Soprano.\u003c/p>\n\u003cfigure id=\"attachment_13923999\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13923999\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/Screen-Shot-2023-01-23-at-12.26.20-PM-800x1070.png\" alt=\"A painting depicts a cool looking tiger, walking on two legs and wearing gold chains, a bath robe and underwear. The tiger is holding a cigar. In front of him are four ducks of differing sizes with deranged facial expressions.\" width=\"800\" height=\"1070\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screen-Shot-2023-01-23-at-12.26.20-PM-800x1070.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screen-Shot-2023-01-23-at-12.26.20-PM-160x214.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screen-Shot-2023-01-23-at-12.26.20-PM-768x1027.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screen-Shot-2023-01-23-at-12.26.20-PM.png 918w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">George Campise’s ‘Tony and His Goddamn Ducks.’ \u003ccite>(Rae Alexandra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bay Area muralist \u003ca href=\"http://www.alynnpaint.com/\">Amandalynn\u003c/a> is one of only two non-tattoo artists featured in the show. Her piece \u003ci>Painted Lady\u003c/i> is a stand-out moment, bringing a soupçon of feminine street style to the proceedings.\u003c/p>\n\u003cfigure id=\"attachment_13924000\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924000\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/amandalynn-800x921.jpg\" alt=\"a wooden canvas in the shape of a woman kneeling down and looking over her shoulder assertively. Her skin is covered in tattoos, including a large tiger on her back.\" width=\"800\" height=\"921\">\u003cfigcaption class=\"wp-caption-text\">‘Painted Lady’ by fine artist and muralist Amandalynn. \u003ccite>(Rae Alexandra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Beautiful paintings by \u003ca href=\"https://www.seventhsontattoo.com/kim_stace_thomas.html\">Kim Stace Thomas\u003c/a>, \u003ca href=\"https://www.instagram.com/sweetleib/?hl=en\">Matt Leibowitz\u003c/a> and \u003ca href=\"https://www.instagram.com/jaredsmith_art/?hl=en\">Jared Smith\u003c/a> — all Seventh Son artists — include rabbits in their tiger renditions, respectful nods to the Lunar New Year’s influx of fresh energy. All of which are delightful additions to a show that tattoo lovers will definitely want to take a prowl around.\u003c/p>\n\u003cfigure id=\"attachment_13924001\" class=\"wp-caption aligncenter\" style=\"max-width: 634px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13924001\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/Screen-Shot-2023-01-23-at-12.54.08-PM.png\" alt=\"A painting featuring a tiger sitting upright, viewed from the rear. On its head sits a white rabbit facing forwards.\" width=\"634\" height=\"1234\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screen-Shot-2023-01-23-at-12.54.08-PM.png 634w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screen-Shot-2023-01-23-at-12.54.08-PM-160x311.png 160w\" sizes=\"auto, (max-width: 634px) 100vw, 634px\">\u003cfigcaption class=\"wp-caption-text\">‘Welcome the Rabbit’ by Kim Stace Thomas. \u003ccite>(Rae Alexandra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cem>‘Year of the Tiger’ is on view at 111 Minna Gallery, San Francisco, through March 23, 2023. \u003ca href=\"https://111minnagallery.com/event-space/\">Exhibition details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Street Artists Chor Boogie and Jet Martinez Explore the Love Factor",
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"content": "\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/balance/\">\u003cbr>\nEvent Information\u003c/a>\u003c/h3>\n\u003ch4>‘Balance’\u003c/h4>\n\u003cdiv class=\"event-desc\">New work by street artists Chor Boogie and Jet Martinez.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Nov. 7, 2014-Jan. 3, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">111 Minna Gallery\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/balance/\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>Even if you’re not looking for it, chances are you’ve seen the art of Chor Boogie and Jet Martinez around. The two friends, active street artists, have work \u003ca href=\"https://c1.staticflickr.com/3/2684/4393345939_d185a613eb_b.jpg\" target=\"_blank\" rel=\"noopener\">along Market Street\u003c/a>, on storefronts \u003ca href=\"https://33.media.tumblr.com/14faeee5d2a6770db6de9f39ff5290f8/tumblr_ncncj1Fz9c1tf5l11o1_500.jpg\" target=\"_blank\" rel=\"noopener\">in Oakland\u003c/a> and \u003ca href=\"https://hoodline.com/2014/05/jet-martinez-mural-in-the-works-at-fluevog\" target=\"_blank\" rel=\"noopener\">the Haight\u003c/a>, and in \u003ca href=\"https://www.facebook.com/pages/Clarion-Alley-Mural-Project/127102311571\" target=\"_blank\" rel=\"noopener\">Clarion Alley\u003c/a> in the Mission—to name just a few.\u003c/p>\n\u003cp>But this weekend, the duo aim their brushes and aerosol cans toward canvas instead of concrete in a gallery show at 111 Minna titled \u003cem>Balance\u003c/em>. The title refers to a balance between street painting and gallery work as much as it hints to new directions for both artists.