‘Emory Douglas: In Our Lifetime’ Shows the Evolution of a Revolutionary Artist
At this Weekend’s SF Hip-Hop Festival, an Examination of Black Displacement
A Celebration of Oakland's Black Cultural Figures, in Portraiture
How Yolanda López Changed Chicanx Art Forever
‘The Art of Protest’ Doc Profiles Activist Artists on a Pressing Mission
Emory Douglas to Discuss his Work as the Black Panthers’ Minister of Culture
The Faces and Conversations of MoAD's Winter Opening Reception
How Aretha Franklin Supported Angela Davis and the Black Panthers
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"content": "\u003cp>When it comes to the giants of protest art, few loom as large as \u003ca href=\"https://www.kqed.org/arts/tag/emory-douglas\">Emory Douglas\u003c/a>, the 82-year-old graphic artist, illustrator and muralist who served as the Black Panther Party’s minister of culture from 1967 to 1982. Douglas’ covers for the \u003ca href=\"https://www.kqed.org/arts/tag/black-panthers\">Black Panther Party\u003c/a> newspaper defined the look of the radical movements of the ’60s and ’70s, and more than 50 years later, those striking, high-contrast illustrations still offer a timely rebuke to police brutality and imperialism.\u003c/p>\n\u003cp>Most people know Douglas for iconic pieces like his rifle- and newspaper-toting \u003ca href=\"https://letterformarchive.org/news/emory-douglas-and-the-black-panther/?srsltid=AfmBOoqADM7tUS65s9Fz40JhaU5a-LfE8OMJynh_DkjLb3IDN2c-xxbH\">\u003cem>Paperboy\u003c/em> from 1970\u003c/a>, and in the decades since, he’s never stopped making art about liberation. It’s that more recent work, digital prints Douglas created within the last 15 years, that fills the first part of a new exhibition called \u003ca href=\"https://aaacc.org/exhibit/\">\u003cem>Emory Douglas: In Our Lifetime\u003c/em>\u003c/a>. The show, co-curated by Rio Yañez and Rosalind McGary, opened last week at San Francisco’s African American Art & Culture Complex. A second part of the exhibition, with Douglas’ archival works, will open at the same venue in February.\u003c/p>\n\u003cfigure id=\"attachment_13984783\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13984783\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Mothers-Love-by-Emory-Douglas-scaled.jpg\" alt=\"An illustration of a little Black girl kissing her mother on the cheek. \" width=\"2560\" height=\"1762\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Mothers-Love-by-Emory-Douglas-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Mothers-Love-by-Emory-Douglas-2000x1377.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Mothers-Love-by-Emory-Douglas-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Mothers-Love-by-Emory-Douglas-768x529.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Mothers-Love-by-Emory-Douglas-1536x1057.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Mothers-Love-by-Emory-Douglas-2048x1410.jpg 2048w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">‘Mother’s Love’ by Emory Douglas. \u003ccite>(Emory Douglas )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While many of Douglas’ classic illustrations of armed Black Panthers focus on the grit and righteous rage required to resist a violent status quo, in these new, vibrant, large-scale digital prints, Douglas softens his gaze and sets his sights on a hopeful future. Many of his subjects are women and children, who he renders in tropical oranges, leafy greens and ocean blues, often wearing West African textiles inspired by his international travels to build solidarity with revolutionary artists from around the world.\u003c/p>\n\u003cp>In the exhibition, Douglas reimagines his \u003cem>Paperboy\u003c/em> as \u003cem>Paper Girl\u003c/em>, who, like the original, holds a newspaper that reads “All power to the people.” Instead of a gun, she has an iPhone, a nod to the way social media accelerated more recent movements like Black Lives Matter.\u003c/p>\n\u003cp>A large poster of Douglas’ \u003ca href=\"https://www.moma.org/d/pdfs/W1siZiIsIjIwMjEvMTAvMTMvMnYzcDk1MzVuc19FbW9yeV9Eb3VnbGFzX1BvbGl0aWNhbF9BcnRpc3RfTWFuaWZlc3RvLnBkZiJdXQ/Emory-Douglas_Political-Artist-Manifesto.pdf?sha=b60562e103f20e79\">Political Artist Manifesto\u003c/a> greets visitors at the exhibition entrance, providing a lens through which to take in his commanding visuals. Douglas wrote the document in his Panther days, and it offers 12 points of advice: “Create art of social concerns that even a child can understand,” offers one. “Be prepared if necessary to defend and explain what you communicate through your art,” reads another.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The document invites visitors to reflect on how images can move hearts and inspire collective action. Indeed, it was Douglas’ imagery that helped spread the message of the Panthers’ groundbreaking social programs, cementing not only a sense of empowerment but also a timeless cool that’s drawn younger generations to their legacy and ideas.\u003c/p>\n\u003cfigure id=\"attachment_13984784\" class=\"wp-caption aligncenter\" style=\"max-width: 1810px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13984784\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Free-The-Land-by-Emory-Douglas-scaled.jpg\" alt=\"An illustration of a Palestinian person clutching an olive tree, and their body turns into roots going into the ground. \" width=\"1810\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Free-The-Land-by-Emory-Douglas-scaled.jpg 1810w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Free-The-Land-by-Emory-Douglas-2000x2829.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Free-The-Land-by-Emory-Douglas-160x226.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Free-The-Land-by-Emory-Douglas-768x1086.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Free-The-Land-by-Emory-Douglas-1086x1536.jpg 1086w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Free-The-Land-by-Emory-Douglas-1448x2048.jpg 1448w\" sizes=\"auto, (max-width: 1810px) 100vw, 1810px\">\u003cfigcaption class=\"wp-caption-text\">‘Free the Land’ by Emory Douglas. \u003ccite>(Emory Douglas)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>By centering children, Douglas’ newer pieces like \u003cem>Mother’s Love\u003c/em> — of a little girl kissing her mother on the cheek — evoke the feeling that revolutionary change is an act of love for the next generation. Other images, like a little boy whispering in a girl’s ear in \u003cem>Educate to Liberate\u003c/em>, remind viewers that a world in which children can safely learn and play is still out of reach for many in the U.S. and abroad.\u003c/p>\n\u003cp>Several of the pieces in \u003cem>In Our Lifetime\u003c/em> spotlight Palestinians’ resistance against displacement, apartheid and mass killings at the hands of Israel. \u003cem>Free the Land by Any Means Necessary\u003c/em> features a Palestinian man in a keffiyeh shooting a slingshot; in another piece a person hugs an olive tree, their legs turning into roots that connect to the land. [aside postid='arts_13984035']\u003c/p>\n\u003cp>There’s a famous quote from author Tony Cade Bambara that often gets repeated in activist circles, that it’s the role of the artist to “make the revolution irresistible.” For over six decades, Emory Douglas has been showing creatives how to do just that. Building upon the 12 lessons in his Political Artist Manifesto, \u003cem>Emory Douglas: In Our Lifetime\u003c/em> adds a 13th point: To never stop evolving.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://aaacc.org/exhibit/\">Emory Douglas: In Our Lifetime\u003c/a>’ is on view at the African American Art & Culture Complex (762 Fulton Street, San Francisco) through October 2026. Part two of the exhibit opens in February.