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"title": "Editorial Bias Exposed in Unpublished Gordon Parks Images",
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"content": "\u003cp>In 1948, Gordon Parks became the first Black photographer featured in \u003ci>Life\u003c/i> magazine. Already a seasoned professional with work in \u003ci>Vogue\u003c/i> and \u003ci>Glamour\u003c/i>, Parks chose \u003ci>Life\u003c/i> for a story he wanted to tell about Harlem’s gang wars after having spent some time in the systemically under-resourced borough. He found a subject in 17-year-old Harlem resident Leonard “Red” Jackson, leader of the Midtowners crew, and his story went on to be published under the title “Harlem Gang Leader.”\u003c/p>\n\u003cp>As was custom, Parks presented hundreds of negatives to his editors at \u003ci>Life\u003c/i>, who in turn selected and edited 21 images from that collection to tell the story of Jackson and his friends. \u003ci>\u003ca href=\"https://bampfa.org/program/gordon-parks-making-argument\" target=\"_blank\" rel=\"noopener\">Gordon Parks: The Making of an Argument\u003c/a>\u003c/i>, a touring exhibition making its final stop at BAMPFA, deconstructs the editorial process behind that photo essay while also proposing an alternative story about Jackson and his life in Harlem.\u003c/p>\n\u003cfigure id=\"attachment_13810687\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13810687\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/NewOrleans_13_1200.jpg\" alt=\"Gordon Parks, 'Untitled, Harlem, New York' (Contact Sheet), 1948.\" width=\"1200\" height=\"926\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/NewOrleans_13_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/NewOrleans_13_1200-160x123.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/NewOrleans_13_1200-800x617.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/NewOrleans_13_1200-768x593.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/NewOrleans_13_1200-1020x787.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/NewOrleans_13_1200-1180x911.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/NewOrleans_13_1200-960x741.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/NewOrleans_13_1200-240x185.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/NewOrleans_13_1200-375x289.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/NewOrleans_13_1200-520x401.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Gordon Parks, ‘Untitled, Harlem, New York’ (Contact Sheet), 1948. \u003ccite>(Courtesy of and copyright The Gordon Parks Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As a medium, photography carries implicit values of accuracy and impartial documentation. But there is a dangerous deceitfulness to still images — so much can be left unseen.\u003c/p>\n\u003cp>Russell Lord, curator at the \u003ca href=\"https://noma.org/\" target=\"_blank\" rel=\"noopener\">New Orleans Museum of Art\u003c/a> and organizer of \u003ci>The Making of an Argument\u003c/i>, resists the notion of objectivity behind the photo essay. Instead, Lord presents a show that concentrates on the choices made by the editors at \u003ci>Life\u003c/i> magazine: What biases might they have had towards the sensational and stereotypical? Why did they darken or crop images to distort Jackson’s appearance? Were these choices and the messages they relayed in opposition with Parks’ intentions — or, even more importantly, to the truth of Jackson’s life?\u003c/p>\n\u003cp>Through contact sheets covered with notes from editors, Parks’ unpublished photos, and additional context, the exhibit makes a strong argument for the presence of racial bias in \u003ci>Life\u003c/i>’s “Harlem Gang Leader” story.\u003c/p>\n\u003cfigure id=\"attachment_13810686\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13810686\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/NewOrleans_02_1200.jpg\" alt=\"Gordon Parks, 'Untitled, Harlem, New York,' 1948.\" width=\"1200\" height=\"1203\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/NewOrleans_02_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/NewOrleans_02_1200-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/NewOrleans_02_1200-800x802.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/NewOrleans_02_1200-768x770.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/NewOrleans_02_1200-1020x1023.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/NewOrleans_02_1200-1180x1183.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/NewOrleans_02_1200-960x962.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/NewOrleans_02_1200-240x241.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/NewOrleans_02_1200-375x376.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/NewOrleans_02_1200-520x521.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/NewOrleans_02_1200-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/NewOrleans_02_1200-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/NewOrleans_02_1200-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/NewOrleans_02_1200-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/NewOrleans_02_1200-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/NewOrleans_02_1200-150x150.jpg 150w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Gordon Parks, ‘Untitled, Harlem, New York,’ 1948. \u003ccite>(Courtesy of and copyright The Gordon Parks Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The first display in the exhibit features enlarged prints of the published photographs, laid out on the wall to mimic the magazine’s version of the story. Notably missing is the text that Parks provided to his editors. At a talk following the exhibition’s BAMPFA opening, Lord argued that this is in fact how most folks consume photo essays — primarily through images and without much input from words. There lies the show’s first argument: the visual story holds the most weight.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In the 21 images featured in \u003ci>Life\u003c/i>, we see the teenage Jackson looking out a window with a cigarette perched on his lips, play fighting with a friend, getting a scratch tended to by another, sitting with family, looking into an open casket at a funeral, and hiding in an abandoned building.\u003c/p>\n\u003cfigure id=\"attachment_13810683\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13810683\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/319_Parks_e_1200.jpg\" alt=\"Gordon Parks, 'Red Jackson with His Mother and Brother, Harlem, New York,' 1948.\" width=\"1200\" height=\"1237\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/319_Parks_e_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/319_Parks_e_1200-160x165.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/319_Parks_e_1200-800x825.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/319_Parks_e_1200-768x792.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/319_Parks_e_1200-1020x1051.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/319_Parks_e_1200-1180x1216.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/319_Parks_e_1200-960x990.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/319_Parks_e_1200-240x247.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/319_Parks_e_1200-375x387.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/319_Parks_e_1200-520x536.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/319_Parks_e_1200-32x32.jpg 32w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Gordon Parks, ‘Red Jackson with His Mother and Brother, Harlem, New York,’ 1948. \u003ccite>(Courtesy of and copyright The Gordon Parks Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Further along in the exhibit, magazine excerpts and gallery wall text illuminate the stories behind photographs from \u003ci>Life\u003c/i> that are harder to decipher without context. These include images of a brawl between two crews, Jackson and the Midtowners painting repaired bikes to ride together, and the teenage leader receiving the honor of “boy mayor” after his mentor, police officer Jimmy Morrow, recommended him. In these pictures, the gang Jackson led is better understood as a unit that found safety in numbers and camaraderie in each other’s company.\u003c/p>\n\u003cp>Lord elaborates on Jackson’s life using photos the editors discarded. Many document quiet, domestic moments. In one, Parks shows the young man sweeping the home he shares with his mother and brother. In others, Jackson fidgets with a radio and combs his hair in the mirror. Parks intentionally documented these radically ordinary moments of Jackson’s life, but they were omitted from the magazine; they didn’t fit the \u003ci>Life\u003c/i> narrative of a Harlem gang leader.\u003c/p>\n\u003cfigure id=\"attachment_13810684\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13810684\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/1607_Parks_NewOrleans_1200.jpg\" alt=\"Gordon Parks, 'Untitled, Harlem, New York,' 1948.\" width=\"1200\" height=\"1247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1607_Parks_NewOrleans_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1607_Parks_NewOrleans_1200-160x166.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1607_Parks_NewOrleans_1200-800x831.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1607_Parks_NewOrleans_1200-768x798.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1607_Parks_NewOrleans_1200-1020x1060.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1607_Parks_NewOrleans_1200-1180x1226.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1607_Parks_NewOrleans_1200-960x998.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1607_Parks_NewOrleans_1200-240x249.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1607_Parks_NewOrleans_1200-375x390.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1607_Parks_NewOrleans_1200-520x540.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1607_Parks_NewOrleans_1200-32x32.jpg 32w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Gordon Parks, ‘Untitled, Harlem, New York,’ 1948. \u003ccite>(Courtesy of and copyright The Gordon Parks Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>These revelations make the show unambiguously opinionated, but there’s still much in \u003ci>The Making of an Argument\u003c/i> for the audience to ponder. I came away thinking about the audience served by seeing a young Black man — who by Parks’ account was desperate to find legitimate work and a good life — solely as a violent gang member. I contemplated the consequences, at personal and policy levels, that such perceptions of young Black folks inform. \u003c/p>\n\u003cp>Jackson’s leadership, whether it be in the Midtowners or elsewhere (later in his life, he reached out to Parks, seeking opportunities to educate youth), is evident in the photographs Parks took. It’s impossible not to wonder what might have become of his life had he lived in a place with more abundant possibilities than post-World War II Harlem. Or if he hadn’t been a young Black man about which the world had already made up its mind. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Gordon Parks: The Making of an Argument’ is on view at the Berkeley Art Museum and Pacific Film Archive through Dec. 17. For more information, \u003ca href=\"https://bampfa.org/program/gordon-parks-making-argument\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"excerpt": "At BAMPFA, 'The Making of an Argument' deconstructs a 1948 Life magazine photo essay and proposes an alternative history for a teenage gang leader.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 1948, Gordon Parks became the first Black photographer featured in \u003ci>Life\u003c/i> magazine. Already a seasoned professional with work in \u003ci>Vogue\u003c/i> and \u003ci>Glamour\u003c/i>, Parks chose \u003ci>Life\u003c/i> for a story he wanted to tell about Harlem’s gang wars after having spent some time in the systemically under-resourced borough. He found a subject in 17-year-old Harlem resident Leonard “Red” Jackson, leader of the Midtowners crew, and his story went on to be published under the title “Harlem Gang Leader.”\u003c/p>\n\u003cp>As was custom, Parks presented hundreds of negatives to his editors at \u003ci>Life\u003c/i>, who in turn selected and edited 21 images from that collection to tell the story of Jackson and his friends. \u003ci>\u003ca href=\"https://bampfa.org/program/gordon-parks-making-argument\" target=\"_blank\" rel=\"noopener\">Gordon Parks: The Making of an Argument\u003c/a>\u003c/i>, a touring exhibition making its final stop at BAMPFA, deconstructs the editorial process behind that photo essay while also proposing an alternative story about Jackson and his life in Harlem.\u003c/p>\n\u003cfigure id=\"attachment_13810687\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13810687\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/NewOrleans_13_1200.jpg\" alt=\"Gordon Parks, 'Untitled, Harlem, New York' (Contact Sheet), 1948.\" width=\"1200\" height=\"926\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/NewOrleans_13_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/NewOrleans_13_1200-160x123.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/NewOrleans_13_1200-800x617.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/NewOrleans_13_1200-768x593.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/NewOrleans_13_1200-1020x787.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/NewOrleans_13_1200-1180x911.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/NewOrleans_13_1200-960x741.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/NewOrleans_13_1200-240x185.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/NewOrleans_13_1200-375x289.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/NewOrleans_13_1200-520x401.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Gordon Parks, ‘Untitled, Harlem, New York’ (Contact Sheet), 1948. \u003ccite>(Courtesy of and copyright The Gordon Parks Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As a medium, photography carries implicit values of accuracy and impartial documentation. But there is a dangerous deceitfulness to still images — so much can be left unseen.\u003c/p>\n\u003cp>Russell Lord, curator at the \u003ca href=\"https://noma.org/\" target=\"_blank\" rel=\"noopener\">New Orleans Museum of Art\u003c/a> and organizer of \u003ci>The Making of an Argument\u003c/i>, resists the notion of objectivity behind the photo essay. Instead, Lord presents a show that concentrates on the choices made by the editors at \u003ci>Life\u003c/i> magazine: What biases might they have had towards the sensational and stereotypical? Why did they darken or crop images to distort Jackson’s appearance? Were these choices and the messages they relayed in opposition with Parks’ intentions — or, even more importantly, to the truth of Jackson’s life?\u003c/p>\n\u003cp>Through contact sheets covered with notes from editors, Parks’ unpublished photos, and additional context, the exhibit makes a strong argument for the presence of racial bias in \u003ci>Life\u003c/i>’s “Harlem Gang Leader” story.\u003c/p>\n\u003cfigure id=\"attachment_13810686\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13810686\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/NewOrleans_02_1200.jpg\" alt=\"Gordon Parks, 'Untitled, Harlem, New York,' 1948.\" width=\"1200\" height=\"1203\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/NewOrleans_02_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/NewOrleans_02_1200-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/NewOrleans_02_1200-800x802.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/NewOrleans_02_1200-768x770.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/NewOrleans_02_1200-1020x1023.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/NewOrleans_02_1200-1180x1183.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/NewOrleans_02_1200-960x962.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/NewOrleans_02_1200-240x241.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/NewOrleans_02_1200-375x376.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/NewOrleans_02_1200-520x521.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/NewOrleans_02_1200-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/NewOrleans_02_1200-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/NewOrleans_02_1200-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/NewOrleans_02_1200-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/NewOrleans_02_1200-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/NewOrleans_02_1200-150x150.jpg 150w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Gordon Parks, ‘Untitled, Harlem, New York,’ 1948. \u003ccite>(Courtesy of and copyright The Gordon Parks Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The first display in the exhibit features enlarged prints of the published photographs, laid out on the wall to mimic the magazine’s version of the story. Notably missing is the text that Parks provided to his editors. At a talk following the exhibition’s BAMPFA opening, Lord argued that this is in fact how most folks consume photo essays — primarily through images and without much input from words. There lies the show’s first argument: the visual story holds the most weight.