\u003c/p>\n\u003cfigure id=\"attachment_10145224\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10145224\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/Light-Purple-680x948-400x557.jpg\" alt=\"“Light Purple” by Chor Boogie, aerosol enamel on canvas, 2014\" width=\"400\" height=\"557\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Light-Purple-680x948-400x557.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Light-Purple-680x948-430x600.jpg 430w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Light-Purple-680x948.jpg 680w\" sizes=\"auto, (max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">“Light Purple” by Chor Boogie, aerosol enamel on canvas, 2014\u003c/figcaption>\u003c/figure>\n\u003cp>“People do know me for using mass amounts of color on murals,” says Chor, 35, on the phone last week. But after painting on the street for 25 years, “with these canvas works, there’s color, but there’s a lot of white, light space within all these pieces.”\u003c/p>\n\u003cp>Across 15 portrait-based pieces, including some based on photographs of his wife in Virgin Mary-like poses, Chor’s new style incorporates far more negative space and light than his followers might be used to. It’s a new direction that he credits to an experience earlier this year with Iboga, in Costa Rica, which made him “more tuned in with the love aspect” of life.\u003c/p>\n\u003cp>“These works are a more simplistic approach,” Chor says, “and I plan on incorporating this in other works as well. I’ve tried the other approach for years, and it’s time for a change.”\u003c/p>\n\u003cfigure id=\"attachment_10145225\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10145225\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/Te-Amo_Jet_24x20-680x810-400x476.jpg\" alt=\"“Te Amo” by Jet Martinez, mixed-media on panel, 2014\" width=\"400\" height=\"476\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Te-Amo_Jet_24x20-680x810-400x476.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Te-Amo_Jet_24x20-680x810-503x600.jpg 503w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Te-Amo_Jet_24x20-680x810.jpg 680w\" sizes=\"auto, (max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">“Te Amo” by Jet Martinez, mixed-media on panel, 2014\u003c/figcaption>\u003c/figure>\n\u003cp>As for Martinez, his 20 new works in \u003cem>Balance\u003c/em> contain “ a lot of closed-in feeling, a lot of filled-in space,” he tells me. Drawing inspiration from lacquered plates in Michocán and other folk art of Mexico, where he was born, his paintings appear like smaller swatches of a larger textile, replete with tight, colorful flowers and vibrant backgrounds.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It used to be that I pushed new themes with murals, and then I’d catch up in the paintings,” Martinez says of the relationship between working on sidewalks and laboring in the studio. That started to change when he began accepting commissions from people and companies who specifically wanted his signature style on their buildings and storefronts. “Now, it’s studio work where I’m pushing new things,” the 41 year-old Oakland resident adds. “I can be more experimental.”\u003c/p>\n\u003cp>After seven years of knowing each other and working around the Bay Area, this is Chor and Martinez’s first show together; the opening night at 111 Minna on Nov. 7 features a burlesque show from Leila Bizzani and Lady Eternal Love, as BAST, in collaboration with Chor.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Naturally, the burlesque performance itself is “experimental,” too. Says Chor, “\u003cem>Everything\u003c/em> is experimental. That’s not gonna stop.”\u003c/p>\n\u003cfigure id=\"attachment_10145226\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10145226\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/3_BAST_Image1.jpg\" alt=\"BAST's live burlesque performers (in collaboration with Chor Boogie).\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/3_BAST_Image1.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/3_BAST_Image1-400x266.jpg 400w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">BAST’s live burlesque performers (in collaboration with Chor Boogie).\u003c/figcaption>\u003c/figure>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/balance/\">\u003cbr>\nEvent Information\u003c/a>\u003c/h3>\n\u003ch4>‘Balance’\u003c/h4>\n\u003cdiv class=\"event-desc\">New work by street artists Chor Boogie and Jet Martinez.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Nov. 7, 2014-Jan. 3, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">111 Minna Gallery\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/balance/\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>Even if you’re not looking for it, chances are you’ve seen the art of Chor Boogie and Jet Martinez around. The two friends, active street artists, have work \u003ca href=\"https://c1.staticflickr.com/3/2684/4393345939_d185a613eb_b.jpg\" target=\"_blank\" rel=\"noopener\">along Market Street\u003c/a>, on storefronts \u003ca href=\"https://33.media.tumblr.com/14faeee5d2a6770db6de9f39ff5290f8/tumblr_ncncj1Fz9c1tf5l11o1_500.jpg\" target=\"_blank\" rel=\"noopener\">in Oakland\u003c/a> and \u003ca href=\"https://hoodline.com/2014/05/jet-martinez-mural-in-the-works-at-fluevog\" target=\"_blank\" rel=\"noopener\">the Haight\u003c/a>, and in \u003ca href=\"https://www.facebook.com/pages/Clarion-Alley-Mural-Project/127102311571\" target=\"_blank\" rel=\"noopener\">Clarion Alley\u003c/a> in the Mission—to name just a few.