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When it comes to the giants of protest art, few loom as large as \u003ca href=\"https://www.kqed.org/arts/tag/emory-douglas\">Emory Douglas\u003c/a>, the 82-year-old graphic artist, illustrator and muralist who served as the Black Panther Party’s minister of culture from 1967 to 1982. Douglas’ covers for the \u003ca href=\"https://www.kqed.org/arts/tag/black-panthers\">Black Panther Party\u003c/a> newspaper defined the look of the radical movements of the ’60s and ’70s, and more than 50 years later, those striking, high-contrast illustrations still offer a timely rebuke to police brutality and imperialism.\u003c/p>\n\u003cp>Most people know Douglas for iconic pieces like his rifle- and newspaper-toting \u003ca href=\"https://letterformarchive.org/news/emory-douglas-and-the-black-panther/?srsltid=AfmBOoqADM7tUS65s9Fz40JhaU5a-LfE8OMJynh_DkjLb3IDN2c-xxbH\">\u003cem>Paperboy\u003c/em> from 1970\u003c/a>, and in the decades since, he’s never stopped making art about liberation. It’s that more recent work, digital prints Douglas created within the last 15 years, that fills the first part of a new exhibition called \u003ca href=\"https://aaacc.org/exhibit/\">\u003cem>Emory Douglas: In Our Lifetime\u003c/em>\u003c/a>. The show, co-curated by Rio Yañez and Rosalind McGary, opened last week at San Francisco’s African American Art & Culture Complex. A second part of the exhibition, with Douglas’ archival works, will open at the same venue in February.\u003c/p>\n\u003cfigure id=\"attachment_13984783\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13984783\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Mothers-Love-by-Emory-Douglas-scaled.jpg\" alt=\"An illustration of a little Black girl kissing her mother on the cheek. \" width=\"2560\" height=\"1762\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Mothers-Love-by-Emory-Douglas-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Mothers-Love-by-Emory-Douglas-2000x1377.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Mothers-Love-by-Emory-Douglas-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Mothers-Love-by-Emory-Douglas-768x529.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Mothers-Love-by-Emory-Douglas-1536x1057.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Mothers-Love-by-Emory-Douglas-2048x1410.jpg 2048w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">‘Mother’s Love’ by Emory Douglas. \u003ccite>(Emory Douglas )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While many of Douglas’ classic illustrations of armed Black Panthers focus on the grit and righteous rage required to resist a violent status quo, in these new, vibrant, large-scale digital prints, Douglas softens his gaze and sets his sights on a hopeful future. Many of his subjects are women and children, who he renders in tropical oranges, leafy greens and ocean blues, often wearing West African textiles inspired by his international travels to build solidarity with revolutionary artists from around the world.\u003c/p>\n\u003cp>In the exhibition, Douglas reimagines his \u003cem>Paperboy\u003c/em> as \u003cem>Paper Girl\u003c/em>, who, like the original, holds a newspaper that reads “All power to the people.” Instead of a gun, she has an iPhone, a nod to the way social media accelerated more recent movements like Black Lives Matter.\u003c/p>\n\u003cp>A large poster of Douglas’ \u003ca href=\"https://www.moma.org/d/pdfs/W1siZiIsIjIwMjEvMTAvMTMvMnYzcDk1MzVuc19FbW9yeV9Eb3VnbGFzX1BvbGl0aWNhbF9BcnRpc3RfTWFuaWZlc3RvLnBkZiJdXQ/Emory-Douglas_Political-Artist-Manifesto.pdf?sha=b60562e103f20e79\">Political Artist Manifesto\u003c/a> greets visitors at the exhibition entrance, providing a lens through which to take in his commanding visuals. Douglas wrote the document in his Panther days, and it offers 12 points of advice: “Create art of social concerns that even a child can understand,” offers one. “Be prepared if necessary to defend and explain what you communicate through your art,” reads another.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The document invites visitors to reflect on how images can move hearts and inspire collective action. Indeed, it was Douglas’ imagery that helped spread the message of the Panthers’ groundbreaking social programs, cementing not only a sense of empowerment but also a timeless cool that’s drawn younger generations to their legacy and ideas.\u003c/p>\n\u003cfigure id=\"attachment_13984784\" class=\"wp-caption aligncenter\" style=\"max-width: 1810px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13984784\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Free-The-Land-by-Emory-Douglas-scaled.jpg\" alt=\"An illustration of a Palestinian person clutching an olive tree, and their body turns into roots going into the ground. \" width=\"1810\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Free-The-Land-by-Emory-Douglas-scaled.jpg 1810w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Free-The-Land-by-Emory-Douglas-2000x2829.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Free-The-Land-by-Emory-Douglas-160x226.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Free-The-Land-by-Emory-Douglas-768x1086.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Free-The-Land-by-Emory-Douglas-1086x1536.jpg 1086w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Free-The-Land-by-Emory-Douglas-1448x2048.jpg 1448w\" sizes=\"auto, (max-width: 1810px) 100vw, 1810px\">\u003cfigcaption class=\"wp-caption-text\">‘Free the Land’ by Emory Douglas. \u003ccite>(Emory Douglas)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>By centering children, Douglas’ newer pieces like \u003cem>Mother’s Love\u003c/em> — of a little girl kissing her mother on the cheek — evoke the feeling that revolutionary change is an act of love for the next generation. Other images, like a little boy whispering in a girl’s ear in \u003cem>Educate to Liberate\u003c/em>, remind viewers that a world in which children can safely learn and play is still out of reach for many in the U.S. and abroad.\u003c/p>\n\u003cp>Several of the pieces in \u003cem>In Our Lifetime\u003c/em> spotlight Palestinians’ resistance against displacement, apartheid and mass killings at the hands of Israel. \u003cem>Free the Land by Any Means Necessary\u003c/em> features a Palestinian man in a keffiyeh shooting a slingshot; in another piece a person hugs an olive tree, their legs turning into roots that connect to the land. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>There’s a famous quote from author Tony Cade Bambara that often gets repeated in activist circles, that it’s the role of the artist to “make the revolution irresistible.” For over six decades, Emory Douglas has been showing creatives how to do just that. Building upon the 12 lessons in his Political Artist Manifesto, \u003cem>Emory Douglas: In Our Lifetime\u003c/em> adds a 13th point: To never stop evolving.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://aaacc.org/exhibit/\">Emory Douglas: In Our Lifetime\u003c/a>’ is on view at the African American Art & Culture Complex (762 Fulton Street, San Francisco) through October 2026. Part two of the exhibit opens in February.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "sf-hip-hop-festival-midway-san-francisco-black-displacement",
"title": "At this Weekend’s SF Hip-Hop Festival, an Examination of Black Displacement",