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the 21 images featured in \u003ci>Life\u003c/i>, we see the teenage Jackson looking out a window with a cigarette perched on his lips, play fighting with a friend, getting a scratch tended to by another, sitting with family, looking into an open casket at a funeral, and hiding in an abandoned building.\u003c/p>\n\u003cfigure id=\"attachment_13810683\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13810683\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/319_Parks_e_1200.jpg\" alt=\"Gordon Parks, 'Red Jackson with His Mother and Brother, Harlem, New York,' 1948.\" width=\"1200\" height=\"1237\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/319_Parks_e_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/319_Parks_e_1200-160x165.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/319_Parks_e_1200-800x825.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/319_Parks_e_1200-768x792.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/319_Parks_e_1200-1020x1051.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/319_Parks_e_1200-1180x1216.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/319_Parks_e_1200-960x990.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/319_Parks_e_1200-240x247.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/319_Parks_e_1200-375x387.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/319_Parks_e_1200-520x536.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/319_Parks_e_1200-32x32.jpg 32w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Gordon Parks, ‘Red Jackson with His Mother and Brother, Harlem, New York,’ 1948. \u003ccite>(Courtesy of and copyright The Gordon Parks Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Further along in the exhibit, magazine excerpts and gallery wall text illuminate the stories behind photographs from \u003ci>Life\u003c/i> that are harder to decipher without context. These include images of a brawl between two crews, Jackson and the Midtowners painting repaired bikes to ride together, and the teenage leader receiving the honor of “boy mayor” after his mentor, police officer Jimmy Morrow, recommended him. In these pictures, the gang Jackson led is better understood as a unit that found safety in numbers and camaraderie in each other’s company.\u003c/p>\n\u003cp>Lord elaborates on Jackson’s life using photos the editors discarded. Many document quiet, domestic moments. In one, Parks shows the young man sweeping the home he shares with his mother and brother. In others, Jackson fidgets with a radio and combs his hair in the mirror. Parks intentionally documented these radically ordinary moments of Jackson’s life, but they were omitted from the magazine; they didn’t fit the \u003ci>Life\u003c/i> narrative of a Harlem gang leader.\u003c/p>\n\u003cfigure id=\"attachment_13810684\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13810684\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/1607_Parks_NewOrleans_1200.jpg\" alt=\"Gordon Parks, 'Untitled, Harlem, New York,' 1948.\" width=\"1200\" height=\"1247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1607_Parks_NewOrleans_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1607_Parks_NewOrleans_1200-160x166.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1607_Parks_NewOrleans_1200-800x831.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1607_Parks_NewOrleans_1200-768x798.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1607_Parks_NewOrleans_1200-1020x1060.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1607_Parks_NewOrleans_1200-1180x1226.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1607_Parks_NewOrleans_1200-960x998.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1607_Parks_NewOrleans_1200-240x249.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1607_Parks_NewOrleans_1200-375x390.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1607_Parks_NewOrleans_1200-520x540.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1607_Parks_NewOrleans_1200-32x32.jpg 32w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Gordon Parks, ‘Untitled, Harlem, New York,’ 1948. \u003ccite>(Courtesy of and copyright The Gordon Parks Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>These revelations make the show unambiguously opinionated, but there’s still much in \u003ci>The Making of an Argument\u003c/i> for the audience to ponder. I came away thinking about the audience served by seeing a young Black man — who by Parks’ account was desperate to find legitimate work and a good life — solely as a violent gang member. I contemplated the consequences, at personal and policy levels, that such perceptions of young Black folks inform. \u003c/p>\n\u003cp>Jackson’s leadership, whether it be in the Midtowners or elsewhere (later in his life, he reached out to Parks, seeking opportunities to educate youth), is evident in the photographs Parks took. It’s impossible not to wonder what might have become of his life had he lived in a place with more abundant possibilities than post-World War II Harlem. Or if he hadn’t been a young Black man about which the world had already made up its mind. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Gordon Parks: The Making of an Argument’ is on view at the Berkeley Art Museum and Pacific Film Archive through Dec. 17. For more information, \u003ca href=\"https://bampfa.org/program/gordon-parks-making-argument\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Why You Should Join the Martin Wong Fan Club I Just Started",
"headTitle": "Why You Should Join the Martin Wong Fan Club I Just Started | KQED",
"content": "\u003cp>I knew I was unconditionally, irrevocably in love with Martin Wong halfway through the very first room of \u003ci>\u003ca href=\"https://bampfa.org/program/martin-wong-human-instamatic\" rel=\"noopener\" target=\"_blank\">Human Instamatic\u003c/a>\u003c/i>, BAMPFA’s Martin Wong retrospective. I still had nearly an entire museum floor to go, but when you know, you know.\u003c/p>\n\u003cp>It was a piece of ephemera that finalized it. \u003ci>\u003ca href=\"https://www.moma.org/collection/works/156016?locale=en\" rel=\"noopener\" target=\"_blank\">First letter home from New York (also I joined The Museum of Modern Art)\u003c/a>\u003c/i> is a handwritten letter from Wong to his parents, describing his activities upon moving from San Francisco to New York in 1978. “Hello Mom & Pop,” it opens cheerfully, his rambling block letters fitting themselves around a line drawing of the Brooklyn Bridge (or the “Brookline Bridge,” as Wong charmingly misspells it). \u003c/p>\n\u003cfigure id=\"attachment_13810369\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/BAM_Wong_Letter_1200.jpg\" alt=\"Installation view with vitrine containing 'First letter home.'\" width=\"1200\" height=\"806\" class=\"size-full wp-image-13810369\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_Letter_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_Letter_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_Letter_1200-800x537.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_Letter_1200-768x516.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_Letter_1200-1020x685.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_Letter_1200-1180x793.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_Letter_1200-960x645.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_Letter_1200-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_Letter_1200-375x252.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_Letter_1200-520x349.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view with vitrine containing ‘First letter home.’ \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Wong details his excitement about finding good cheap food in New York, getting a complimentary catalogue for his MoMA membership, and his plans to rent an additional room from Meyer’s Hotel (“one for sleeping, the other for painting”). \u003c/p>\n\u003cp>He was in his early 30s when he wrote the letter. He would spend nearly two decades in New York — specifically on the Lower East Side — making paintings of his neighbors and neighborhood (“brick by brick and storefront by storefront,” he wrote in another letter home).\u003c/p>\n\u003cfigure id=\"attachment_13810365\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/BAM_Wong_Storefronts_1200.jpg\" alt=\"Left: 'Iglesia Pentecostal,' 1986; Middle: 'La Iglesia de Dios,' 1986; Right: 'Untitled (Silver Storefront),' 1985.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13810365\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_Storefronts_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_Storefronts_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_Storefronts_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_Storefronts_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_Storefronts_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_Storefronts_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_Storefronts_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_Storefronts_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_Storefronts_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_Storefronts_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Left: ‘Iglesia Pentecostal,’ 1986; Middle: ‘La Iglesia de Dios,’ 1986; Right: ‘Untitled (Silver Storefront),’ 1985. \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s hard to say what was so particularly moving about Wong’s letter. Perhaps it’s his openness and optimism. Or how he found the Chelsea Hotel “too artsy and too expensive.” The fact that the letter is addressed to his parents and contains all of the above captures a family relationship so supportive, so loving, it renders the “tortured artist” trope moot.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It’s one thing to love the person an artist was (Wong died of AIDS-related causes in 1999), but Wong’s lovability is compounded by the virtuosity of his paintings. Born in Portland in 1946 and raised in San Francisco, Wong studied ceramics at Humboldt State, but switched to painting after college, developing a style marked by earthy tones and obsessive detail — part cartoon, part trompe l’oeil.\u003c/p>\n\u003cfigure id=\"attachment_13810367\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/Brainwashing-Cult-Cons-Top-TV-Star_1200.jpg\" alt=\"Martin Wong, 'Brainwashing Cult Cons Top TV Star,' 1981.\" width=\"1200\" height=\"909\" class=\"size-full wp-image-13810367\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Brainwashing-Cult-Cons-Top-TV-Star_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Brainwashing-Cult-Cons-Top-TV-Star_1200-160x121.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Brainwashing-Cult-Cons-Top-TV-Star_1200-800x606.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Brainwashing-Cult-Cons-Top-TV-Star_1200-768x582.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Brainwashing-Cult-Cons-Top-TV-Star_1200-1020x773.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Brainwashing-Cult-Cons-Top-TV-Star_1200-1180x894.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Brainwashing-Cult-Cons-Top-TV-Star_1200-960x727.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Brainwashing-Cult-Cons-Top-TV-Star_1200-240x182.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Brainwashing-Cult-Cons-Top-TV-Star_1200-375x284.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Brainwashing-Cult-Cons-Top-TV-Star_1200-520x394.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Martin Wong, ‘Brainwashing Cult Cons Top TV Stars,’ 1981. \u003ccite>(Courtesy of Bronx Museum of the Arts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Before he moved to the Lower East Side, Wong worked as the night porter at Meyer’s Hotel, living and painting without any real friends or artistic community — an isolation that caused him to identify with the city’s deaf-mute community. He incorporated the sign language alphabet into his paintings, rendering sensational news headlines like \u003ci>Psychiatrists Testify: Demon Dogs Drive Man to Murder\u003c/i> (a reference to serial-killer David Berkowitz) in rows of bubbly hieroglyphic hands. \u003c/p>\n\u003cp>Many of Wong’s paintings contain such systems of describing and mapping the world: constellation names, stacks of science books, a sign-language stop sign made with the Public Art Fund. He annotated life-sized canvases of closed storefronts and meticulously rendered miniature bricks with specific addresses, locating his paintings in time and space like a documentary photographer. \u003c/p>\n\u003cfigure id=\"attachment_13810360\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/1983-everything-must-go_1200.jpg\" alt=\"Martin Wong, 'Everything Must Go,' 1983.\" width=\"1200\" height=\"991\" class=\"size-full wp-image-13810360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1983-everything-must-go_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1983-everything-must-go_1200-160x132.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1983-everything-must-go_1200-800x661.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1983-everything-must-go_1200-768x634.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1983-everything-must-go_1200-1020x842.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1983-everything-must-go_1200-1180x974.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1983-everything-must-go_1200-960x793.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1983-everything-must-go_1200-240x198.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1983-everything-must-go_1200-375x310.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1983-everything-must-go_1200-520x429.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Martin Wong, ‘Everything Must Go,’ 1983. \u003ccite>(Courtesy of Second Ward Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite the concentrated effort Wong put into his pieces, he wasn’t precious about them. Yet another thing to love. A \u003ci>New York\u003c/i> magazine piece describes how Wong, shortly before his 1984 solo show at Semaphore Gallery, “stood in front of his Ridge Street studio and started handing out his paintings.” \u003c/p>\n\u003cp>“I’m not used to all the money and attention, and I thought my paintings could brighten up some of my neighbors’ lives,” Wong says in the article. Semaphore scrambled to retrieve the works for their show, putting up fliers and offering reward money for their safe return. Wong was, according to \u003ci>New York\u003c/i> Magazine, “unrepentant.” \u003c/p>\n\u003cfigure id=\"attachment_13810361\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/1993-Self-Portrait_1200.jpg\" alt=\"Martin Wong, 'Self Portrait,' 1993.\" width=\"1200\" height=\"1244\" class=\"size-full wp-image-13810361\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1993-Self-Portrait_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1993-Self-Portrait_1200-160x166.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1993-Self-Portrait_1200-800x829.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1993-Self-Portrait_1200-768x796.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1993-Self-Portrait_1200-1020x1057.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1993-Self-Portrait_1200-1180x1223.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1993-Self-Portrait_1200-960x995.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1993-Self-Portrait_1200-240x249.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1993-Self-Portrait_1200-375x389.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1993-Self-Portrait_1200-520x539.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1993-Self-Portrait_1200-32x32.jpg 32w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Martin Wong, ‘Self Portrait,’ 1993. \u003ccite>(Courtesy of the estate and PPOW, NY)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The circular self-portrait that opens the BAMPFA installation shows Wong with a mustache and flowing black hair, dressed in a Western-style shirt decorated with Chinese dragons, a cowboy hat on his head. He glows against a background of vibrant blue faces — all the details of his shirt, hat and hair outlined in gold.