\u003c/p>\n\u003cp>But this weekend, the duo aim their brushes and aerosol cans toward canvas instead of concrete in a gallery show at 111 Minna titled \u003cem>Balance\u003c/em>. The title refers to a balance between street painting and gallery work as much as it hints to new directions for both artists.\u003c/p>\n\u003cfigure id=\"attachment_10145224\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10145224\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/Light-Purple-680x948-400x557.jpg\" alt=\"“Light Purple” by Chor Boogie, aerosol enamel on canvas, 2014\" width=\"400\" height=\"557\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Light-Purple-680x948-400x557.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Light-Purple-680x948-430x600.jpg 430w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Light-Purple-680x948.jpg 680w\" sizes=\"auto, (max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">“Light Purple” by Chor Boogie, aerosol enamel on canvas, 2014\u003c/figcaption>\u003c/figure>\n\u003cp>“People do know me for using mass amounts of color on murals,” says Chor, 35, on the phone last week. But after painting on the street for 25 years, “with these canvas works, there’s color, but there’s a lot of white, light space within all these pieces.”\u003c/p>\n\u003cp>Across 15 portrait-based pieces, including some based on photographs of his wife in Virgin Mary-like poses, Chor’s new style incorporates far more negative space and light than his followers might be used to. It’s a new direction that he credits to an experience earlier this year with Iboga, in Costa Rica, which made him “more tuned in with the love aspect” of life.\u003c/p>\n\u003cp>“These works are a more simplistic approach,” Chor says, “and I plan on incorporating this in other works as well. I’ve tried the other approach for years, and it’s time for a change.”\u003c/p>\n\u003cfigure id=\"attachment_10145225\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10145225\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/Te-Amo_Jet_24x20-680x810-400x476.jpg\" alt=\"“Te Amo” by Jet Martinez, mixed-media on panel, 2014\" width=\"400\" height=\"476\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Te-Amo_Jet_24x20-680x810-400x476.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Te-Amo_Jet_24x20-680x810-503x600.jpg 503w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Te-Amo_Jet_24x20-680x810.jpg 680w\" sizes=\"auto, (max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">“Te Amo” by Jet Martinez, mixed-media on panel, 2014\u003c/figcaption>\u003c/figure>\n\u003cp>As for Martinez, his 20 new works in \u003cem>Balance\u003c/em> contain “ a lot of closed-in feeling, a lot of filled-in space,” he tells me. Drawing inspiration from lacquered plates in Michocán and other folk art of Mexico, where he was born, his paintings appear like smaller swatches of a larger textile, replete with tight, colorful flowers and vibrant backgrounds.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It used to be that I pushed new themes with murals, and then I’d catch up in the paintings,” Martinez says of the relationship between working on sidewalks and laboring in the studio. That started to change when he began accepting commissions from people and companies who specifically wanted his signature style on their buildings and storefronts. “Now, it’s studio work where I’m pushing new things,” the 41 year-old Oakland resident adds. “I can be more experimental.”\u003c/p>\n\u003cp>After seven years of knowing each other and working around the Bay Area, this is Chor and Martinez’s first show together; the opening night at 111 Minna on Nov. 7 features a burlesque show from Leila Bizzani and Lady Eternal Love, as BAST, in collaboration with Chor.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Naturally, the burlesque performance itself is “experimental,” too. Says Chor, “\u003cem>Everything\u003c/em> is experimental. That’s not gonna stop.”\u003c/p>\n\u003cfigure id=\"attachment_10145226\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10145226\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/3_BAST_Image1.jpg\" alt=\"BAST's live burlesque performers (in collaboration with Chor Boogie).\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/3_BAST_Image1.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/3_BAST_Image1-400x266.jpg 400w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">BAST’s live burlesque performers (in collaboration with Chor Boogie).