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"content": "\u003cp>While watching the likes of \u003ca href=\"https://www.kqed.org/arts/13934014/digable-\">Digable Planets\u003c/a>, the Dogg Pound and \u003ca href=\"https://www.kqed.org/arts/13932471/souls-of-mischief-freestyle-93-til-infinity\">Souls of Mischief\u003c/a> this Saturday at the first annual SF Hip-Hop Festival, Bay Area rap fans will also get something more: a lesson in Black displacement.\u003c/p>\n\u003cp>That’s due to the efforts of Hodari Davis, who’s curated an art- and data-driven project, \u003cem>\u003ca href=\"https://edutainmentforequity.com/exhibit-a\">Exhibit A\u003c/a>\u003c/em>, to be projected onscreen during performers’ sets at the Midway in San Francisco. The exhibit addresses anti-Black policies — urban renewal, overpolicing, redlining — that have caused San Francisco’s Black population to decline consistently from 13.5% in 1970 to just 5.4% in 2025. \u003c/p>\n\u003cp>“The goal is to kind of get these data points in front of people so we can start pressuring the city to make some different policy choices,” Hodari says. \u003c/p>\n\u003cfigure id=\"attachment_13978899\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/AhmadWalker.ICE_.jpg\" alt=\"\" width=\"800\" height=\"639\" class=\"size-full wp-image-13978899\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/AhmadWalker.ICE_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/AhmadWalker.ICE_-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/AhmadWalker.ICE_-768x613.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Sanctuary From What?,’ by Ahmad Walker, part of a series of data-driven works in ‘Exhibit A,’ which premieres at the SF Hip-Hop Festival. \u003ccite>(Ahmad Walker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Naturally, the day-long festival’s primary draw is the musical lineup, with San Francisco hip-hop icons like \u003ca href=\"https://www.kqed.org/arts/13844422/and-ya-dont-stop-the-beastie-boys-visit-city-arts-lectures-in-sf\">Mix Master Mike\u003c/a>, \u003ca href=\"https://www.instagram.com/sanquinn415/reels/\">San Quinn\u003c/a>, the \u003ca href=\"https://www.kqed.org/arts/13952208/invisibl-skratch-piklz-filipino-djs-daly-city-san-francisco-turntablism-history\">Invisibl Skratch Piklz\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13923766/rbl-posse-a-lesson-to-be-learned-album-cover\">RBL Posse\u003c/a> alongside up-and-comers like \u003ca href=\"https://www.kqed.org/arts/13967001/paris-nights-east-oakland-rapper-videos-90s-throwbacks\">Paris Nights\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13957194/seiji-oda-bay-area-rap-lo-fi-minimalist-hyphy\">Seiji Oda\u003c/a> from across the Bay Bridge. \u003c/p>\n\u003cp>The intersection of civic policy and hip-hop may seem less prominent in San Francisco than in the East Bay, home of political rappers like Paris and the Coup. But Davis points to the long tradition of San Francisco graffiti, and the ways it’s challenged political norms in prominent spots around the city to make visible “the kinds of social justice resistance that we sometimes hear in rap from the East Bay.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>To that end, an upstairs graffiti exhibition and blackbook session on Saturday will include San Francisco artists such as Apex, Bukue and Omen2. In the hallway outside the concert hall will be an exhibit dedicated to the work of \u003ca href=\"https://www.kqed.org/arts/10141391/dream-but-dont-sleep-remembering-mike-dream-francisco\">Mike “Dream” Francisco\u003c/a>. And panel discussions, including one hosted by KQED’s Pendarvis Harshaw, will take place in a side room throughout the day.\u003c/p>\n\u003cp>[aside postID='arts_10141391']But it’s \u003cem>Exhibit A\u003c/em>, with work by Malik Seneferu, Ahmad Walker, Andrew Wilson and the Black Panther Party’s legendary artist \u003ca href=\"https://video.kqed.org/video/emory-douglas-the-black-panther-artist-uiabo7/\">Emory Douglas\u003c/a>, that will provide performance backdrops to exemplify the notion — popularized in hip-hop by KRS-One — of “\u003ca href=\"https://en.wikipedia.org/wiki/Edutainment_(album)\">edutainment\u003c/a>.” A bit of turntablism flair from Rob Swift, a bit of “Big Steppin’” from Stunnaman02, and a bit of education on San Francisco’s rates of incarceration, mental health and income inequality.\u003c/p>\n\u003cp>“What happened in the Fillmore, what happened to Bayview, with regard to dispossession and poverty, and the diminishing population of Black people in San Francisco … it’s a pretty intense story,” Davis says.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The \u003ca href=\"https://sfhiphop.org/\">SF Hip-Hop Festival\u003c/a> takes place Saturday, July 19, 1–9 p.m. at the Midway (900 Marin St., San Francisco). The night prior, on July 18, New York rap legend Rakim leads a \u003ca href=\"https://sfhiphop.org/calendar/\">panel discussion on AI in hip-hop\u003c/a> at the Midway with Sway Calloway, Davey D, Adisa Banjoko and others. \u003c/em>\u003c/p>\n\n",
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"title": "SF Hip-Hop Festival Examines Black Displacement | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>While watching the likes of \u003ca href=\"https://www.kqed.org/arts/13934014/digable-\">Digable Planets\u003c/a>, the Dogg Pound and \u003ca href=\"https://www.kqed.org/arts/13932471/souls-of-mischief-freestyle-93-til-infinity\">Souls of Mischief\u003c/a> this Saturday at the first annual SF Hip-Hop Festival, Bay Area rap fans will also get something more: a lesson in Black displacement.\u003c/p>\n\u003cp>That’s due to the efforts of Hodari Davis, who’s curated an art- and data-driven project, \u003cem>\u003ca href=\"https://edutainmentforequity.com/exhibit-a\">Exhibit A\u003c/a>\u003c/em>, to be projected onscreen during performers’ sets at the Midway in San Francisco. The exhibit addresses anti-Black policies — urban renewal, overpolicing, redlining — that have caused San Francisco’s Black population to decline consistently from 13.5% in 1970 to just 5.4% in 2025. \u003c/p>\n\u003cp>“The goal is to kind of get these data points in front of people so we can start pressuring the city to make some different policy choices,” Hodari says. \u003c/p>\n\u003cfigure id=\"attachment_13978899\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/AhmadWalker.ICE_.jpg\" alt=\"\" width=\"800\" height=\"639\" class=\"size-full wp-image-13978899\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/AhmadWalker.ICE_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/AhmadWalker.ICE_-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/AhmadWalker.ICE_-768x613.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Sanctuary From What?,’ by Ahmad Walker, part of a series of data-driven works in ‘Exhibit A,’ which premieres at the SF Hip-Hop Festival. \u003ccite>(Ahmad Walker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Naturally, the day-long festival’s primary draw is the musical lineup, with San Francisco hip-hop icons like \u003ca href=\"https://www.kqed.org/arts/13844422/and-ya-dont-stop-the-beastie-boys-visit-city-arts-lectures-in-sf\">Mix Master Mike\u003c/a>, \u003ca href=\"https://www.instagram.com/sanquinn415/reels/\">San Quinn\u003c/a>, the \u003ca href=\"https://www.kqed.org/arts/13952208/invisibl-skratch-piklz-filipino-djs-daly-city-san-francisco-turntablism-history\">Invisibl Skratch Piklz\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13923766/rbl-posse-a-lesson-to-be-learned-album-cover\">RBL Posse\u003c/a> alongside up-and-comers like \u003ca href=\"https://www.kqed.org/arts/13967001/paris-nights-east-oakland-rapper-videos-90s-throwbacks\">Paris Nights\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13957194/seiji-oda-bay-area-rap-lo-fi-minimalist-hyphy\">Seiji Oda\u003c/a> from across the Bay Bridge. \u003c/p>\n\u003cp>The intersection of civic policy and hip-hop may seem less prominent in San Francisco than in the East Bay, home of political rappers like Paris and the Coup. But Davis points to the long tradition of San Francisco graffiti, and the ways it’s challenged political norms in prominent spots around the city to make visible “the kinds of social justice resistance that we sometimes hear in rap from the East Bay.