\u003c/p>\n\u003cp>“Martin’s way of presenting himself to the world was to make a bit of a spectacle of himself,” former New Museum curator Dan Cameron writes in the exhibition catalogue. “I had never seen anyone pull off that urban cowboy look before as successfully as he did, and being Chinese and gay just amped it up.” \u003c/p>\n\u003cfigure id=\"attachment_13810366\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/Big-Heat_640.jpg\" alt=\"Martin Wong, 'Big Heat,' 1988.\" width=\"640\" height=\"806\" class=\"size-full wp-image-13810366\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Big-Heat_640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Big-Heat_640-160x202.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Big-Heat_640-240x302.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Big-Heat_640-375x472.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Big-Heat_640-520x655.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Martin Wong, ‘Big Heat,’ 1988. \u003ccite>(Courtesy of the Whitney Museum of American Art)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Many of Wong’s paintings are unapologetically erotic, whether they’re images of incarcerated men, uniformed firefighters kissing, or an ornately framed phallus made of his omnipresent bricks. \u003c/p>\n\u003cp>In the early ’90s he turned his attention from the rapidly gentrifying Lower East Side to the Chinatown scenes of his youth. An \u003ca href=\"https://vimeo.com/152493246\" rel=\"noopener\" target=\"_blank\">18-minute documentary by Charlie Ahearn\u003c/a> on view in \u003ci>Human Instamatic\u003c/i> captures Wong working shirtless on the mammoth painting \u003ci>Chinese New Year’s Parade\u003c/i>, made between ’92 and ’94. It’s thrilling to watch him paint the canvas and then see the canvas unmediated, in the final room of the BAMPFA exhibition.\u003c/p>\n\u003cp>What else can I say to explain my love for Martin Wong? That he ran for a while with San Francisco’s legendary theater troupe, the Cockettes. That he and his mother were collectors of antiques and tchotchkes, frequently corresponding about auctions and appraisals. That when his infatuation with firefighters came out, people started gifting him parts of firefighters’ uniforms. That after painting, he washed his hands in his apartment tub. That, when he was diagnosed with AIDS and moved home to live with his parents, he served as Grand Marshall of San Francisco’s Chinese New Year’s Parade.\u003c/p>\n\u003cfigure id=\"attachment_13810364\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/BAM_Wong_NewYear_1200.jpg\" alt=\"Left: 'Chinese New Year's Parade,' 1992-94; Right: 'Bruce Lee in the Afterworld,' 1991.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13810364\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_NewYear_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_NewYear_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_NewYear_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_NewYear_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_NewYear_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_NewYear_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_NewYear_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_NewYear_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_NewYear_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_NewYear_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Left: ‘Chinese New Year’s Parade,’ 1992-94; Right: ‘Bruce Lee in the Afterworld,’ 1991. \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s easy to mourn for and love someone who didn’t live as long as they should have. But I like to think that were he still alive, we would all know of and be in love with Martin Wong. For his unwavering, singular style, for his brave commitment to painting left-behind people in left-behind places, and for his spectacular fashion sense.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>‘Martin Wong: Human Instamatic’ is on view at the Berkeley Art Museum and Pacific Film Archive through Dec. 10, 2017. For more information, \u003ca href=\"https://bampfa.org/program/martin-wong-human-instamatic\" rel=\"noopener\" target=\"_blank\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"excerpt": "BAMPFA hosts 'Martin Wong: Human Instamatic,' a magnificent retrospective of the Chinese-American painter who captured city life in both New York and San Francisco.",
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"description": "BAMPFA hosts 'Martin Wong: Human Instamatic,' a magnificent retrospective of the Chinese-American painter who captured city life in both New York and San Francisco.",
"title": "Why You Should Join the Martin Wong Fan Club I Just Started | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I knew I was unconditionally, irrevocably in love with Martin Wong halfway through the very first room of \u003ci>\u003ca href=\"https://bampfa.org/program/martin-wong-human-instamatic\" rel=\"noopener\" target=\"_blank\">Human Instamatic\u003c/a>\u003c/i>, BAMPFA’s Martin Wong retrospective. I still had nearly an entire museum floor to go, but when you know, you know.\u003c/p>\n\u003cp>It was a piece of ephemera that finalized it. \u003ci>\u003ca href=\"https://www.moma.org/collection/works/156016?locale=en\" rel=\"noopener\" target=\"_blank\">First letter home from New York (also I joined The Museum of Modern Art)\u003c/a>\u003c/i> is a handwritten letter from Wong to his parents, describing his activities upon moving from San Francisco to New York in 1978. “Hello Mom & Pop,” it opens cheerfully, his rambling block letters fitting themselves around a line drawing of the Brooklyn Bridge (or the “Brookline Bridge,” as Wong charmingly misspells it). \u003c/p>\n\u003cfigure id=\"attachment_13810369\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/BAM_Wong_Letter_1200.jpg\" alt=\"Installation view with vitrine containing 'First letter home.'\" width=\"1200\" height=\"806\" class=\"size-full wp-image-13810369\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_Letter_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_Letter_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_Letter_1200-800x537.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_Letter_1200-768x516.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_Letter_1200-1020x685.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_Letter_1200-1180x793.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_Letter_1200-960x645.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_Letter_1200-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_Letter_1200-375x252.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_Letter_1200-520x349.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view with vitrine containing ‘First letter home.’ \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Wong details his excitement about finding good cheap food in New York, getting a complimentary catalogue for his MoMA membership, and his plans to rent an additional room from Meyer’s Hotel (“one for sleeping, the other for painting”). \u003c/p>\n\u003cp>He was in his early 30s when he wrote the letter. He would spend nearly two decades in New York — specifically on the Lower East Side — making paintings of his neighbors and neighborhood (“brick by brick and storefront by storefront,” he wrote in another letter home).\u003c/p>\n\u003cfigure id=\"attachment_13810365\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/BAM_Wong_Storefronts_1200.jpg\" alt=\"Left: 'Iglesia Pentecostal,' 1986; Middle: 'La Iglesia de Dios,' 1986; Right: 'Untitled (Silver Storefront),' 1985.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13810365\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_Storefronts_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_Storefronts_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_Storefronts_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_Storefronts_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_Storefronts_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_Storefronts_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_Storefronts_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_Storefronts_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_Storefronts_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_Storefronts_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Left: ‘Iglesia Pentecostal,’ 1986; Middle: ‘La Iglesia de Dios,’ 1986; Right: ‘Untitled (Silver Storefront),’ 1985. \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s hard to say what was so particularly moving about Wong’s letter. Perhaps it’s his openness and optimism. Or how he found the Chelsea Hotel “too artsy and too expensive.” The fact that the letter is addressed to his parents and contains all of the above captures a family relationship so supportive, so loving, it renders the “tortured artist” trope moot.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s one thing to love the person an artist was (Wong died of AIDS-related causes in 1999), but Wong’s lovability is compounded by the virtuosity of his paintings. Born in Portland in 1946 and raised in San Francisco, Wong studied ceramics at Humboldt State, but switched to painting after college, developing a style marked by earthy tones and obsessive detail — part cartoon, part trompe l’oeil.\u003c/p>\n\u003cfigure id=\"attachment_13810367\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/Brainwashing-Cult-Cons-Top-TV-Star_1200.jpg\" alt=\"Martin Wong, 'Brainwashing Cult Cons Top TV Star,' 1981.\" width=\"1200\" height=\"909\" class=\"size-full wp-image-13810367\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Brainwashing-Cult-Cons-Top-TV-Star_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Brainwashing-Cult-Cons-Top-TV-Star_1200-160x121.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Brainwashing-Cult-Cons-Top-TV-Star_1200-800x606.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Brainwashing-Cult-Cons-Top-TV-Star_1200-768x582.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Brainwashing-Cult-Cons-Top-TV-Star_1200-1020x773.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Brainwashing-Cult-Cons-Top-TV-Star_1200-1180x894.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Brainwashing-Cult-Cons-Top-TV-Star_1200-960x727.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Brainwashing-Cult-Cons-Top-TV-Star_1200-240x182.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Brainwashing-Cult-Cons-Top-TV-Star_1200-375x284.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Brainwashing-Cult-Cons-Top-TV-Star_1200-520x394.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Martin Wong, ‘Brainwashing Cult Cons Top TV Stars,’ 1981. \u003ccite>(Courtesy of Bronx Museum of the Arts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Before he moved to the Lower East Side, Wong worked as the night porter at Meyer’s Hotel, living and painting without any real friends or artistic community — an isolation that caused him to identify with the city’s deaf-mute community. He incorporated the sign language alphabet into his paintings, rendering sensational news headlines like \u003ci>Psychiatrists Testify: Demon Dogs Drive Man to Murder\u003c/i> (a reference to serial-killer David Berkowitz) in rows of bubbly hieroglyphic hands. \u003c/p>\n\u003cp>Many of Wong’s paintings contain such systems of describing and mapping the world: constellation names, stacks of science books, a sign-language stop sign made with the Public Art Fund. He annotated life-sized canvases of closed storefronts and meticulously rendered miniature bricks with specific addresses, locating his paintings in time and space like a documentary photographer. \u003c/p>\n\u003cfigure id=\"attachment_13810360\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/1983-everything-must-go_1200.jpg\" alt=\"Martin Wong, 'Everything Must Go,' 1983.\" width=\"1200\" height=\"991\" class=\"size-full wp-image-13810360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1983-everything-must-go_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1983-everything-must-go_1200-160x132.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1983-everything-must-go_1200-800x661.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1983-everything-must-go_1200-768x634.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1983-everything-must-go_1200-1020x842.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1983-everything-must-go_1200-1180x974.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1983-everything-must-go_1200-960x793.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1983-everything-must-go_1200-240x198.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1983-everything-must-go_1200-375x310.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1983-everything-must-go_1200-520x429.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Martin Wong, ‘Everything Must Go,’ 1983. \u003ccite>(Courtesy of Second Ward Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite the concentrated effort Wong put into his pieces, he wasn’t precious about them. Yet another thing to love. A \u003ci>New York\u003c/i> magazine piece describes how Wong, shortly before his 1984 solo show at Semaphore Gallery, “stood in front of his Ridge Street studio and started handing out his paintings.” \u003c/p>\n\u003cp>“I’m not used to all the money and attention, and I thought my paintings could brighten up some of my neighbors’ lives,” Wong says in the article. Semaphore scrambled to retrieve the works for their show, putting up fliers and offering reward money for their safe return. Wong was, according to \u003ci>New York\u003c/i> Magazine, “unrepentant.” \u003c/p>\n\u003cfigure id=\"attachment_13810361\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/1993-Self-Portrait_1200.jpg\" alt=\"Martin Wong, 'Self Portrait,' 1993.\" width=\"1200\" height=\"1244\" class=\"size-full wp-image-13810361\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1993-Self-Portrait_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1993-Self-Portrait_1200-160x166.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1993-Self-Portrait_1200-800x829.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1993-Self-Portrait_1200-768x796.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1993-Self-Portrait_1200-1020x1057.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1993-Self-Portrait_1200-1180x1223.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1993-Self-Portrait_1200-960x995.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1993-Self-Portrait_1200-240x249.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1993-Self-Portrait_1200-375x389.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1993-Self-Portrait_1200-520x539.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1993-Self-Portrait_1200-32x32.jpg 32w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Martin Wong, ‘Self Portrait,’ 1993. \u003ccite>(Courtesy of the estate and PPOW, NY)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The circular self-portrait that opens the BAMPFA installation shows Wong with a mustache and flowing black hair, dressed in a Western-style shirt decorated with Chinese dragons, a cowboy hat on his head. He glows against a background of vibrant blue faces — all the details of his shirt, hat and hair outlined in gold.\u003c/p>\n\u003cp>“Martin’s way of presenting himself to the world was to make a bit of a spectacle of himself,” former New Museum curator Dan Cameron writes in the exhibition catalogue. “I had never seen anyone pull off that urban cowboy look before as successfully as he did, and being Chinese and gay just amped it up.” \u003c/p>\n\u003cfigure id=\"attachment_13810366\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/Big-Heat_640.jpg\" alt=\"Martin Wong, 'Big Heat,' 1988.\" width=\"640\" height=\"806\" class=\"size-full wp-image-13810366\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Big-Heat_640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Big-Heat_640-160x202.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Big-Heat_640-240x302.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Big-Heat_640-375x472.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Big-Heat_640-520x655.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Martin Wong, ‘Big Heat,’ 1988. \u003ccite>(Courtesy of the Whitney Museum of American Art)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Many of Wong’s paintings are unapologetically erotic, whether they’re images of incarcerated men, uniformed firefighters kissing, or an ornately framed phallus made of his omnipresent bricks. \u003c/p>\n\u003cp>In the early ’90s he turned his attention from the rapidly gentrifying Lower East Side to the Chinatown scenes of his youth. An \u003ca href=\"https://vimeo.com/152493246\" rel=\"noopener\" target=\"_blank\">18-minute documentary by Charlie Ahearn\u003c/a> on view in \u003ci>Human Instamatic\u003c/i> captures Wong working shirtless on the mammoth painting \u003ci>Chinese New Year’s Parade\u003c/i>, made between ’92 and ’94. It’s thrilling to watch him paint the canvas and then see the canvas unmediated, in the final room of the BAMPFA exhibition.