\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cb>Shinkansen Conspiracy\u003c/b> is the annoyingly obtuse title for the third-annual group grope of artists associated with \u003ca href=\"http://www.lastgasp.com/\">Last Gasp Books\u003c/a>. Like most exhibitions featuring artists brought together for no particular reason (I love Winston Smith’s and Junko Mizuno’s work, but please don’t ask me what \u003ci>King Chrome\u003c/i> and \u003ci>Deranged 1\u003c/i> have in common), this show, now on view at the 111 Minna Gallery in San Francisco, does not trouble itself with curatorial purpose or cohesion, although many of the pieces have been thoughtfully presented in this bar that doubles as an art gallery. For the record, there were only a couple of images dealing with trains, the most memorable being a lovely little pen-and-ink by Hal Robins of a \u003ca href=\"http://en.wikipedia.org/wiki/Shinkansen\">Shinkansen bullet train\u003c/a>. Given the large number of paintings and graphics focused on tattoo art, the numerous depictions of zoophilia on view and the profusion of pop surrealism, this quiet, literal reference to the show’s title was no doubt an oversight.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/fastfriends.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Jennybird Alcantara, \u003ci>I Bleed (Making Fast Friends in Dreamland)\u003c/i>, 2011.\u003c/p>\n\u003cp>Typical of the exhibition’s Last Gasp ‘tude is Jennybird Alcantara’s oil-on-wood painting called \u003ci>I Bleed (Making Fast Friends in Dreamland)\u003c/i>, in which a pink-flesh pair of gothy female creatures (think Blythe dolls on heroin) share a skirt made from the surface of a pool of blood. In another gallery, Skinner provides the yang to Alcantara’s yin with his \u003ci>Wendigo Diety, Eater of Man\u003c/i>, a muscular, comic-book-style painting of a naked two-headed humanoid monster, crouching on piles of multi-colored skulls as he feeds a struggling victim into one of his mouths with his right fist while clutching a second, bloody, would-be snack in his left.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/whale.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Kevin Taylor, \u003ci>The Whale Construction II\u003c/i>, 2012.\u003c/p>\n\u003cp>While I admired the creepy fastidiousness of Alcantara and the brutal awesomeness of Skinner, I found myself returning after repeated circuits through the galleries to the more “traditional” work in the show, such as Kevin Taylor’s masterfully weird \u003ci>The Whale Construction II\u003c/i>, which depicts a sperm whale surrounded by the scaffolding one might imagine would be needed for its assembly. The detail in Taylor’s oil-on-wood painting is so seductive, I got happily lost in the way he’d filled in the whale’s body and surrounding landscape, so much so that I almost missed the rope suspended from unseen heights to support the mammal’s massive fluke. \u003ci>The Whale Construction II\u003c/i> is a fantastical enough image without this small detail, but a rope dangling from nowhere makes it that much more magical.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/porridge.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Isabel Samaras, \u003ci>The Porridge Eaters\u003c/i>, 2009.\u003c/p>\n\u003cp>Even more ostensibly traditional is Isabel Samaras’ \u003ci>The Porridge Eaters\u003c/i>, whose name is an alliterative reference to van Gogh’s \u003ci>The Potato Eaters\u003c/i>, although the two paintings have nothing in common visually. In this oil-on-wood diptych, Samaras pairs a modern-day Goldilocks, who wears a personalized necklace that reads “Goldy” and has a honeybee tat on the inside of her right wrist, with Baby, the bear whose porridge is neither too hot nor too cold but “just right.” In Samaras’ version of the fairy tale, the two characters have become friends, and if you look past the serious bling around Baby’s neck and finger, you can even see a diamond in its tooth. The porridge business, we surmise, has been good to Baby. Samaras’ work is not profound or perhaps even important, but it is beautifully executed and funny. That would be enough for me, but the reason why these paintings are so successful, I think, is because of the restraint Samaras shows when it comes to content. When production values are this over the top, it’s smart to keep the plot simple.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Shinkansen Conspiracy\u003c/b> is on view through July 28, 2012, at 111 Minna Gallery in San Francisco. For \u003ca href=\"http://www.111minnagallery.com/2012/shinkansen-conspiracy/\">more information\u003c/a>, visit 111minnagallery.com.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cb>Shinkansen Conspiracy\u003c/b> is the annoyingly obtuse title for the third-annual group grope of artists associated with \u003ca href=\"http://www.lastgasp.com/\">Last Gasp Books\u003c/a>. Like most exhibitions featuring artists brought together for no particular reason (I love Winston Smith’s and Junko Mizuno’s work, but please don’t ask me what \u003ci>King Chrome\u003c/i> and \u003ci>Deranged 1\u003c/i> have in common), this show, now on view at the 111 Minna Gallery in San Francisco, does not trouble itself with curatorial purpose or cohesion, although many of the pieces have been thoughtfully presented in this bar that doubles as an art gallery. For the record, there were only a couple of images dealing with trains, the most memorable being a lovely little pen-and-ink by Hal Robins of a \u003ca href=\"http://en.wikipedia.org/wiki/Shinkansen\">Shinkansen bullet train\u003c/a>. Given the large number of paintings and graphics focused on tattoo art, the numerous depictions of zoophilia on view and the profusion of pop surrealism, this quiet, literal reference to the show’s title was no doubt an oversight.