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>To that end, an upstairs graffiti exhibition and blackbook session on Saturday will include San Francisco artists such as Apex, Bukue and Omen2. In the hallway outside the concert hall will be an exhibit dedicated to the work of \u003ca href=\"https://www.kqed.org/arts/10141391/dream-but-dont-sleep-remembering-mike-dream-francisco\">Mike “Dream” Francisco\u003c/a>. And panel discussions, including one hosted by KQED’s Pendarvis Harshaw, will take place in a side room throughout the day.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But it’s \u003cem>Exhibit A\u003c/em>, with work by Malik Seneferu, Ahmad Walker, Andrew Wilson and the Black Panther Party’s legendary artist \u003ca href=\"https://video.kqed.org/video/emory-douglas-the-black-panther-artist-uiabo7/\">Emory Douglas\u003c/a>, that will provide performance backdrops to exemplify the notion — popularized in hip-hop by KRS-One — of “\u003ca href=\"https://en.wikipedia.org/wiki/Edutainment_(album)\">edutainment\u003c/a>.” A bit of turntablism flair from Rob Swift, a bit of “Big Steppin’” from Stunnaman02, and a bit of education on San Francisco’s rates of incarceration, mental health and income inequality.\u003c/p>\n\u003cp>“What happened in the Fillmore, what happened to Bayview, with regard to dispossession and poverty, and the diminishing population of Black people in San Francisco … it’s a pretty intense story,” Davis says.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The \u003ca href=\"https://sfhiphop.org/\">SF Hip-Hop Festival\u003c/a> takes place Saturday, July 19, 1–9 p.m. at the Midway (900 Marin St., San Francisco). The night prior, on July 18, New York rap legend Rakim leads a \u003ca href=\"https://sfhiphop.org/calendar/\">panel discussion on AI in hip-hop\u003c/a> at the Midway with Sway Calloway, Davey D, Adisa Banjoko and others. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Inside a lobby off Frank H. Ogawa Plaza in Oakland is a series of illustrations of educators and MCs, as well as photographers, poets and Black Panther Party members.\u003c/p>\n\u003cp>The portraits — all comprised of black jigsaw-puzzle-like images on top of yellow backgrounds with a vertical red line through the face — are a part of the \u003cem>Oakland’s Black Modern Arts Renaissance\u003c/em> exhibition by \u003ca href=\"https://www.instagram.com/shomari7382/\" target=\"_blank\" rel=\"noopener\">Shomari Smith\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13925728\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925728\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/DSC05106-800x535.jpg\" alt=\"Famed visual artist and Black Panther Party Newspaper illustrator Emory Douglas takes in Shomari Smith's Oakland's Black Modern Arts Renaissance exhibit. \" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC05106-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC05106-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC05106-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC05106-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC05106-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC05106.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Famed visual artist and Black Panther Party newspaper illustrator Emory Douglas takes in Shomari Smith’s ‘Oakland’s Black Modern Arts Renaissance’ exhibit. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“These are all of my people,” said Smith, a visual artist and \u003ca href=\"https://www.kqed.org/arts/13924170/hieroglyphics-hobo-junction-battle-documentary\" target=\"_blank\" rel=\"noopener\">documentary filmmaker\u003c/a>, at an opening reception with guests, portrait subjects and Oakland Mayor Sheng Thao. “These are people who taught me, people I’ve worked with, people I admire and people I’ve been inspired by.”\u003c/p>\n\u003cp>The images include portraits of \u003ca href=\"http://www.theblackwomanisgod.com/artists/jtlewis\" target=\"_blank\" rel=\"noopener\">Joan Tarika Lewis\u003c/a>, the first woman to join the Black Panther Party, as well as \u003ca href=\"https://sambafunk.com/about-us/\" target=\"_blank\" rel=\"noopener\">Theo Aytchan Williams\u003c/a> of SambaFunk!, OUSD educator Jasmene Miranda and jazz radio show host \u003ca href=\"https://www.instagram.com/g1rhythm/\" target=\"_blank\" rel=\"noopener\">Greg Bridges\u003c/a>, to name a few. (Full disclosure: there’s even a portrait of me.)\u003c/p>\n\u003cfigure id=\"attachment_13925748\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Screen-Shot-2023-02-28-at-2.27.48-PM-800x1006.png\" alt=\"An illustration of a man with a healthy beard and big smile, with a yellow background and a thick red line running vertically over the face\" width=\"600\" height=\"802\" class=\"size-medium wp-image-13925748\">\u003cfigcaption class=\"wp-caption-text\">A portrait of long-running jazz DJ Greg Bridges is one of many featured in ‘Oakland’s Black Modern Arts Renaissance,’ on view near Oakland City Hall. \u003ccite>(Shomari Smith)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As the wall text explains, the yellow backgrounds of Smith’s portraits represent creativity, while the red line represents a shared African bloodline. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Look these people up and find out more about their work,” encouraged Smith, while explaining that creating these images is his way of giving a little love back to the community — and making sure others recognize their work as well.\u003c/p>\n\u003cfigure id=\"attachment_13925729\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/DSC05124-800x535.jpg\" alt=\"Artists, educators and more gather to celebrate the opening reception of Shomari Smith's Oakland's Black Modern Arts Renaissance exhibit.\" width=\"800\" height=\"535\" class=\"size-medium wp-image-13925729\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC05124-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC05124-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC05124-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC05124-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC05124-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC05124.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artists, educators and more gather to celebrate the opening reception of Shomari Smith’s ‘Oakland’s Black Modern Arts Renaissance’ exhibit. \u003ccite>(Amir Aziz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Oakland’s Black Modern Arts Renaissance’ is free and open to the public during business hours, through the month of March, at the City of Oakland building at 250 Frank Ogawa Plaza in Oakland. \u003ca href=\"https://www.instagram.com/shomari7382/\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Inside a lobby off Frank H. Ogawa Plaza in Oakland is a series of illustrations of educators and MCs, as well as photographers, poets and Black Panther Party members.\u003c/p>\n\u003cp>The portraits — all comprised of black jigsaw-puzzle-like images on top of yellow backgrounds with a vertical red line through the face — are a part of the \u003cem>Oakland’s Black Modern Arts Renaissance\u003c/em> exhibition by \u003ca href=\"https://www.instagram.com/shomari7382/\" target=\"_blank\" rel=\"noopener\">Shomari Smith\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13925728\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925728\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/DSC05106-800x535.jpg\" alt=\"Famed visual artist and Black Panther Party Newspaper illustrator Emory Douglas takes in Shomari Smith's Oakland's Black Modern Arts Renaissance exhibit. \" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC05106-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC05106-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC05106-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC05106-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC05106-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC05106.