\u003c/p>\n\u003cp>What else can I say to explain my love for Martin Wong? That he ran for a while with San Francisco’s legendary theater troupe, the Cockettes. That he and his mother were collectors of antiques and tchotchkes, frequently corresponding about auctions and appraisals. That when his infatuation with firefighters came out, people started gifting him parts of firefighters’ uniforms. That after painting, he washed his hands in his apartment tub. That, when he was diagnosed with AIDS and moved home to live with his parents, he served as Grand Marshall of San Francisco’s Chinese New Year’s Parade.\u003c/p>\n\u003cfigure id=\"attachment_13810364\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/BAM_Wong_NewYear_1200.jpg\" alt=\"Left: 'Chinese New Year's Parade,' 1992-94; Right: 'Bruce Lee in the Afterworld,' 1991.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13810364\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_NewYear_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_NewYear_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_NewYear_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_NewYear_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_NewYear_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_NewYear_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_NewYear_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_NewYear_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_NewYear_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_NewYear_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Left: ‘Chinese New Year’s Parade,’ 1992-94; Right: ‘Bruce Lee in the Afterworld,’ 1991. \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s easy to mourn for and love someone who didn’t live as long as they should have. But I like to think that were he still alive, we would all know of and be in love with Martin Wong. For his unwavering, singular style, for his brave commitment to painting left-behind people in left-behind places, and for his spectacular fashion sense.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Martin Wong: Human Instamatic’ is on view at the Berkeley Art Museum and Pacific Film Archive through Dec. 10, 2017. For more information, \u003ca href=\"https://bampfa.org/program/martin-wong-human-instamatic\" rel=\"noopener\" target=\"_blank\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "black-life-is-indefatigable-in-new-series-at-bampfa",
"title": "‘Black Life’ is Indefatigable in New Series at BAMPFA",
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"headTitle": "‘Black Life’ is Indefatigable in New Series at BAMPFA | KQED",
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"content": "\u003cp>Once a month at the Berkeley Art Museum and Pacific Film Archive, visitors will find themselves in the presence of an unusually expansive range of cultural practitioners, from poets to pastors — and those who do a little of both. These guests are part of a new monthly series of public programs called \u003cem>\u003ca href=\"https://bampfa.org/program/black-life-2017\" target=\"_blank\" rel=\"noopener noreferrer\">Black Life\u003c/a>\u003c/em>, organized by freelance curators Chika Okoye and David Brazil, that focuses on the cultural production of the African diaspora.\u003c/p>\n\u003cp>Untied to the exhibition or film calendar at BAMPFA, the list of performers and speakers for \u003cem>Black Life\u003c/em> is necessarily broad, and intentionally hard to pin down. The lack of discipline-based constraints allows Okoye and Brazil to explore black epistemology, a core idea behind the series.\u003c/p>\n\u003cfigure id=\"attachment_13809677\" class=\"wp-caption aligncenter\" style=\"max-width: 1210px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13809677\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Curators.jpg\" alt=\"Curators Chika Okoye and David Brazil.\" width=\"1210\" height=\"720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Curators.jpg 1210w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Curators-160x95.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Curators-800x476.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Curators-768x457.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Curators-1020x607.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Curators-1180x702.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Curators-960x571.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Curators-240x143.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Curators-375x223.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Curators-520x309.jpg 520w\" sizes=\"(max-width: 1210px) 100vw, 1210px\">\u003cfigcaption class=\"wp-caption-text\">Curators Chika Okoye and David Brazil. \u003ccite>(Courtesy of Chika Okoye; Russell W. Southall)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Epistemology, according to the \u003ca href=\"https://plato.stanford.edu/entries/epistemology/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>Stanford Encyclopedia of Philosophy\u003c/i>\u003c/a>, is “the study of knowledge and justified belief.” It’s a way of looking at what beliefs are held to be true, and exploring the factors that enable those beliefs.\u003c/p>\n\u003cp>Okoye explains, “Our dominant cultural epistemologies have segmented and sedimented categories — like how museum spaces typically show and value only certain types of cultural production, work that [figuratively] you can look at under a microscope. The idea of black life is more alive than that, and we’re interested in showing different types of knowledge.”\u003c/p>\n\u003cp>The history of museums as collecting institutions inherently carries the torch of “disembodied” study, a way of seeing that is distinctly white and European in origin; this has affected what are considered “intellectual” and, thus, valid cultural forms and beliefs. In contrast, \u003cem>Black Life\u003c/em> takes on cultural production from the point of view of \u003cem>embodied knowledge\u003c/em> — and opens space for work created in resistance to, or in spite of, the dominant ways of knowing.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The name of the series comes from \u003ca href=\"https://vimeo.com/116111740\" target=\"_blank\" rel=\"noopener noreferrer\">a talk with professors Fred Moten and Robin D.G. Kelly\u003c/a>. “To paraphrase Moten, people talk a lot about how black lives matter in this moment, but he says it’s also important to talk about how black \u003cem>life\u003c/em> matters, too,” Brazil explains. That is, the continuous survival — the day-to-day existing, and also thriving — of black people in America is an act of resistance, given that black presence in itself is perceived to be threatening by a white-dominated social order.\u003c/p>\n\u003cp>“We’re speaking against some of the dominant norms of what is knowledge and what is valued in a white supremacist society. [We are featuring] this vibrance and aliveness, even in a time of attempted subjugation and attempted denigration; this is indefatigable life,” says Okoye.\u003c/p>\n\u003cfigure id=\"attachment_13809680\" class=\"wp-caption aligncenter\" style=\"max-width: 850px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13809680\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Event_Black-Life-Phavia-Kujichagulia_2017-10-15_Phavia-Kujichagulia_001_850.jpg\" alt=\"Phavia Kujichagulia\" width=\"850\" height=\"638\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Event_Black-Life-Phavia-Kujichagulia_2017-10-15_Phavia-Kujichagulia_001_850.jpg 850w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Event_Black-Life-Phavia-Kujichagulia_2017-10-15_Phavia-Kujichagulia_001_850-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Event_Black-Life-Phavia-Kujichagulia_2017-10-15_Phavia-Kujichagulia_001_850-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Event_Black-Life-Phavia-Kujichagulia_2017-10-15_Phavia-Kujichagulia_001_850-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Event_Black-Life-Phavia-Kujichagulia_2017-10-15_Phavia-Kujichagulia_001_850-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Event_Black-Life-Phavia-Kujichagulia_2017-10-15_Phavia-Kujichagulia_001_850-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Event_Black-Life-Phavia-Kujichagulia_2017-10-15_Phavia-Kujichagulia_001_850-520x390.jpg 520w\" sizes=\"(max-width: 850px) 100vw, 850px\">\u003cfigcaption class=\"wp-caption-text\">Phavia Kujichagulia \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Music and dance are readily obvious forms of embodied knowing. The series has included a participatory \u003ca href=\"https://bampfa.org/event/black-life-afia-walking-tree\" target=\"_blank\" rel=\"noopener noreferrer\">drumming workshop\u003c/a> with \u003ca href=\"https://www.afiawalkingtree.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Afia Walking Tree\u003c/a>, as well as a \u003ca href=\"https://bampfa.org/event/black-life-rashad-pridgen\" target=\"_blank\" rel=\"noopener noreferrer\">multidisciplinary dance-performance and masquerade\u003c/a> by artist and creative director \u003ca href=\"https://www.usfca.edu/faculty/rashad-pridgen\">Rashad Pridgen\u003c/a>.\u003c/p>\n\u003cp>Brazil notes that another part of black epistemology included in the series is the cultural production stemming from black church communities, including poet and preacher \u003ca href=\"http://www.marvinkwhite.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Marvin K. White\u003c/a>. “Working with leaders from black churches is not normal for an art museum, and not normal for all kinds of white spaces. We’re consciously trying to push against the force of white space.”\u003c/p>\n\u003cp>The series highlights black artists, thinkers and creatives living and working in the Bay Area, all without needing to loudly proclaim its local-centric programming. To the curators, it is a natural choice to feature and uplift black artists and thinkers living here now, though they’re interested in expanding beyond the region in the future.\u003c/p>\n\u003cp>The next installment of the series, on \u003ca href=\"https://bampfa.org/event/black-life-phavia-kujichagulia\" target=\"_blank\" rel=\"noopener noreferrer\">Oct. 15\u003c/a>, \u003ca href=\"http://www.kujichaguliaphavia.com/\">Phavia Kujichagulia & Ma’at\u003c/a> presents an interdisciplinary musical event blending spoken word with traditional African music, African-American classical music/jazz, pop and rap.\u003c/p>\n\u003cfigure id=\"attachment_13809682\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13809682\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/TBA_1200.jpg\" alt=\"Top (L-R): Jamal Batts, Christian Johnson, Leila Weefur; Middle: Ryanaustin Dennis, Yetunde Olagbaju (Black Mail Collective); Front: Malika Imhotep, Zoé Samudzi, Soleil Summer (Black Mail Collective)\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/TBA_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/TBA_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/TBA_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/TBA_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/TBA_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/TBA_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/TBA_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/TBA_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/TBA_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/TBA_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Top (L-R): Jamal Batts, Christian Johnson, Leila Weefur; Middle: Ryanaustin Dennis, Yetunde Olagbaju (Black Mail Collective); Front: Malika Imhotep, Zoé Samudzi, Soleil Summer (Black Mail Collective) \u003ccite>(Photo by Ed Ntiri)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On \u003ca href=\"https://bampfa.org/event/black-life-black-aesthetic\" target=\"_blank\" rel=\"noopener noreferrer\">Nov. 10\u003c/a>, \u003cem>Black Life\u003c/em> intersects with another East Bay creative organization, \u003ca href=\"https://www.theblkaesthetic.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Black Aesthetic\u003c/a> (TBA). \u003ca href=\"https://ww2.kqed.org/arts/2017/04/10/oakland-film-series-asks-is-there-a-black-aesthetic/\">Founded by Christian Johnson and Ryannaustin Dennis\u003c/a> in 2016, TBA now includes Leila Weefur, Zoé Samudzi, Jamal Batts, and Malika “Ra” Imhotep; they also work closely with other groups, such as \u003ca href=\"https://www.blackmailcollective.com/\">Black Mail Collective\u003c/a>. The group has already presented two seasons of screenings by and about black filmmakers, each with a culminating publication, and \u003ca href=\"http://mailchi.mp/5558afcba5a7/tba-season-iii-is-almost-here\" target=\"_blank\" rel=\"noopener noreferrer\">the third season\u003c/a>, which begins on Oct. 5, concludes at BAMPFA.\u003c/p>\n\u003cp>This upcoming event features filmmaker Johnson’s first film, with cinematography by Weefur. \u003cem>A Moment of Truth + Sin\u003c/em>, is, according to them, a “pseudo-autobiographical, racially and politically charged thriller.” Johnson, who grew up in the Bay Area learning about film — in part by studying Pacific Film Archive program calendars — notes that premiering his work at BAMPFA is both “exciting and terrifying.”\u003c/p>\n\u003cp>For both TBA and \u003cem>Black Life\u003c/em>, the curators operate from a sense of abundance. Rather than curating with a focus on the issues of under-representation (though the topic is omnipresent), both series emphasize elevating what’s happening \u003ci>now\u003c/i> and what it is that black creatives are \u003cem>doing\u003c/em>. There is an open-ended sense to the programming, as though \u003cem>Black Life\u003c/em> is in a constant state of unfolding without a definable road map — and that’s because it is.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Black Life’ takes place on Oct. 15, Nov. 11, and Dec. 9 at the Berkeley Art Museum and Pacific Film Archive. For more information, \u003ca href=\"https://bampfa.org/program/black-life-2017\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"title": "‘Black Life’ is Indefatigable in New Series at BAMPFA | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Once a month at the Berkeley Art Museum and Pacific Film Archive, visitors will find themselves in the presence of an unusually expansive range of cultural practitioners, from poets to pastors — and those who do a little of both. These guests are part of a new monthly series of public programs called \u003cem>\u003ca href=\"https://bampfa.org/program/black-life-2017\" target=\"_blank\" rel=\"noopener noreferrer\">Black Life\u003c/a>\u003c/em>, organized by freelance curators Chika Okoye and David Brazil, that focuses on the cultural production of the African diaspora.\u003c/p>\n\u003cp>Untied to the exhibition or film calendar at BAMPFA, the list of performers and speakers for \u003cem>Black Life\u003c/em> is necessarily broad, and intentionally hard to pin down. The lack of discipline-based constraints allows Okoye and Brazil to explore black epistemology, a core idea behind the series.\u003c/p>\n\u003cfigure id=\"attachment_13809677\" class=\"wp-caption aligncenter\" style=\"max-width: 1210px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13809677\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Curators.jpg\" alt=\"Curators Chika Okoye and David Brazil.\" width=\"1210\" height=\"720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Curators.jpg 1210w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Curators-160x95.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Curators-800x476.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Curators-768x457.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Curators-1020x607.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Curators-1180x702.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Curators-960x571.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Curators-240x143.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Curators-375x223.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Curators-520x309.jpg 520w\" sizes=\"(max-width: 1210px) 100vw, 1210px\">\u003cfigcaption class=\"wp-caption-text\">Curators Chika Okoye and David Brazil. \u003ccite>(Courtesy of Chika Okoye; Russell W. Southall)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Epistemology, according to the \u003ca href=\"https://plato.stanford.edu/entries/epistemology/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>Stanford Encyclopedia of Philosophy\u003c/i>\u003c/a>, is “the study of knowledge and justified belief.” It’s a way of looking at what beliefs are held to be true, and exploring the factors that enable those beliefs.