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/fastfriends.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Jennybird Alcantara, \u003ci>I Bleed (Making Fast Friends in Dreamland)\u003c/i>, 2011.\u003c/p>\n\u003cp>Typical of the exhibition’s Last Gasp ‘tude is Jennybird Alcantara’s oil-on-wood painting called \u003ci>I Bleed (Making Fast Friends in Dreamland)\u003c/i>, in which a pink-flesh pair of gothy female creatures (think Blythe dolls on heroin) share a skirt made from the surface of a pool of blood. In another gallery, Skinner provides the yang to Alcantara’s yin with his \u003ci>Wendigo Diety, Eater of Man\u003c/i>, a muscular, comic-book-style painting of a naked two-headed humanoid monster, crouching on piles of multi-colored skulls as he feeds a struggling victim into one of his mouths with his right fist while clutching a second, bloody, would-be snack in his left.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/whale.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Kevin Taylor, \u003ci>The Whale Construction II\u003c/i>, 2012.\u003c/p>\n\u003cp>While I admired the creepy fastidiousness of Alcantara and the brutal awesomeness of Skinner, I found myself returning after repeated circuits through the galleries to the more “traditional” work in the show, such as Kevin Taylor’s masterfully weird \u003ci>The Whale Construction II\u003c/i>, which depicts a sperm whale surrounded by the scaffolding one might imagine would be needed for its assembly. The detail in Taylor’s oil-on-wood painting is so seductive, I got happily lost in the way he’d filled in the whale’s body and surrounding landscape, so much so that I almost missed the rope suspended from unseen heights to support the mammal’s massive fluke. \u003ci>The Whale Construction II\u003c/i> is a fantastical enough image without this small detail, but a rope dangling from nowhere makes it that much more magical.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/porridge.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Isabel Samaras, \u003ci>The Porridge Eaters\u003c/i>, 2009.\u003c/p>\n\u003cp>Even more ostensibly traditional is Isabel Samaras’ \u003ci>The Porridge Eaters\u003c/i>, whose name is an alliterative reference to van Gogh’s \u003ci>The Potato Eaters\u003c/i>, although the two paintings have nothing in common visually. In this oil-on-wood diptych, Samaras pairs a modern-day Goldilocks, who wears a personalized necklace that reads “Goldy” and has a honeybee tat on the inside of her right wrist, with Baby, the bear whose porridge is neither too hot nor too cold but “just right.” In Samaras’ version of the fairy tale, the two characters have become friends, and if you look past the serious bling around Baby’s neck and finger, you can even see a diamond in its tooth. The porridge business, we surmise, has been good to Baby. Samaras’ work is not profound or perhaps even important, but it is beautifully executed and funny. That would be enough for me, but the reason why these paintings are so successful, I think, is because of the restraint Samaras shows when it comes to content. When production values are this over the top, it’s smart to keep the plot simple.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Shinkansen Conspiracy\u003c/b> is on view through July 28, 2012, at 111 Minna Gallery in San Francisco. For \u003ca href=\"http://www.111minnagallery.com/2012/shinkansen-conspiracy/\">more information\u003c/a>, visit 111minnagallery.com.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"info": "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.",
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},
"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"onourwatch": {
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"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?",
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"on-the-media": {
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"link": "/radio/program/on-the-media",
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},
"perspectives": {
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"order": 14
},
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"link": "/radio/program/planet-money",
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"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
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},
"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",
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"order": 5
},
"link": "/podcasts/politicalbreakdown",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5Nzk2MzI2MTEx",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
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