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Famed visual artist and Black Panther Party newspaper illustrator Emory Douglas takes in Shomari Smith’s ‘Oakland’s Black Modern Arts Renaissance’ exhibit. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“These are all of my people,” said Smith, a visual artist and \u003ca href=\"https://www.kqed.org/arts/13924170/hieroglyphics-hobo-junction-battle-documentary\" target=\"_blank\" rel=\"noopener\">documentary filmmaker\u003c/a>, at an opening reception with guests, portrait subjects and Oakland Mayor Sheng Thao. “These are people who taught me, people I’ve worked with, people I admire and people I’ve been inspired by.”\u003c/p>\n\u003cp>The images include portraits of \u003ca href=\"http://www.theblackwomanisgod.com/artists/jtlewis\" target=\"_blank\" rel=\"noopener\">Joan Tarika Lewis\u003c/a>, the first woman to join the Black Panther Party, as well as \u003ca href=\"https://sambafunk.com/about-us/\" target=\"_blank\" rel=\"noopener\">Theo Aytchan Williams\u003c/a> of SambaFunk!, OUSD educator Jasmene Miranda and jazz radio show host \u003ca href=\"https://www.instagram.com/g1rhythm/\" target=\"_blank\" rel=\"noopener\">Greg Bridges\u003c/a>, to name a few. (Full disclosure: there’s even a portrait of me.)\u003c/p>\n\u003cfigure id=\"attachment_13925748\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Screen-Shot-2023-02-28-at-2.27.48-PM-800x1006.png\" alt=\"An illustration of a man with a healthy beard and big smile, with a yellow background and a thick red line running vertically over the face\" width=\"600\" height=\"802\" class=\"size-medium wp-image-13925748\">\u003cfigcaption class=\"wp-caption-text\">A portrait of long-running jazz DJ Greg Bridges is one of many featured in ‘Oakland’s Black Modern Arts Renaissance,’ on view near Oakland City Hall. \u003ccite>(Shomari Smith)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As the wall text explains, the yellow backgrounds of Smith’s portraits represent creativity, while the red line represents a shared African bloodline. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Look these people up and find out more about their work,” encouraged Smith, while explaining that creating these images is his way of giving a little love back to the community — and making sure others recognize their work as well.\u003c/p>\n\u003cfigure id=\"attachment_13925729\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/DSC05124-800x535.jpg\" alt=\"Artists, educators and more gather to celebrate the opening reception of Shomari Smith's Oakland's Black Modern Arts Renaissance exhibit.\" width=\"800\" height=\"535\" class=\"size-medium wp-image-13925729\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC05124-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC05124-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC05124-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC05124-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC05124-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC05124.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artists, educators and more gather to celebrate the opening reception of Shomari Smith’s ‘Oakland’s Black Modern Arts Renaissance’ exhibit. \u003ccite>(Amir Aziz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Oakland’s Black Modern Arts Renaissance’ is free and open to the public during business hours, through the month of March, at the City of Oakland building at 250 Frank Ogawa Plaza in Oakland. \u003ca href=\"https://www.instagram.com/shomari7382/\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "How Yolanda López Changed Chicanx Art Forever",
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"content": "\u003cp>Yolanda López, the celebrated Chicana artist and longtime Mission District resident, pioneered new representations of the Chicanx community throughout decades of work in painting, photography and graphic design. Reproductions of her images became iconic symbols of the Chicano movement, in accordance with her belief that art should serve the people.\u003c/p>\n\u003cp>She died from complications of liver cancer on Sept. 3 at age 79.\u003c/p>\n\u003cp>“Yolanda was a critical thinker. Outrageously brilliant and revolutionary feminist. Outstanding public intellectual. Painter, draftswoman, installation artist, writer, illustrator, political activist,” says Juana Alicia, an artist and one of Lopez’s close friends.\u003c/p>\n\u003cp>Born in San Diego to a working-class family, López moved to the Bay Area for college in the ’60s, and spent the rest of the decade participating in the social justice movements that rocked the nation. In the Mission, she became involved with the Third World Liberation Front’s fight for ethnic studies departments and the Los Siete movement’s agitation for the release of seven Chicano men accused of killing a white police officer.[aside postID='arts_12158966']\u003c/p>\n\u003cp>Her political awakening was also her artistic awakening: she learned how to create punchy images from Emory Douglas, the Black Panther Party’s Minister of Culture, and pressed her talent into service by illustrating \u003cem>¡Basta Ya!\u003c/em>, a radical Mission community newspaper.\u003c/p>\n\u003cfigure id=\"attachment_13903269\" class=\"wp-caption aligncenter\" style=\"max-width: 1736px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13903269\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/8.Free_Los_Siete-scaled.jpg\" alt=\"A black-and-white print with faces seen through stripes of American flag.\" width=\"1736\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/8.Free_Los_Siete-scaled.jpg 1736w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/8.Free_Los_Siete-800x1180.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/8.Free_Los_Siete-1020x1504.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/8.Free_Los_Siete-160x236.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/8.Free_Los_Siete-768x1133.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/8.Free_Los_Siete-1041x1536.jpg 1041w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/8.Free_Los_Siete-1389x2048.jpg 1389w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/8.Free_Los_Siete-1920x2832.jpg 1920w\" sizes=\"(max-width: 1736px) 100vw, 1736px\">\u003cfigcaption class=\"wp-caption-text\">Yolanda López, ‘Free Los Siete,’ 1969. \u003ccite>(Museum of Contemporary Art San Diego)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the mid-’70s, feeling burnt out and alienated from activism, López enrolled in a MFA program at the University of California, San Diego, where she would have the time and resources to make her most famous work. Under the influence of conceptual artist professors like Martha Rosler and Allan Sekula, López began to incorporate and repurpose images drawn from popular culture for political purposes.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>One example of her mature style was \u003cem>Who’s the Illegal Alien, Pilgrim?\u003c/em> The poster, originally commissioned by the Committee on Chicano Rights, depicts a Chicano man in Aztec garb holding immigration papers in one hand and pointing at the viewer with the other, in an ironic mirroring of Uncle Sam’s famous pose.