\u003c/p>\n\u003cp>Okoye explains, “Our dominant cultural epistemologies have segmented and sedimented categories — like how museum spaces typically show and value only certain types of cultural production, work that [figuratively] you can look at under a microscope. The idea of black life is more alive than that, and we’re interested in showing different types of knowledge.”\u003c/p>\n\u003cp>The history of museums as collecting institutions inherently carries the torch of “disembodied” study, a way of seeing that is distinctly white and European in origin; this has affected what are considered “intellectual” and, thus, valid cultural forms and beliefs. In contrast, \u003cem>Black Life\u003c/em> takes on cultural production from the point of view of \u003cem>embodied knowledge\u003c/em> — and opens space for work created in resistance to, or in spite of, the dominant ways of knowing.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The name of the series comes from \u003ca href=\"https://vimeo.com/116111740\" target=\"_blank\" rel=\"noopener noreferrer\">a talk with professors Fred Moten and Robin D.G. Kelly\u003c/a>. “To paraphrase Moten, people talk a lot about how black lives matter in this moment, but he says it’s also important to talk about how black \u003cem>life\u003c/em> matters, too,” Brazil explains. That is, the continuous survival — the day-to-day existing, and also thriving — of black people in America is an act of resistance, given that black presence in itself is perceived to be threatening by a white-dominated social order.\u003c/p>\n\u003cp>“We’re speaking against some of the dominant norms of what is knowledge and what is valued in a white supremacist society. [We are featuring] this vibrance and aliveness, even in a time of attempted subjugation and attempted denigration; this is indefatigable life,” says Okoye.\u003c/p>\n\u003cfigure id=\"attachment_13809680\" class=\"wp-caption aligncenter\" style=\"max-width: 850px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13809680\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Event_Black-Life-Phavia-Kujichagulia_2017-10-15_Phavia-Kujichagulia_001_850.jpg\" alt=\"Phavia Kujichagulia\" width=\"850\" height=\"638\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Event_Black-Life-Phavia-Kujichagulia_2017-10-15_Phavia-Kujichagulia_001_850.jpg 850w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Event_Black-Life-Phavia-Kujichagulia_2017-10-15_Phavia-Kujichagulia_001_850-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Event_Black-Life-Phavia-Kujichagulia_2017-10-15_Phavia-Kujichagulia_001_850-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Event_Black-Life-Phavia-Kujichagulia_2017-10-15_Phavia-Kujichagulia_001_850-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Event_Black-Life-Phavia-Kujichagulia_2017-10-15_Phavia-Kujichagulia_001_850-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Event_Black-Life-Phavia-Kujichagulia_2017-10-15_Phavia-Kujichagulia_001_850-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Event_Black-Life-Phavia-Kujichagulia_2017-10-15_Phavia-Kujichagulia_001_850-520x390.jpg 520w\" sizes=\"(max-width: 850px) 100vw, 850px\">\u003cfigcaption class=\"wp-caption-text\">Phavia Kujichagulia \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Music and dance are readily obvious forms of embodied knowing. The series has included a participatory \u003ca href=\"https://bampfa.org/event/black-life-afia-walking-tree\" target=\"_blank\" rel=\"noopener noreferrer\">drumming workshop\u003c/a> with \u003ca href=\"https://www.afiawalkingtree.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Afia Walking Tree\u003c/a>, as well as a \u003ca href=\"https://bampfa.org/event/black-life-rashad-pridgen\" target=\"_blank\" rel=\"noopener noreferrer\">multidisciplinary dance-performance and masquerade\u003c/a> by artist and creative director \u003ca href=\"https://www.usfca.edu/faculty/rashad-pridgen\">Rashad Pridgen\u003c/a>.\u003c/p>\n\u003cp>Brazil notes that another part of black epistemology included in the series is the cultural production stemming from black church communities, including poet and preacher \u003ca href=\"http://www.marvinkwhite.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Marvin K. White\u003c/a>. “Working with leaders from black churches is not normal for an art museum, and not normal for all kinds of white spaces. We’re consciously trying to push against the force of white space.”\u003c/p>\n\u003cp>The series highlights black artists, thinkers and creatives living and working in the Bay Area, all without needing to loudly proclaim its local-centric programming. To the curators, it is a natural choice to feature and uplift black artists and thinkers living here now, though they’re interested in expanding beyond the region in the future.\u003c/p>\n\u003cp>The next installment of the series, on \u003ca href=\"https://bampfa.org/event/black-life-phavia-kujichagulia\" target=\"_blank\" rel=\"noopener noreferrer\">Oct. 15\u003c/a>, \u003ca href=\"http://www.kujichaguliaphavia.com/\">Phavia Kujichagulia & Ma’at\u003c/a> presents an interdisciplinary musical event blending spoken word with traditional African music, African-American classical music/jazz, pop and rap.\u003c/p>\n\u003cfigure id=\"attachment_13809682\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13809682\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/TBA_1200.jpg\" alt=\"Top (L-R): Jamal Batts, Christian Johnson, Leila Weefur; Middle: Ryanaustin Dennis, Yetunde Olagbaju (Black Mail Collective); Front: Malika Imhotep, Zoé Samudzi, Soleil Summer (Black Mail Collective)\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/TBA_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/TBA_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/TBA_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/TBA_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/TBA_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/TBA_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/TBA_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/TBA_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/TBA_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/TBA_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Top (L-R): Jamal Batts, Christian Johnson, Leila Weefur; Middle: Ryanaustin Dennis, Yetunde Olagbaju (Black Mail Collective); Front: Malika Imhotep, Zoé Samudzi, Soleil Summer (Black Mail Collective) \u003ccite>(Photo by Ed Ntiri)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On \u003ca href=\"https://bampfa.org/event/black-life-black-aesthetic\" target=\"_blank\" rel=\"noopener noreferrer\">Nov. 10\u003c/a>, \u003cem>Black Life\u003c/em> intersects with another East Bay creative organization, \u003ca href=\"https://www.theblkaesthetic.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Black Aesthetic\u003c/a> (TBA). \u003ca href=\"https://ww2.kqed.org/arts/2017/04/10/oakland-film-series-asks-is-there-a-black-aesthetic/\">Founded by Christian Johnson and Ryannaustin Dennis\u003c/a> in 2016, TBA now includes Leila Weefur, Zoé Samudzi, Jamal Batts, and Malika “Ra” Imhotep; they also work closely with other groups, such as \u003ca href=\"https://www.blackmailcollective.com/\">Black Mail Collective\u003c/a>. The group has already presented two seasons of screenings by and about black filmmakers, each with a culminating publication, and \u003ca href=\"http://mailchi.mp/5558afcba5a7/tba-season-iii-is-almost-here\" target=\"_blank\" rel=\"noopener noreferrer\">the third season\u003c/a>, which begins on Oct. 5, concludes at BAMPFA.\u003c/p>\n\u003cp>This upcoming event features filmmaker Johnson’s first film, with cinematography by Weefur. \u003cem>A Moment of Truth + Sin\u003c/em>, is, according to them, a “pseudo-autobiographical, racially and politically charged thriller.” Johnson, who grew up in the Bay Area learning about film — in part by studying Pacific Film Archive program calendars — notes that premiering his work at BAMPFA is both “exciting and terrifying.”\u003c/p>\n\u003cp>For both TBA and \u003cem>Black Life\u003c/em>, the curators operate from a sense of abundance. Rather than curating with a focus on the issues of under-representation (though the topic is omnipresent), both series emphasize elevating what’s happening \u003ci>now\u003c/i> and what it is that black creatives are \u003cem>doing\u003c/em>. There is an open-ended sense to the programming, as though \u003cem>Black Life\u003c/em> is in a constant state of unfolding without a definable road map — and that’s because it is.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Black Life’ takes place on Oct. 15, Nov. 11, and Dec. 9 at the Berkeley Art Museum and Pacific Film Archive. For more information, \u003ca href=\"https://bampfa.org/program/black-life-2017\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>BAMPFA’s \u003ci>\u003ca href=\"https://bampfa.org/program/charles-howard-margin-chaos\" target=\"_blank\" rel=\"noopener\">Charles Howard: A Margin of Chaos\u003c/a>\u003c/i> brings a long-lost artist home. \u003c/p>\n\u003cp>Charles Howard graduated from Berkeley High School and attended UC Berekeley in the 1910s. His father, John Galen Howard, the principal architect of the University of California campus, founded the Berkeley architecture program. His mother, Mary Robertson Bradbury Howard, an accomplished watercolorist, hobnobbed with the Carmel-by-the-Sea plein air painters. His brothers Henry (an architect), Robert (a sculptor), and John (a painter), no doubt contributed to Charles Howard’s initial choice to train, first at Cal and then at Harvard, for a distinctive vocation all of his own: journalism.\u003c/p>\n\u003cp>But in his mid-20s, after an eye-opening tour of Europe, Howard succumbed to the pull of the visual arts. He devoted himself to painting and quickly made a name for himself in New York, where he exhibited his work at the Whitney Studio Club. Although he identified with no particular school, in the 1930s he showed mainly alongside surrealists such as Max Ernst and Yves Tanguy in the movement’s historic New York and London exhibitions.\u003c/p>\n\u003cfigure id=\"attachment_13809636\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Fig1_The-Dove_1939_1200.jpg\" alt=\"Charles Howard, 'The Dove,' 1939.\" width=\"1200\" height=\"1015\" class=\"size-full wp-image-13809636\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Fig1_The-Dove_1939_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Fig1_The-Dove_1939_1200-160x135.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Fig1_The-Dove_1939_1200-800x677.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Fig1_The-Dove_1939_1200-768x650.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Fig1_The-Dove_1939_1200-1020x863.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Fig1_The-Dove_1939_1200-1180x998.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Fig1_The-Dove_1939_1200-960x812.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Fig1_The-Dove_1939_1200-240x203.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Fig1_The-Dove_1939_1200-375x317.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Fig1_The-Dove_1939_1200-520x440.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Charles Howard, ‘The Dove,’ 1939. \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Stylistically speaking, his paintings from this period — \u003ci>The Dove\u003c/i>, for example — fall somewhere between geometric abstraction and biomorphism. In the 1940s, Peggy Guggenheim recognized him as an up-and-coming talent and invited him to exhibit at her Art of This Century gallery, among a diverse roster of artists that included Salvador Dalí, Marcel Duchamp and Wassily Kandinsky. Back in the Bay Area, the California Palace of the Legion of Honor organized a retrospective of Howard’s work in 1946.\u003c/p>\n\u003cp>Since then, however, no American museum has followed suit, until this summer — when BAMPFA’s curator of modern and contemporary art, Apsara DiQuinzio, orchestrated the artist’s return to Berkeley. The exhibition features 75 abstract paintings, works on paper and graphics representing the full sweep of Howard’s career.\u003c/p>\n\u003cfigure id=\"attachment_13809637\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Fig3_The-Aimant_1949_1200.jpg\" alt=\"Charles Howard, 'The Aimant,' 1949.\" width=\"1200\" height=\"907\" class=\"size-full wp-image-13809637\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Fig3_The-Aimant_1949_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Fig3_The-Aimant_1949_1200-160x121.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Fig3_The-Aimant_1949_1200-800x605.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Fig3_The-Aimant_1949_1200-768x580.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Fig3_The-Aimant_1949_1200-1020x771.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Fig3_The-Aimant_1949_1200-1180x892.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Fig3_The-Aimant_1949_1200-960x726.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Fig3_The-Aimant_1949_1200-240x181.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Fig3_The-Aimant_1949_1200-375x283.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Fig3_The-Aimant_1949_1200-520x393.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Charles Howard, ‘The Aimant,’ 1949. \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even though Howard doesn’t figure in most histories of 20th-century art, his commitment to formal experimentation makes him both a modernist anomaly whose work resists stylistic categorization and an exemplar whose stylistic restlessness spurred innovation. Borrowing visual idioms from the arts of the past as well as from his contemporaries, Howard recast sources — from \u003ca href=\"https://www.google.com/search?q=Giorgione&rlz=1C1PRFC_enUS638US638&source=lnms&tbm=isch&sa=X&ved=0ahUKEwiC94vfy8PWAhWIKWMKHd9KCTcQ_AUICigB&biw=1920&bih=960\" target=\"_blank\" rel=\"noopener\">Giorgione\u003c/a> to \u003ca href=\"https://www.google.com/search?rlz=1C1PRFC_enUS638US638&biw=1920&bih=960&tbm=isch&sa=1&q=joan+miro&oq=joan+miro&gs_l=psy-ab.3..0l4.10696.11862.0.12379.9.8.0.0.0.0.412.1337.2-1j2j1.4.0....0...1.1.64.psy-ab..5.4.1337....0.Y3V8ImIxx4E\" target=\"_blank\" rel=\"noopener\">Miró\u003c/a> — in ways that still look strange and new today. \u003c/p>\n\u003cfigure id=\"attachment_13809907\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Fig2_WarPoster_Panic-Defeats_1940s_640.jpg\" alt=\"Charles Howard, 'Panic Defeats Defense' war poster from the 1940s.\" width=\"640\" height=\"855\" class=\"size-full wp-image-13809907\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Fig2_WarPoster_Panic-Defeats_1940s_640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Fig2_WarPoster_Panic-Defeats_1940s_640-160x214.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Fig2_WarPoster_Panic-Defeats_1940s_640-240x321.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Fig2_WarPoster_Panic-Defeats_1940s_640-375x501.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Fig2_WarPoster_Panic-Defeats_1940s_640-520x695.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Charles Howard, ‘Panic Defeats Defense’ war poster from the 1940s. \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Howard’s career resisted circumscription within geographical as well as formal boundaries. As a young man, he left (then) provincial San Francisco for the East Coast. After a decade, he moved on to London. There, throughout the 1930s, he consorted with refugee artists from all over Europe, marrying the English painter Madge Knight.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The Howards retreated to the States in 1940 and spent the war years in San Francisco. Examples of Howard’s graphic work as a propagandist are also on display at BAMPFA. A poster produced for the Oakland Defense Council in the 1940s, for example, urges Oaklanders to seek training from their Defense Warden to protect themselves in the event of a gas attack. The graphic, executed in the surrealist manner of René Magritte, shows noxious grey clouds drifting across the blacked out window of a stately Victorian. The image captures the menacing tone of wartime propaganda circulating in California, a state deemed particularly vulnerable due its vast Pacific exposure. This kind of ephemera, too rarely displayed in art exhibitions, helps place the artist in an historical tableau much larger than the art world.\u003c/p>\n\u003cfigure id=\"attachment_13809638\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Fig4_Binary-Armature_1951_1200.jpg\" alt=\"Charles Howard, 'Binary Armature,' 1951.\" width=\"1200\" height=\"698\" class=\"size-full wp-image-13809638\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Fig4_Binary-Armature_1951_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Fig4_Binary-Armature_1951_1200-160x93.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Fig4_Binary-Armature_1951_1200-800x465.