\u003c/p>\n\u003cp>Ani Rivera, the executive director of Latinx-centered art gallery Galería de la Raza, recalls seeing that poster reproduced and plastered on the wall of her elementary school in San Diego. “I remember seeing that and completely having a visceral reaction. Growing up during Reaganomics, during the harsh political rhetoric impacting our community … to see an image of power [like that] … it just lit up my belly,” Rivera says. “It was a moment of finding my voice, of learning I could demand the same and question.”\u003c/p>\n\u003cfigure id=\"attachment_13903268\" class=\"wp-caption aligncenter\" style=\"max-width: 1672px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13903268\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/9.Illegal_Alien.jpg\" alt=\"\" width=\"1672\" height=\"2100\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/9.Illegal_Alien.jpg 1672w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/9.Illegal_Alien-800x1005.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/9.Illegal_Alien-1020x1281.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/9.Illegal_Alien-160x201.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/9.Illegal_Alien-768x965.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/9.Illegal_Alien-1223x1536.jpg 1223w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/9.Illegal_Alien-1631x2048.jpg 1631w\" sizes=\"(max-width: 1672px) 100vw, 1672px\">\u003cfigcaption class=\"wp-caption-text\">Yolanda López, ‘Who’s the Illegal Alien, Pilgrim?,’ 1978. \u003ccite>(Museum of Contemporary Art San Diego)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>López’s most provocative and renowned body of work, however, was her exploration of the Virgin of Guadalupe figure.\u003c/p>\n\u003cp>The artist explained what drew her to the Virgin in a 1993 interview for the journal \u003cem>CrossRoads\u003c/em>: “In 1978 there were no images of Latinos and Chicanos in mass media. As for movement media, the Virgin of Guadalupe was the most prevalent, continuous image of women (whereas there was a variety of male images—César Chávez, Zapata, a pantheon of male figures).”\u003c/p>\n\u003cp>To examine how the image portrayed and confined Chicana femininity, she painted three large canvases depicting the Virgin as herself, her mother and her grandmother. It was the first painting, depicting López running in the Virgin’s garments, that became, according to Museum of Contemporary Art San Diego curator Jill Dawsey, “one of the most widely reproduced and circulated images in the history of Chicanx art.”\u003c/p>\n\u003cfigure id=\"attachment_13903270\" class=\"wp-caption aligncenter\" style=\"max-width: 1906px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13903270\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/3.L%C3%B3pez_Portrait-of-the-Artist-as-Virgin-of-Guadalupe-scaled.jpg\" alt=\"\" width=\"1906\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/3.López_Portrait-of-the-Artist-as-Virgin-of-Guadalupe-scaled.jpg 1906w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/3.López_Portrait-of-the-Artist-as-Virgin-of-Guadalupe-800x1075.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/3.López_Portrait-of-the-Artist-as-Virgin-of-Guadalupe-1020x1370.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/3.López_Portrait-of-the-Artist-as-Virgin-of-Guadalupe-160x215.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/3.López_Portrait-of-the-Artist-as-Virgin-of-Guadalupe-768x1032.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/3.López_Portrait-of-the-Artist-as-Virgin-of-Guadalupe-1144x1536.jpg 1144w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/3.López_Portrait-of-the-Artist-as-Virgin-of-Guadalupe-1525x2048.jpg 1525w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/3.López_Portrait-of-the-Artist-as-Virgin-of-Guadalupe-1920x2579.jpg 1920w\" sizes=\"(max-width: 1906px) 100vw, 1906px\">\u003cfigcaption class=\"wp-caption-text\">Yolanda López, ‘Portrait of the Artist as Virgin of Guadalupe,’ 1978. \u003ccite>(Museum of Contemporary Art San Diego)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>López, along with \u003ca href=\"https://patssivaldez.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Patssi Valdez\u003c/a> and \u003ca href=\"https://esterhernandez.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Ester Hernandez\u003c/a>, was one of the earliest Chicana artists to reclaim the Virgin as a feminist symbol. The Virgin’s heavy robes, which usually seem to weigh her down, are cut at the knee, allowing her to leap out of her mandorla and shake off the male angel at her feet.\u003c/p>\n\u003cp>Asked in 2007 by Chicana/o studies professor Karen Mary Davalos why that piece in particular became a touchstone for generations of Chicana activists, López mused, “Because it’s exuberant, and I don’t think there are many exuberant pictures of us within the Chicano visual library.”\u003c/p>\n\u003cp>After the completion of her MFA degree, López returned to the Bay Area in the ’80s, teaching at the UC Berkeley, Mills College and California College of the Arts, and regularly exhibiting her work in group shows and the Mission’s Galería de la Raza.\u003c/p>\n\u003cp>After the birth of her son with fellow artist \u003ca href=\"https://www.kqed.org/arts/13833740/rene-yanez-revered-chicano-artist-and-gallery-founder-dies\" target=\"_blank\" rel=\"noopener noreferrer\">René Yañez\u003c/a>, she turned away from painting—she had limited time as a working mother—and towards photography, performances and large-scale installation. Works from this time period include \u003cem>Things I Never Told My Son About Being a Mexican\u003c/em>, an installation of found children’s objects with stereotypical depictions of Mexican people on them, and the \u003cem>Life in the Mission\u003c/em> series, a collection of photographs of daily life in her neighborhood.\u003c/p>\n\u003cp>[aside postID='arts_10138520']Her dedication to politically charged art never abated. She captured headlines in 2014 when she turned her eviction from her Mission apartment of 40 years into “garage sale” performances-slash-protests held at Galería and Red Poppy Art House. (Galería de la Raza itself \u003ca href=\"https://missionlocal.org/2018/12/evicted-galeria-de-la-raza-lands-on-valencia-street/\">was evicted\u003c/a> from its longtime building in 2018.)\u003c/p>\n\u003cp>Despite her long career as a major Chicana artist, López was only irregularly acknowledged by the art world at large. Her upcoming exhibition at the Museum of Contemporary Art San Diego, \u003cem>\u003ca href=\"https://www.mcasd.org/exhibitions/yolanda-l%C3%B3pez-portrait-artist\" target=\"_blank\" rel=\"noopener noreferrer\">Yolanda López: Portrait of the Artist\u003c/a>\u003c/em>, is the first solo museum exhibition of her work in her entire career.\u003c/p>\n\u003cp>“It took almost five decades to get this type of recognition of her work that she fought for,” says Rivera. “She nurtured so many of us. That’s why organizations like the Galería were created, we felt that we needed to create spaces that celebrated and honored alternative voices. The fact that it’s taken this long to have major museums open up their doors is just atrocious.”\u003c/p>\n\u003cp>Dawsey, the curator behind \u003cem>Portrait of the Artist\u003c/em>, says, “Yolanda was ignored by [the institutional art] world, but she also didn’t seek approval from that world. Her primary audience was always the Chicanx community … she was first and foremost committed to her politics.”\u003c/p>\n\u003cp>And the community gives back: a mural dedicated to her \u003ca href=\"https://missionlocal.org/2021/06/new-mural-honor-chicana-artist-yolanda-lopez-and-pay-homage-to-bay-area-solidarity-movements/\">is now up\u003c/a> near Folsom and 16th Street, and commemorative posters with her image can be spotted taped up on Mission storefronts.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“The same things Yolanda was talking about 50 years ago, we’re still dealing with them now,” says Rivera, who helped advocate for the mural. “What I feel excited about is that there’s a whole new generation that’s getting to know her work at a really important time.”\u003c/p>\n\n",