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Fig4_Binary-Armature_1951_1200-768x447.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Fig4_Binary-Armature_1951_1200-1020x593.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Fig4_Binary-Armature_1951_1200-1180x686.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Fig4_Binary-Armature_1951_1200-960x558.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Fig4_Binary-Armature_1951_1200-240x140.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Fig4_Binary-Armature_1951_1200-375x218.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Fig4_Binary-Armature_1951_1200-520x302.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Charles Howard, ‘Binary Armature,’ 1951. \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After the war, the Howards returned to England, where they stayed for the next 25 years. The decision doubtless contributed to Charles Howard’s historical eclipse. During the 1950s, while European cities labored to reconstruct, New York — which embodied triumphal American modernity with its skyscrapers, technologies, and consumerism — achieved unrivaled cultural influence. In the meantime, Howard and his wife tucked themselves away in a charming thatched cottage in Helions Bumpstead, Essex. \u003c/p>\n\u003cp>After a time, arts arbiters back in the States forgot about Howard. American critics, curators and art historians, embroidering on nationalist narratives of cultural ascent, did not look to London — let alone Helions Bumpstead — for inspiration. The paintings Howard produced in England during the last decades of his career, however, are today quite unforgettable. \u003c/p>\n\u003cfigure id=\"attachment_13809639\" class=\"wp-caption aligncenter\" style=\"max-width: 920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Fig5_Night-Painting_1955.jpg\" alt=\"Charles Howard, 'Night Painting,' 1955.\" width=\"920\" height=\"648\" class=\"size-full wp-image-13809639\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Fig5_Night-Painting_1955.jpg 920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Fig5_Night-Painting_1955-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Fig5_Night-Painting_1955-800x563.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Fig5_Night-Painting_1955-768x541.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Fig5_Night-Painting_1955-240x169.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Fig5_Night-Painting_1955-375x264.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Fig5_Night-Painting_1955-520x366.jpg 520w\" sizes=\"(max-width: 920px) 100vw, 920px\">\u003cfigcaption class=\"wp-caption-text\">Charles Howard, ‘Night Painting,’ 1955. \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Such masterpieces as \u003ci>The Aimant\u003c/i>, acquired by BAMPFA in 2016, \u003ci>Binary Armature\u003c/i> and \u003ci>Night Painting\u003c/i> bring together everything the artist learned in his geographically and formally restless career. The post-war paintings, with their formal complexity and technical virtuosity, captivate the eye as their compositions unfurl into a state of perilous equilibrium. They seem to stop explosive action at the precise moment before everything flies irretrievably apart. The darkness of wartime experience, the capacity for horror humans harbor, negotiates a fragile standoff with lightness of heart.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Charles Howard: A Margin of Chao’ is on view at the Berkeley Art Museum and Pacific Film Archive through Oct. 1, 2017. For more information, \u003ca href=\"https://bampfa.org/program/charles-howard-margin-chaos\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>BAMPFA’s \u003ci>\u003ca href=\"https://bampfa.org/program/charles-howard-margin-chaos\" target=\"_blank\" rel=\"noopener\">Charles Howard: A Margin of Chaos\u003c/a>\u003c/i> brings a long-lost artist home. \u003c/p>\n\u003cp>Charles Howard graduated from Berkeley High School and attended UC Berekeley in the 1910s. His father, John Galen Howard, the principal architect of the University of California campus, founded the Berkeley architecture program. His mother, Mary Robertson Bradbury Howard, an accomplished watercolorist, hobnobbed with the Carmel-by-the-Sea plein air painters. His brothers Henry (an architect), Robert (a sculptor), and John (a painter), no doubt contributed to Charles Howard’s initial choice to train, first at Cal and then at Harvard, for a distinctive vocation all of his own: journalism.\u003c/p>\n\u003cp>But in his mid-20s, after an eye-opening tour of Europe, Howard succumbed to the pull of the visual arts. He devoted himself to painting and quickly made a name for himself in New York, where he exhibited his work at the Whitney Studio Club. Although he identified with no particular school, in the 1930s he showed mainly alongside surrealists such as Max Ernst and Yves Tanguy in the movement’s historic New York and London exhibitions.\u003c/p>\n\u003cfigure id=\"attachment_13809636\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Fig1_The-Dove_1939_1200.jpg\" alt=\"Charles Howard, 'The Dove,' 1939.\" width=\"1200\" height=\"1015\" class=\"size-full wp-image-13809636\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Fig1_The-Dove_1939_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Fig1_The-Dove_1939_1200-160x135.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Fig1_The-Dove_1939_1200-800x677.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Fig1_The-Dove_1939_1200-768x650.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Fig1_The-Dove_1939_1200-1020x863.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Fig1_The-Dove_1939_1200-1180x998.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Fig1_The-Dove_1939_1200-960x812.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Fig1_The-Dove_1939_1200-240x203.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Fig1_The-Dove_1939_1200-375x317.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Fig1_The-Dove_1939_1200-520x440.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Charles Howard, ‘The Dove,’ 1939. \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Stylistically speaking, his paintings from this period — \u003ci>The Dove\u003c/i>, for example — fall somewhere between geometric abstraction and biomorphism. In the 1940s, Peggy Guggenheim recognized him as an up-and-coming talent and invited him to exhibit at her Art of This Century gallery, among a diverse roster of artists that included Salvador Dalí, Marcel Duchamp and Wassily Kandinsky. Back in the Bay Area, the California Palace of the Legion of Honor organized a retrospective of Howard’s work in 1946.\u003c/p>\n\u003cp>Since then, however, no American museum has followed suit, until this summer — when BAMPFA’s curator of modern and contemporary art, Apsara DiQuinzio, orchestrated the artist’s return to Berkeley. The exhibition features 75 abstract paintings, works on paper and graphics representing the full sweep of Howard’s career.\u003c/p>\n\u003cfigure id=\"attachment_13809637\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Fig3_The-Aimant_1949_1200.jpg\" alt=\"Charles Howard, 'The Aimant,' 1949.\" width=\"1200\" height=\"907\" class=\"size-full wp-image-13809637\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Fig3_The-Aimant_1949_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Fig3_The-Aimant_1949_1200-160x121.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Fig3_The-Aimant_1949_1200-800x605.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Fig3_The-Aimant_1949_1200-768x580.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Fig3_The-Aimant_1949_1200-1020x771.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Fig3_The-Aimant_1949_1200-1180x892.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Fig3_The-Aimant_1949_1200-960x726.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Fig3_The-Aimant_1949_1200-240x181.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Fig3_The-Aimant_1949_1200-375x283.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Fig3_The-Aimant_1949_1200-520x393.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Charles Howard, ‘The Aimant,’ 1949. \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even though Howard doesn’t figure in most histories of 20th-century art, his commitment to formal experimentation makes him both a modernist anomaly whose work resists stylistic categorization and an exemplar whose stylistic restlessness spurred innovation. Borrowing visual idioms from the arts of the past as well as from his contemporaries, Howard recast sources — from \u003ca href=\"https://www.google.com/search?q=Giorgione&rlz=1C1PRFC_enUS638US638&source=lnms&tbm=isch&sa=X&ved=0ahUKEwiC94vfy8PWAhWIKWMKHd9KCTcQ_AUICigB&biw=1920&bih=960\" target=\"_blank\" rel=\"noopener\">Giorgione\u003c/a> to \u003ca href=\"https://www.google.com/search?rlz=1C1PRFC_enUS638US638&biw=1920&bih=960&tbm=isch&sa=1&q=joan+miro&oq=joan+miro&gs_l=psy-ab.3..0l4.10696.11862.0.12379.9.8.0.0.0.0.412.1337.2-1j2j1.4.0....0...1.1.64.psy-ab..5.4.1337....0.Y3V8ImIxx4E\" target=\"_blank\" rel=\"noopener\">Miró\u003c/a> — in ways that still look strange and new today. \u003c/p>\n\u003cfigure id=\"attachment_13809907\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Fig2_WarPoster_Panic-Defeats_1940s_640.jpg\" alt=\"Charles Howard, 'Panic Defeats Defense' war poster from the 1940s.\" width=\"640\" height=\"855\" class=\"size-full wp-image-13809907\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Fig2_WarPoster_Panic-Defeats_1940s_640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Fig2_WarPoster_Panic-Defeats_1940s_640-160x214.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Fig2_WarPoster_Panic-Defeats_1940s_640-240x321.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Fig2_WarPoster_Panic-Defeats_1940s_640-375x501.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Fig2_WarPoster_Panic-Defeats_1940s_640-520x695.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Charles Howard, ‘Panic Defeats Defense’ war poster from the 1940s. \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Howard’s career resisted circumscription within geographical as well as formal boundaries. As a young man, he left (then) provincial San Francisco for the East Coast. After a decade, he moved on to London. There, throughout the 1930s, he consorted with refugee artists from all over Europe, marrying the English painter Madge Knight.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The Howards retreated to the States in 1940 and spent the war years in San Francisco. Examples of Howard’s graphic work as a propagandist are also on display at BAMPFA. A poster produced for the Oakland Defense Council in the 1940s, for example, urges Oaklanders to seek training from their Defense Warden to protect themselves in the event of a gas attack. The graphic, executed in the surrealist manner of René Magritte, shows noxious grey clouds drifting across the blacked out window of a stately Victorian. The image captures the menacing tone of wartime propaganda circulating in California, a state deemed particularly vulnerable due its vast Pacific exposure. This kind of ephemera, too rarely displayed in art exhibitions, helps place the artist in an historical tableau much larger than the art world.\u003c/p>\n\u003cfigure id=\"attachment_13809638\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Fig4_Binary-Armature_1951_1200.jpg\" alt=\"Charles Howard, 'Binary Armature,' 1951.\" width=\"1200\" height=\"698\" class=\"size-full wp-image-13809638\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Fig4_Binary-Armature_1951_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Fig4_Binary-Armature_1951_1200-160x93.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Fig4_Binary-Armature_1951_1200-800x465.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Fig4_Binary-Armature_1951_1200-768x447.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Fig4_Binary-Armature_1951_1200-1020x593.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Fig4_Binary-Armature_1951_1200-1180x686.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Fig4_Binary-Armature_1951_1200-960x558.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Fig4_Binary-Armature_1951_1200-240x140.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Fig4_Binary-Armature_1951_1200-375x218.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Fig4_Binary-Armature_1951_1200-520x302.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Charles Howard, ‘Binary Armature,’ 1951. \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After the war, the Howards returned to England, where they stayed for the next 25 years. The decision doubtless contributed to Charles Howard’s historical eclipse. During the 1950s, while European cities labored to reconstruct, New York — which embodied triumphal American modernity with its skyscrapers, technologies, and consumerism — achieved unrivaled cultural influence. In the meantime, Howard and his wife tucked themselves away in a charming thatched cottage in Helions Bumpstead, Essex. \u003c/p>\n\u003cp>After a time, arts arbiters back in the States forgot about Howard. American critics, curators and art historians, embroidering on nationalist narratives of cultural ascent, did not look to London — let alone Helions Bumpstead — for inspiration. The paintings Howard produced in England during the last decades of his career, however, are today quite unforgettable. \u003c/p>\n\u003cfigure id=\"attachment_13809639\" class=\"wp-caption aligncenter\" style=\"max-width: 920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Fig5_Night-Painting_1955.jpg\" alt=\"Charles Howard, 'Night Painting,' 1955.\" width=\"920\" height=\"648\" class=\"size-full wp-image-13809639\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Fig5_Night-Painting_1955.jpg 920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Fig5_Night-Painting_1955-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Fig5_Night-Painting_1955-800x563.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Fig5_Night-Painting_1955-768x541.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Fig5_Night-Painting_1955-240x169.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Fig5_Night-Painting_1955-375x264.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Fig5_Night-Painting_1955-520x366.jpg 520w\" sizes=\"(max-width: 920px) 100vw, 920px\">\u003cfigcaption class=\"wp-caption-text\">Charles Howard, ‘Night Painting,’ 1955. \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Such masterpieces as \u003ci>The Aimant\u003c/i>, acquired by BAMPFA in 2016, \u003ci>Binary Armature\u003c/i> and \u003ci>Night Painting\u003c/i> bring together everything the artist learned in his geographically and formally restless career. The post-war paintings, with their formal complexity and technical virtuosity, captivate the eye as their compositions unfurl into a state of perilous equilibrium. They seem to stop explosive action at the precise moment before everything flies irretrievably apart. The darkness of wartime experience, the capacity for horror humans harbor, negotiates a fragile standoff with lightness of heart.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Charles Howard: A Margin of Chao’ is on view at the Berkeley Art Museum and Pacific Film Archive through Oct. 1, 2017. For more information, \u003ca href=\"https://bampfa.org/program/charles-howard-margin-chaos\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>This week on the Do List, the cat (Cy Musiker) is away, and the mice (Gabe Meline and Suzie Racho) take over! Listen to the picks above, and click through for more details on each show below.\u003c/p>\n\u003cp>\u003cstrong>Now through Dec. 10\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2017/09/20/martin-wong-bampfa/\" target=\"_blank\" rel=\"noopener\">San Francisco-born painter Martin Wong gets a thorough retrospective of his gritty NYC work at BAMPFA\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Sept. 22\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2017/09/20/turning-ask-a-mexican-into-a-play/\" target=\"_blank\" rel=\"noopener\">Turning the syndicated column “Ask a Mexican” into a play, with a first staged reading in San Jose\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Sept. 23\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2017/09/20/norteno-anthems-for-wine-countrys-harvest-workers/\" target=\"_blank\" rel=\"noopener\">Norteño legends Los Tigres Del Norte play a Sonoma County show in the midst of the wine country’s harvest — fueled, as ever, by immigrant labor\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Sept. 24\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2017/09/20/a-day-of-free-chamber-music-jazz-experimental-music-and-more/\" target=\"_blank\" rel=\"noopener\">A day of free chamber music, jazz, experimental sounds and more at San Francisco Music Day, now in its 10th year\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Sept. 28\u003c/strong>: \u003ca href=\"http://www.ticketweb.com/t3/sale/SaleEventDetail?dispatch=loadSelectionData&eventId=7597075&pl=newparish&REFID=clientsitewp\" target=\"_blank\" rel=\"noopener\">Richmond’s own Rayana Jay headlines a night of soul and hip-hop at the New Parish in Oakland\u003c/a>. \u003c/p>\n\u003cp>\u003cstrong>Sept. 30\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2017/09/20/jimmy-pardo-docs-lab/\" target=\"_blank\" rel=\"noopener\">The \u003cem>Conan\u003c/em> regular and \u003cem>Never Not Funny\u003c/em> host Jimmy Pardo graces the historic North Beach stage\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This week on the Do List, the cat (Cy Musiker) is away, and the mice (Gabe Meline and Suzie Racho) take over! Listen to the picks above, and click through for more details on each show below.