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"excerpt": "López, who died Sept. 3, created politically charged images of Chicanx identity during a five-decade-long career. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Yolanda López, the celebrated Chicana artist and longtime Mission District resident, pioneered new representations of the Chicanx community throughout decades of work in painting, photography and graphic design. Reproductions of her images became iconic symbols of the Chicano movement, in accordance with her belief that art should serve the people.\u003c/p>\n\u003cp>She died from complications of liver cancer on Sept. 3 at age 79.\u003c/p>\n\u003cp>“Yolanda was a critical thinker. Outrageously brilliant and revolutionary feminist. Outstanding public intellectual. Painter, draftswoman, installation artist, writer, illustrator, political activist,” says Juana Alicia, an artist and one of Lopez’s close friends.\u003c/p>\n\u003cp>Born in San Diego to a working-class family, López moved to the Bay Area for college in the ’60s, and spent the rest of the decade participating in the social justice movements that rocked the nation. In the Mission, she became involved with the Third World Liberation Front’s fight for ethnic studies departments and the Los Siete movement’s agitation for the release of seven Chicano men accused of killing a white police officer.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Her political awakening was also her artistic awakening: she learned how to create punchy images from Emory Douglas, the Black Panther Party’s Minister of Culture, and pressed her talent into service by illustrating \u003cem>¡Basta Ya!\u003c/em>, a radical Mission community newspaper.\u003c/p>\n\u003cfigure id=\"attachment_13903269\" class=\"wp-caption aligncenter\" style=\"max-width: 1736px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13903269\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/8.Free_Los_Siete-scaled.jpg\" alt=\"A black-and-white print with faces seen through stripes of American flag.\" width=\"1736\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/8.Free_Los_Siete-scaled.jpg 1736w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/8.Free_Los_Siete-800x1180.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/8.Free_Los_Siete-1020x1504.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/8.Free_Los_Siete-160x236.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/8.Free_Los_Siete-768x1133.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/8.Free_Los_Siete-1041x1536.jpg 1041w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/8.Free_Los_Siete-1389x2048.jpg 1389w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/8.Free_Los_Siete-1920x2832.jpg 1920w\" sizes=\"(max-width: 1736px) 100vw, 1736px\">\u003cfigcaption class=\"wp-caption-text\">Yolanda López, ‘Free Los Siete,’ 1969. \u003ccite>(Museum of Contemporary Art San Diego)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the mid-’70s, feeling burnt out and alienated from activism, López enrolled in a MFA program at the University of California, San Diego, where she would have the time and resources to make her most famous work. Under the influence of conceptual artist professors like Martha Rosler and Allan Sekula, López began to incorporate and repurpose images drawn from popular culture for political purposes.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>One example of her mature style was \u003cem>Who’s the Illegal Alien, Pilgrim?\u003c/em> The poster, originally commissioned by the Committee on Chicano Rights, depicts a Chicano man in Aztec garb holding immigration papers in one hand and pointing at the viewer with the other, in an ironic mirroring of Uncle Sam’s famous pose.\u003c/p>\n\u003cp>Ani Rivera, the executive director of Latinx-centered art gallery Galería de la Raza, recalls seeing that poster reproduced and plastered on the wall of her elementary school in San Diego. “I remember seeing that and completely having a visceral reaction. Growing up during Reaganomics, during the harsh political rhetoric impacting our community … to see an image of power [like that] … it just lit up my belly,” Rivera says. “It was a moment of finding my voice, of learning I could demand the same and question.”\u003c/p>\n\u003cfigure id=\"attachment_13903268\" class=\"wp-caption aligncenter\" style=\"max-width: 1672px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13903268\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/9.Illegal_Alien.jpg\" alt=\"\" width=\"1672\" height=\"2100\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/9.Illegal_Alien.jpg 1672w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/9.Illegal_Alien-800x1005.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/9.Illegal_Alien-1020x1281.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/9.Illegal_Alien-160x201.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/9.Illegal_Alien-768x965.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/9.Illegal_Alien-1223x1536.jpg 1223w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/9.Illegal_Alien-1631x2048.jpg 1631w\" sizes=\"(max-width: 1672px) 100vw, 1672px\">\u003cfigcaption class=\"wp-caption-text\">Yolanda López, ‘Who’s the Illegal Alien, Pilgrim?,’ 1978. \u003ccite>(Museum of Contemporary Art San Diego)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>López’s most provocative and renowned body of work, however, was her exploration of the Virgin of Guadalupe figure.\u003c/p>\n\u003cp>The artist explained what drew her to the Virgin in a 1993 interview for the journal \u003cem>CrossRoads\u003c/em>: “In 1978 there were no images of Latinos and Chicanos in mass media. As for movement media, the Virgin of Guadalupe was the most prevalent, continuous image of women (whereas there was a variety of male images—César Chávez, Zapata, a pantheon of male figures).”\u003c/p>\n\u003cp>To examine how the image portrayed and confined Chicana femininity, she painted three large canvases depicting the Virgin as herself, her mother and her grandmother. It was the first painting, depicting López running in the Virgin’s garments, that became, according to Museum of Contemporary Art San Diego curator Jill Dawsey, “one of the most widely reproduced and circulated images in the history of Chicanx art.”\u003c/p>\n\u003cfigure id=\"attachment_13903270\" class=\"wp-caption aligncenter\" style=\"max-width: 1906px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13903270\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/3.L%C3%B3pez_Portrait-of-the-Artist-as-Virgin-of-Guadalupe-scaled.jpg\" alt=\"\" width=\"1906\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/3.López_Portrait-of-the-Artist-as-Virgin-of-Guadalupe-scaled.jpg 1906w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/3.López_Portrait-of-the-Artist-as-Virgin-of-Guadalupe-800x1075.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/3.López_Portrait-of-the-Artist-as-Virgin-of-Guadalupe-1020x1370.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/3.López_Portrait-of-the-Artist-as-Virgin-of-Guadalupe-160x215.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/3.López_Portrait-of-the-Artist-as-Virgin-of-Guadalupe-768x1032.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/3.López_Portrait-of-the-Artist-as-Virgin-of-Guadalupe-1144x1536.jpg 1144w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/3.López_Portrait-of-the-Artist-as-Virgin-of-Guadalupe-1525x2048.jpg 1525w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/3.López_Portrait-of-the-Artist-as-Virgin-of-Guadalupe-1920x2579.jpg 1920w\" sizes=\"(max-width: 1906px) 100vw, 1906px\">\u003cfigcaption class=\"wp-caption-text\">Yolanda López, ‘Portrait of the Artist as Virgin of Guadalupe,’ 1978. \u003ccite>(Museum of Contemporary Art San Diego)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>López, along with \u003ca href=\"https://patssivaldez.