\u003c/p>\n\u003cp>\u003cstrong>Now through Dec. 10\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2017/09/20/martin-wong-bampfa/\" target=\"_blank\" rel=\"noopener\">San Francisco-born painter Martin Wong gets a thorough retrospective of his gritty NYC work at BAMPFA\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Sept. 22\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2017/09/20/turning-ask-a-mexican-into-a-play/\" target=\"_blank\" rel=\"noopener\">Turning the syndicated column “Ask a Mexican” into a play, with a first staged reading in San Jose\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Sept. 23\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2017/09/20/norteno-anthems-for-wine-countrys-harvest-workers/\" target=\"_blank\" rel=\"noopener\">Norteño legends Los Tigres Del Norte play a Sonoma County show in the midst of the wine country’s harvest — fueled, as ever, by immigrant labor\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Sept. 24\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2017/09/20/a-day-of-free-chamber-music-jazz-experimental-music-and-more/\" target=\"_blank\" rel=\"noopener\">A day of free chamber music, jazz, experimental sounds and more at San Francisco Music Day, now in its 10th year\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Sept. 28\u003c/strong>: \u003ca href=\"http://www.ticketweb.com/t3/sale/SaleEventDetail?dispatch=loadSelectionData&eventId=7597075&pl=newparish&REFID=clientsitewp\" target=\"_blank\" rel=\"noopener\">Richmond’s own Rayana Jay headlines a night of soul and hip-hop at the New Parish in Oakland\u003c/a>. \u003c/p>\n\u003cp>\u003cstrong>Sept. 30\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2017/09/20/jimmy-pardo-docs-lab/\" target=\"_blank\" rel=\"noopener\">The \u003cem>Conan\u003c/em> regular and \u003cem>Never Not Funny\u003c/em> host Jimmy Pardo graces the historic North Beach stage\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "From SF to NYC, He Was the 'Human Instamatic'",
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"content": "\u003cp>In 2017, \u003ca href=\"https://www.instagram.com/gmeline/\" target=\"_blank\" rel=\"noopener\">we’re all on Instagram\u003c/a>, but in the late ’70s one man was known as the “Human Instamatic.” That was Martin Wong, whose posthumous exhibit \u003cem>Martin Wong: Human Instamatic\u003c/em> is at BAMPFA through Dec. 10.\u003c/p>\n\u003cp>Wong grew up in Chinatown, and came of age in the Bay Area and Humboldt County. But when you look at his work after 1978, when he moved to New York, it’s incredible: he was living on the Lower East Side, hanging out with Puerto Rican motorcycle riders and early hip-hop graffiti writers, and his paintings capture the look and feeling of the gritty melting pot of the neighborhood.\u003c/p>\n\u003cp>They also provided an outlet for his sexuality — his depictions of firefighters, especially — and it was only when he was diagnosed with AIDS that he moved back to San Francisco. He died here in 1999, but this exhibit keeps his work alive. After a run in the Bronx last year, it’s in the Bay Area for the first time at BAMPFA in Berkeley. \u003ca href=\"https://bampfa.org/program/martin-wong-human-instamatic\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 2017, \u003ca href=\"https://www.instagram.com/gmeline/\" target=\"_blank\" rel=\"noopener\">we’re all on Instagram\u003c/a>, but in the late ’70s one man was known as the “Human Instamatic.” That was Martin Wong, whose posthumous exhibit \u003cem>Martin Wong: Human Instamatic\u003c/em> is at BAMPFA through Dec. 10.\u003c/p>\n\u003cp>Wong grew up in Chinatown, and came of age in the Bay Area and Humboldt County. But when you look at his work after 1978, when he moved to New York, it’s incredible: he was living on the Lower East Side, hanging out with Puerto Rican motorcycle riders and early hip-hop graffiti writers, and his paintings capture the look and feeling of the gritty melting pot of the neighborhood.\u003c/p>\n\u003cp>They also provided an outlet for his sexuality — his depictions of firefighters, especially — and it was only when he was diagnosed with AIDS that he moved back to San Francisco. He died here in 1999, but this exhibit keeps his work alive. After a run in the Bronx last year, it’s in the Bay Area for the first time at BAMPFA in Berkeley. \u003ca href=\"https://bampfa.org/program/martin-wong-human-instamatic\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Hope Comes to the Fore: 6 Visual Art Shows to See This Fall",
"headTitle": "Hope Comes to the Fore: 6 Visual Art Shows to See This Fall | KQED",
"content": "\u003cp>Remember when all we could talk about was how 2016 had been really rough? \u003ci>We can’t wait for this year to end\u003c/i>, we said. \u003ci>Surely whatever comes next will be better — less heartbreaking, less depressing, less frantic\u003c/i>. \u003ca href=\"http://knowyourmeme.com/memes/you-know-nothing-jon-snow\" target=\"_blank\" rel=\"noopener\">Like Jon Snow, we knew nothing\u003c/a>. \u003c/p>\n\u003cp>Defining the role art has to play in the midst of national, social and political upheaval is a task for more robust minds, with fewer deadlines on their hands. But in my survey of the Bay Area’s fall season, it’s heartening to see many institutions grappling with the same questions, along with local artists getting major museum love and artistic reminders of hope coming to the fore.\u003c/p>\n\u003cfigure id=\"attachment_13806843\" class=\"wp-caption alignleft\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Jerry_640.jpg\" alt=\"Jerry at work on 'Two Tails and Two Tales,' Shandaken Project at Storm King, NY, 2017.\" width=\"640\" height=\"427\" class=\"size-full wp-image-13806843\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Jerry_640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Jerry_640-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Jerry_640-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Jerry_640-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Jerry_640-520x347.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Jerry at work on ‘Two Tails and Two Tales,’ Shandaken Project at Storm King, NY, 2017. \u003ccite>(Courtesy of the artist and Situations, New York; photo by Nick Weist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003ch3>\u003ca href=\"http://projects2ndfloor.blogspot.com/2017/08/blog-post.html\" target=\"_blank\" rel=\"noopener\">Frank Haines, Jerry the Marble Faun, Astria Suparak\u003c/a>\u003c/h3>\n\u003ch5>2nd floor projects at Luggage Store Annex, 509 Ellis Street, San Francisco\u003cbr>\nSept. 8 – Oct. 14, 2017\u003c/h5>\n\u003cp>The venerable artist-run gallery 2nd floor projects isn’t one for fanfare. Exhibitions don’t have titles, two to three artists hang alongside one another without complicated curatorial conceits, a limited edition chapbook accompanies each show. But fanfare or not, 2nd floor projects is 10 years old, and in typical understated fashion, is “simply marking” that nice round number with an offsite pop-up show. (Regulars will thrill at the thought of more gallery hours!) New York-based artists Frank Haines and Jerry the Marble Faun promise works in stained glass and marble, respectively, and Astria Suparak, co-curator of YBCA’s 2014 exhibition \u003ci>Alien She\u003c/i>, provides this show’s batch of finely wrought words. (Bonus prize: Jessica Silverman Gallery opens \u003ci>\u003ca href=\"http://jessicasilvermangallery.com/exhibitions/pussies/\" target=\"_blank\" rel=\"noopener\">Judy Chicago’s Pussies\u003c/a>\u003c/i> across the street the very same night.)\u003c/p>\u003c/div>\n\u003cfigure id=\"attachment_13806842\" class=\"wp-caption alignleft\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/El-Caribe_640.jpg\" alt=\"Martin Wong, 'El Caribe,' 1988.\" width=\"640\" height=\"535\" class=\"size-full wp-image-13806842\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/El-Caribe_640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/El-Caribe_640-160x134.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/El-Caribe_640-240x201.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/El-Caribe_640-375x313.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/El-Caribe_640-520x435.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Martin Wong, ‘El Caribe,’ 1988. \u003ccite>(Collection of Francisco Hernandez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003ch3>\u003ci>\u003ca href=\"http://bampfa.org/program/martin-wong-human-instamatic\" target=\"_blank\" rel=\"noopener\">Martin Wong: Human Instamatic\u003c/a>\u003c/i>\u003c/h3>\n\u003ch5>Berkeley Art Museum and Pacific Film Archive, Berkeley\u003cbr>\nSept. 13 – Dec.10, 2017\u003c/h5>\n\u003cp>I’m humbled to admit I never heard of the late artist Martin Wong until CCA’s 2015 Curatorial Practice class organized the first expansive and cross-media exhibition of his work in San Francisco, whetting my appetite for BAMPFA’s retrospective two years later. In many ways, the Wattis show was a re-introduction between artist and city. Wong grew up in San Francisco, attended UC Berkeley and Humboldt State, studied ceramics, made scroll poems and designed theatrical sets for groups like the Cockettes and Angels of Light. He also died here — returning home with AIDS in 1994 after prolific decades spent making work alongside the Nuyorican poets and graffiti artists of 1970s and 80s New York. Similarly, \u003ci>Martin Wong: Human Instamatic\u003c/i> comes to BAMPFA after time spent away: at the Bronx Museum and Wexner Center for the Arts. The show of Wong’s dense, symbol-laden paintings of New York street scenes, motorcycle-riding men and commanding eight-balls is at once a triumphant homecoming and a second chance for audiences who didn’t even realize what they’ve been missing all along. \u003c/p>\u003c/div>\n\u003cfigure id=\"attachment_13806845\" class=\"wp-caption alignleft\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Katchadourian_Flemish_640.jpg\" alt=\"Nina Katchadourian, 'Lavatory Self-Portrait in the Flemish Style #12.' From 'Seat Assignment' project, 2010–ongoing.\" width=\"640\" height=\"758\" class=\"size-full wp-image-13806845\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Katchadourian_Flemish_640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Katchadourian_Flemish_640-160x190.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Katchadourian_Flemish_640-240x284.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Katchadourian_Flemish_640-375x444.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Katchadourian_Flemish_640-520x616.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Nina Katchadourian, ‘Lavatory Self-Portrait\u003cbr>in the Flemish Style #12.’ From ‘Seat Assignment’ project, 2010–ongoing. \u003ccite>(Collection of Nion McEvoy, San Francisco; Image courtesy of the artist and Catharine Clark Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003ch3>\u003ca href=\"https://museum.stanford.edu/view/GetCuriouser.html\" target=\"_blank\" rel=\"noopener\">Nina Katchadourian, \u003ci>Curiouser\u003c/i>\u003c/a>\u003c/h3>\n\u003ch5>Cantor Arts Center, Stanford\u003cbr>\nSept. 15, 2017 – Jan. 7, 2018\u003c/h5>\n\u003cp>Brooklyn and Berlin-based Nina Katchadourian may be a familiar name to those who’ve visited her solo shows over the years at \u003ca href=\"https://cclarkgallery.com/\" target=\"_blank\" rel=\"noopener\">Catharine Clark Gallery\u003c/a>, but now’s the chance to take in a much-larger portion of her inventive, playful and always-smart work. Her mid-career survey comes to the Cantor from Austin’s Blanton Museum of Art, showcasing projects like \u003ci>Seat Assignment\u003c/i> (pieces made on airplanes using only in-flight materials) and \u003ci>Accent Elimination\u003c/i> (a video in which Katchadourian and her parents attempt to learn each other’s accents). In need of further convincing that you’ll enjoy Katchadourian’s weird and wonderful sensibility in video, photography, sculpture and sound? Look no further than \u003ci>\u003ca href=\"https://youtu.be/bpfbbolyOKY\" target=\"_blank\" rel=\"noopener\">Skymall Kitties\u003c/a>\u003c/i>, and don’t blame me when a certain tune gets lodged, quite pleasantly, in your brain.\u003c/p>\u003c/div>\n\u003cfigure id=\"attachment_13806848\" class=\"wp-caption alignleft\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/JFR_MLouiseStanley_CastingCallForCautionaryTales_640.jpg\" alt=\"M. Louise Stanley, 'Casting Call for Cautionary Tales,' 2017.\" width=\"640\" height=\"480\" class=\"size-full wp-image-13806848\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/JFR_MLouiseStanley_CastingCallForCautionaryTales_640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/JFR_MLouiseStanley_CastingCallForCautionaryTales_640-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/JFR_MLouiseStanley_CastingCallForCautionaryTales_640-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/JFR_MLouiseStanley_CastingCallForCautionaryTales_640-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/JFR_MLouiseStanley_CastingCallForCautionaryTales_640-520x390.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">M. Louise Stanley, ‘Casting Call for Cautionary Tales,’ 2017. \u003ccite>(Courtesy of the artist; Photo by Kim Harrington.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003ch3>\u003ci>\u003ca href=\"https://www.thecjm.org/exhibitions/68\" target=\"_blank\" rel=\"noopener\">Jewish Folktales Retold: Artist as Maggid\u003c/a>\u003c/i>\u003c/h3>\n\u003ch5>Contemporary Jewish Museum, San Francisco\u003cbr>\nSept. 28, 2017 – Jan. 28, 2018\u003c/h5>\n\u003cp>In recent years, the CJM has made a practice of introducing traditional elements of Judaism as the conceptual basis for exciting new art commissions. \u003ci>Artist as Maggid\u003c/i> continues this trend, inviting 16 artists to respond to selected tales from Jewish folklore in the media of their choosing. And if the curatorial underpinnings didn’t sound intriguing enough, the line-up of (mostly) local artists is a veritable who’s who of people with interesting material ways of telling stories, including Michael Arcega, Julia Goodman, Mads Lynnerup, Mike Rothfeld, and Youngsuk Suh and Katie Peterson.\u003c/p>\u003c/div>\n\u003cfigure id=\"attachment_13806847\" class=\"wp-caption alignleft\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Mechanisms_FAROCKI_640.jpg\" alt=\"Harun Farocki, 'Deep Play' (video still), 2007.\" width=\"640\" height=\"512\" class=\"size-full wp-image-13806847\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Mechanisms_FAROCKI_640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Mechanisms_FAROCKI_640-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Mechanisms_FAROCKI_640-240x192.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Mechanisms_FAROCKI_640-375x300.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Mechanisms_FAROCKI_640-520x416.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Harun Farocki, ‘Deep Play’ (video still), 2007. \u003ccite>(Courtesy of Harun Farocki GbR and Greene Naftali Gallery, New York)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003ch3>\u003ci>\u003ca href=\"http://www.wattis.org/view?id=463\" target=\"_blank\" rel=\"noopener\">Mechanisms\u003c/a>\u003ci>\u003c/i>\u003c/i>\u003c/h3>\n\u003ch5>The Wattis Institute, San Francisco\u003cbr>\nOct. 12, 2017 – Feb. 24, 2018\u003c/h5>\n\u003cp>In these parts, art and technology get paired up on the regular, reinforcing the false binary the very words have come to represent. On art’s side: artists, affordable housing, the city’s creative soul. And for technology: tech workers, the housing crisis, venture capitalism run rampant. But Wattis director Anthony Huberman has managed to turn this old and tired juxtaposition into an exhibition that looks at technology not as a local industry, but as a group of machines — objects, devices, systems and infrastructure. And does so in a large-scale group exhibition with surprising inclusions — Jay DeFeo and Louise Lawler, to name two. In \u003ci>Mechanisms\u003c/i>, art doesn’t merge with machines courtesy of a plus sign or an ampersand, it gums up the gears, calls attention to efforts towards efficiency and critiques the very mechanisms that make it.\u003c/p>\u003c/div>\n\u003cfigure id=\"attachment_13806841\" class=\"wp-caption alignleft\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Ala-Ebtekar_640.jpg\" alt=\"Ala Ebtekar, 'Zenith (IV),' 2015.\" width=\"640\" height=\"344\" class=\"size-full wp-image-13806841\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Ala-Ebtekar_640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Ala-Ebtekar_640-160x86.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Ala-Ebtekar_640-240x129.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Ala-Ebtekar_640-375x202.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Ala-Ebtekar_640-520x280.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Ala Ebtekar, ‘Zenith (IV),’ 2015. \u003ccite>(Photo: Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003ch3>\u003ci>\u003ca href=\"http://www.dirosaart.org/be-not-still/\" target=\"_blank\" rel=\"noopener\">Be Not Still: Living in Uncertain Times (Part 1)\u003c/a>\u003c/i>\u003c/h3>\n\u003ch5>di Rosa, Napa\u003cbr>\nNov. 4, 2017 – May 27, 2018\u003c/h5>\n\u003cp>The di Rosa launches a new two-part exhibition series to directly address the ever-more-pressing concerns of the present with “experimentation and inquiry.” This marks the first exhibition in the di Rosa’s new configuration — the large Main Gallery houses newly commissioned works by Ala Ebtekar (on citizenship), Rigo 23 (on American exceptionalism) and Allison Smith (on North American fundamentalism), while the Gatehouse Gallery features items from the permanent collection curated by Dodie Bellamy and Kevin Killian (on surveillance). While most di Rosa shows of the past spanned just three to four months, \u003ci>Be Not Still\u003c/i> stays put for half a year — leaving you no excuse for not seeing it and ample time for the arts center to dig deep into its education programs, including a collaborative project with the Boys & Girls Clubs of Napa Valley.\u003c/p>\u003c/div>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"alignleft size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "A new art season finds institutions responding to national upheaval, supporting local artists and providing you with ample opportunities to seek out great art.",
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"title": "Hope Comes to the Fore: 6 Visual Art Shows to See This Fall | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Remember when all we could talk about was how 2016 had been really rough? \u003ci>We can’t wait for this year to end\u003c/i>, we said. \u003ci>Surely whatever comes next will be better — less heartbreaking, less depressing, less frantic\u003c/i>. \u003ca href=\"http://knowyourmeme.com/memes/you-know-nothing-jon-snow\" target=\"_blank\" rel=\"noopener\">Like Jon Snow, we knew nothing\u003c/a>. \u003c/p>\n\u003cp>Defining the role art has to play in the midst of national, social and political upheaval is a task for more robust minds, with fewer deadlines on their hands. But in my survey of the Bay Area’s fall season, it’s heartening to see many institutions grappling with the same questions, along with local artists getting major museum love and artistic reminders of hope coming to the fore.\u003c/p>\n\u003cfigure id=\"attachment_13806843\" class=\"wp-caption alignleft\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Jerry_640.jpg\" alt=\"Jerry at work on 'Two Tails and Two Tales,' Shandaken Project at Storm King, NY, 2017.\" width=\"640\" height=\"427\" class=\"size-full wp-image-13806843\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Jerry_640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Jerry_640-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Jerry_640-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Jerry_640-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Jerry_640-520x347.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Jerry at work on ‘Two Tails and Two Tales,’ Shandaken Project at Storm King, NY, 2017. \u003ccite>(Courtesy of the artist and Situations, New York; photo by Nick Weist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003ch3>\u003ca href=\"http://projects2ndfloor.blogspot.com/2017/08/blog-post.html\" target=\"_blank\" rel=\"noopener\">Frank Haines, Jerry the Marble Faun, Astria Suparak\u003c/a>\u003c/h3>\n\u003ch5>2nd floor projects at Luggage Store Annex, 509 Ellis Street, San Francisco\u003cbr>\nSept. 8 – Oct. 14, 2017\u003c/h5>\n\u003cp>The venerable artist-run gallery 2nd floor projects isn’t one for fanfare. Exhibitions don’t have titles, two to three artists hang alongside one another without complicated curatorial conceits, a limited edition chapbook accompanies each show. But fanfare or not, 2nd floor projects is 10 years old, and in typical understated fashion, is “simply marking” that nice round number with an offsite pop-up show. (Regulars will thrill at the thought of more gallery hours!) New York-based artists Frank Haines and Jerry the Marble Faun promise works in stained glass and marble, respectively, and Astria Suparak, co-curator of YBCA’s 2014 exhibition \u003ci>Alien She\u003c/i>, provides this show’s batch of finely wrought words. (Bonus prize: Jessica Silverman Gallery opens \u003ci>\u003ca href=\"http://jessicasilvermangallery.com/exhibitions/pussies/\" target=\"_blank\" rel=\"noopener\">Judy Chicago’s Pussies\u003c/a>\u003c/i> across the street the very same night.)\u003c/p>\u003c/div>\n\u003cfigure id=\"attachment_13806842\" class=\"wp-caption alignleft\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/El-Caribe_640.jpg\" alt=\"Martin Wong, 'El Caribe,' 1988.\" width=\"640\" height=\"535\" class=\"size-full wp-image-13806842\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/El-Caribe_640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/El-Caribe_640-160x134.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/El-Caribe_640-240x201.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/El-Caribe_640-375x313.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/El-Caribe_640-520x435.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Martin Wong, ‘El Caribe,’ 1988. \u003ccite>(Collection of Francisco Hernandez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003ch3>\u003ci>\u003ca href=\"http://bampfa.org/program/martin-wong-human-instamatic\" target=\"_blank\" rel=\"noopener\">Martin Wong: Human Instamatic\u003c/a>\u003c/i>\u003c/h3>\n\u003ch5>Berkeley Art Museum and Pacific Film Archive, Berkeley\u003cbr>\nSept. 13 – Dec.10, 2017\u003c/h5>\n\u003cp>I’m humbled to admit I never heard of the late artist Martin Wong until CCA’s 2015 Curatorial Practice class organized the first expansive and cross-media exhibition of his work in San Francisco, whetting my appetite for BAMPFA’s retrospective two years later. In many ways, the Wattis show was a re-introduction between artist and city. Wong grew up in San Francisco, attended UC Berkeley and Humboldt State, studied ceramics, made scroll poems and designed theatrical sets for groups like the Cockettes and Angels of Light. He also died here — returning home with AIDS in 1994 after prolific decades spent making work alongside the Nuyorican poets and graffiti artists of 1970s and 80s New York. Similarly, \u003ci>Martin Wong: Human Instamatic\u003c/i> comes to BAMPFA after time spent away: at the Bronx Museum and Wexner Center for the Arts. The show of Wong’s dense, symbol-laden paintings of New York street scenes, motorcycle-riding men and commanding eight-balls is at once a triumphant homecoming and a second chance for audiences who didn’t even realize what they’ve been missing all along. \u003c/p>\u003c/div>\n\u003cfigure id=\"attachment_13806845\" class=\"wp-caption alignleft\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Katchadourian_Flemish_640.jpg\" alt=\"Nina Katchadourian, 'Lavatory Self-Portrait in the Flemish Style #12.' From 'Seat Assignment' project, 2010–ongoing.\" width=\"640\" height=\"758\" class=\"size-full wp-image-13806845\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Katchadourian_Flemish_640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Katchadourian_Flemish_640-160x190.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Katchadourian_Flemish_640-240x284.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Katchadourian_Flemish_640-375x444.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Katchadourian_Flemish_640-520x616.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Nina Katchadourian, ‘Lavatory Self-Portrait\u003cbr>in the Flemish Style #12.’ From ‘Seat Assignment’ project, 2010–ongoing. \u003ccite>(Collection of Nion McEvoy, San Francisco; Image courtesy of the artist and Catharine Clark Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003ch3>\u003ca href=\"https://museum.stanford.edu/view/GetCuriouser.html\" target=\"_blank\" rel=\"noopener\">Nina Katchadourian, \u003ci>Curiouser\u003c/i>\u003c/a>\u003c/h3>\n\u003ch5>Cantor Arts Center, Stanford\u003cbr>\nSept. 15, 2017 – Jan. 7, 2018\u003c/h5>\n\u003cp>Brooklyn and Berlin-based Nina Katchadourian may be a familiar name to those who’ve visited her solo shows over the years at \u003ca href=\"https://cclarkgallery.com/\" target=\"_blank\" rel=\"noopener\">Catharine Clark Gallery\u003c/a>, but now’s the chance to take in a much-larger portion of her inventive, playful and always-smart work. Her mid-career survey comes to the Cantor from Austin’s Blanton Museum of Art, showcasing projects like \u003ci>Seat Assignment\u003c/i> (pieces made on airplanes using only in-flight materials) and \u003ci>Accent Elimination\u003c/i> (a video in which Katchadourian and her parents attempt to learn each other’s accents). In need of further convincing that you’ll enjoy Katchadourian’s weird and wonderful sensibility in video, photography, sculpture and sound? Look no further than \u003ci>\u003ca href=\"https://youtu.be/bpfbbolyOKY\" target=\"_blank\" rel=\"noopener\">Skymall Kitties\u003c/a>\u003c/i>, and don’t blame me when a certain tune gets lodged, quite pleasantly, in your brain.\u003c/p>\u003c/div>\n\u003cfigure id=\"attachment_13806848\" class=\"wp-caption alignleft\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/JFR_MLouiseStanley_CastingCallForCautionaryTales_640.jpg\" alt=\"M. Louise Stanley, 'Casting Call for Cautionary Tales,' 2017.\" width=\"640\" height=\"480\" class=\"size-full wp-image-13806848\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/JFR_MLouiseStanley_CastingCallForCautionaryTales_640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/JFR_MLouiseStanley_CastingCallForCautionaryTales_640-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/JFR_MLouiseStanley_CastingCallForCautionaryTales_640-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/JFR_MLouiseStanley_CastingCallForCautionaryTales_640-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/JFR_MLouiseStanley_CastingCallForCautionaryTales_640-520x390.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">M. Louise Stanley, ‘Casting Call for Cautionary Tales,’ 2017. \u003ccite>(Courtesy of the artist; Photo by Kim Harrington.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003ch3>\u003ci>\u003ca href=\"https://www.thecjm.org/exhibitions/68\" target=\"_blank\" rel=\"noopener\">Jewish Folktales Retold: Artist as Maggid\u003c/a>\u003c/i>\u003c/h3>\n\u003ch5>Contemporary Jewish Museum, San Francisco\u003cbr>\nSept. 28, 2017 – Jan. 28, 2018\u003c/h5>\n\u003cp>In recent years, the CJM has made a practice of introducing traditional elements of Judaism as the conceptual basis for exciting new art commissions. \u003ci>Artist as Maggid\u003c/i> continues this trend, inviting 16 artists to respond to selected tales from Jewish folklore in the media of their choosing. And if the curatorial underpinnings didn’t sound intriguing enough, the line-up of (mostly) local artists is a veritable who’s who of people with interesting material ways of telling stories, including Michael Arcega, Julia Goodman, Mads Lynnerup, Mike Rothfeld, and Youngsuk Suh and Katie Peterson.\u003c/p>\u003c/div>\n\u003cfigure id=\"attachment_13806847\" class=\"wp-caption alignleft\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Mechanisms_FAROCKI_640.jpg\" alt=\"Harun Farocki, 'Deep Play' (video still), 2007.\" width=\"640\" height=\"512\" class=\"size-full wp-image-13806847\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Mechanisms_FAROCKI_640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Mechanisms_FAROCKI_640-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Mechanisms_FAROCKI_640-240x192.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Mechanisms_FAROCKI_640-375x300.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Mechanisms_FAROCKI_640-520x416.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Harun Farocki, ‘Deep Play’ (video still), 2007. \u003ccite>(Courtesy of Harun Farocki GbR and Greene Naftali Gallery, New York)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003ch3>\u003ci>\u003ca href=\"http://www.wattis.org/view?id=463\" target=\"_blank\" rel=\"noopener\">Mechanisms\u003c/a>\u003ci>\u003c/i>\u003c/i>\u003c/h3>\n\u003ch5>The Wattis Institute, San Francisco\u003cbr>\nOct. 12, 2017 – Feb. 24, 2018\u003c/h5>\n\u003cp>In these parts, art and technology get paired up on the regular, reinforcing the false binary the very words have come to represent. On art’s side: artists, affordable housing, the city’s creative soul. And for technology: tech workers, the housing crisis, venture capitalism run rampant. But Wattis director Anthony Huberman has managed to turn this old and tired juxtaposition into an exhibition that looks at technology not as a local industry, but as a group of machines — objects, devices, systems and infrastructure. And does so in a large-scale group exhibition with surprising inclusions — Jay DeFeo and Louise Lawler, to name two. In \u003ci>Mechanisms\u003c/i>, art doesn’t merge with machines courtesy of a plus sign or an ampersand, it gums up the gears, calls attention to efforts towards efficiency and critiques the very mechanisms that make it.\u003c/p>\u003c/div>\n\u003cfigure id=\"attachment_13806841\" class=\"wp-caption alignleft\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Ala-Ebtekar_640.jpg\" alt=\"Ala Ebtekar, 'Zenith (IV),' 2015.\" width=\"640\" height=\"344\" class=\"size-full wp-image-13806841\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Ala-Ebtekar_640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Ala-Ebtekar_640-160x86.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Ala-Ebtekar_640-240x129.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Ala-Ebtekar_640-375x202.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Ala-Ebtekar_640-520x280.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Ala Ebtekar, ‘Zenith (IV),’ 2015. \u003ccite>(Photo: Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003ch3>\u003ci>\u003ca href=\"http://www.dirosaart.org/be-not-still/\" target=\"_blank\" rel=\"noopener\">Be Not Still: Living in Uncertain Times (Part 1)\u003c/a>\u003c/i>\u003c/h3>\n\u003ch5>di Rosa, Napa\u003cbr>\nNov. 4, 2017 – May 27, 2018\u003c/h5>\n\u003cp>The di Rosa launches a new two-part exhibition series to directly address the ever-more-pressing concerns of the present with “experimentation and inquiry.” This marks the first exhibition in the di Rosa’s new configuration — the large Main Gallery houses newly commissioned works by Ala Ebtekar (on citizenship), Rigo 23 (on American exceptionalism) and Allison Smith (on North American fundamentalism), while the Gatehouse Gallery features items from the permanent collection curated by Dodie Bellamy and Kevin Killian (on surveillance). While most di Rosa shows of the past spanned just three to four months, \u003ci>Be Not Still\u003c/i> stays put for half a year — leaving you no excuse for not seeing it and ample time for the arts center to dig deep into its education programs, including a collaborative project with the Boys & Girls Clubs of Napa Valley.\u003c/p>\u003c/div>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"alignleft size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
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},
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"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
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"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
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"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"here-and-now": {
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
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