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Patssi Valdez\u003c/a> and \u003ca href=\"https://esterhernandez.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Ester Hernandez\u003c/a>, was one of the earliest Chicana artists to reclaim the Virgin as a feminist symbol. The Virgin’s heavy robes, which usually seem to weigh her down, are cut at the knee, allowing her to leap out of her mandorla and shake off the male angel at her feet.\u003c/p>\n\u003cp>Asked in 2007 by Chicana/o studies professor Karen Mary Davalos why that piece in particular became a touchstone for generations of Chicana activists, López mused, “Because it’s exuberant, and I don’t think there are many exuberant pictures of us within the Chicano visual library.”\u003c/p>\n\u003cp>After the completion of her MFA degree, López returned to the Bay Area in the ’80s, teaching at the UC Berkeley, Mills College and California College of the Arts, and regularly exhibiting her work in group shows and the Mission’s Galería de la Raza.\u003c/p>\n\u003cp>After the birth of her son with fellow artist \u003ca href=\"https://www.kqed.org/arts/13833740/rene-yanez-revered-chicano-artist-and-gallery-founder-dies\" target=\"_blank\" rel=\"noopener noreferrer\">René Yañez\u003c/a>, she turned away from painting—she had limited time as a working mother—and towards photography, performances and large-scale installation. Works from this time period include \u003cem>Things I Never Told My Son About Being a Mexican\u003c/em>, an installation of found children’s objects with stereotypical depictions of Mexican people on them, and the \u003cem>Life in the Mission\u003c/em> series, a collection of photographs of daily life in her neighborhood.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Her dedication to politically charged art never abated. She captured headlines in 2014 when she turned her eviction from her Mission apartment of 40 years into “garage sale” performances-slash-protests held at Galería and Red Poppy Art House. (Galería de la Raza itself \u003ca href=\"https://missionlocal.org/2018/12/evicted-galeria-de-la-raza-lands-on-valencia-street/\">was evicted\u003c/a> from its longtime building in 2018.)\u003c/p>\n\u003cp>Despite her long career as a major Chicana artist, López was only irregularly acknowledged by the art world at large. Her upcoming exhibition at the Museum of Contemporary Art San Diego, \u003cem>\u003ca href=\"https://www.mcasd.org/exhibitions/yolanda-l%C3%B3pez-portrait-artist\" target=\"_blank\" rel=\"noopener noreferrer\">Yolanda López: Portrait of the Artist\u003c/a>\u003c/em>, is the first solo museum exhibition of her work in her entire career.\u003c/p>\n\u003cp>“It took almost five decades to get this type of recognition of her work that she fought for,” says Rivera. “She nurtured so many of us. That’s why organizations like the Galería were created, we felt that we needed to create spaces that celebrated and honored alternative voices. The fact that it’s taken this long to have major museums open up their doors is just atrocious.”\u003c/p>\n\u003cp>Dawsey, the curator behind \u003cem>Portrait of the Artist\u003c/em>, says, “Yolanda was ignored by [the institutional art] world, but she also didn’t seek approval from that world. Her primary audience was always the Chicanx community … she was first and foremost committed to her politics.”\u003c/p>\n\u003cp>And the community gives back: a mural dedicated to her \u003ca href=\"https://missionlocal.org/2021/06/new-mural-honor-chicana-artist-yolanda-lopez-and-pay-homage-to-bay-area-solidarity-movements/\">is now up\u003c/a> near Folsom and 16th Street, and commemorative posters with her image can be spotted taped up on Mission storefronts.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The same things Yolanda was talking about 50 years ago, we’re still dealing with them now,” says Rivera, who helped advocate for the mural. “What I feel excited about is that there’s a whole new generation that’s getting to know her work at a really important time.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>The Art of Protest\u003c/em> is not a measured, neutral or objective documentary. It’s an unabashed call to action for protesters, outspoken artists and radical musicians—and it’s not in the least bit interested in being anything else. If you don’t fall into any of those categories, there’s a good chance at least some of its content will offend you. If you are a person upset with the state of the world, it’s likely to provide inspiration. But, more than anything, \u003ci>The Art of Protest\u003c/i> is a succinct snapshot of an America dominated by political divisions.\u003c/p>\n\u003cp>[aside postID='arts_13837892']The film is divisive because of who produced it: \u003ca href=\"https://thisisindecline.com/\" target=\"_blank\" rel=\"noopener noreferrer\">INDECLINE\u003c/a>. The anonymous art collective has been active in the Bay Area—along with major cities across the country—for nearly 20 years. You might remember them for the naked \u003ca href=\"https://www.kqed.org/pop/33376/so-theres-a-naked-donald-trump-statue-in-the-castro-now-nsfw\" target=\"_blank\" rel=\"noopener noreferrer\">Donald Trump statue\u003c/a> they installed in the Castro back in 2016. Or the “1-800-GOT-JUNK?” billboard in Emeryville they transformed into \u003ca href=\"https://news.artnet.com/art-world/indecline-trump-immigration-billboad-1307870\" target=\"_blank\" rel=\"noopener noreferrer\">an anti-ICE statement\u003c/a> in 2018. As this film explains, the group has also, at various times, built a cemetery on a Trump golf course (“Here lies decency” read one of the tombstones), and built a rat-infested cell inside a Trump Hotel room.\u003c/p>\n\u003cp>But \u003cem>The Art of Protest\u003c/em> is not simply an advertisement for the activism of INDECLINE. The 45-minute film also features a fairly astonishing array of voices from the art, music and protest worlds, all of whom passionately share their views about the important role art can have in changing the world. And many of them are brazen about their willingness to cross legal lines to do it. Monica Guzman of LA’s \u003ca href=\"https://www.sunrisemovement.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Sunrise Movement\u003c/a> notes: “Breaking a law is a reminder to young people that the laws have to change. Why are we supposed to be following laws when corporations are destroying our planet?”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=uYvUaChT508\u003c/p>\n\u003cp>Featured artists include \u003ca href=\"https://www.ralphsteadman.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Ralph Steadman\u003c/a>, \u003ca href=\"https://obeygiant.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Shepard Fairey\u003c/a>, \u003ca href=\"https://www.bbc.com/sport/american-football/53415638\" target=\"_blank\" rel=\"noopener noreferrer\">Fabian Williams and Ash Nash\u003c/a>, \u003ca href=\"http://monicacanilao.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Monica Canilao\u003c/a>, \u003ca href=\"http://www.drooker.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Eric Drooker\u003c/a>, \u003ca href=\"https://jodieherrera.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Jodie Herrera\u003c/a> and many more. All speak passionately (and punchily—some are reduced to swift soundbites) about their motivations and methods. As do political practical jokers \u003ca href=\"https://theyesmen.org/\" target=\"_blank\" rel=\"noopener noreferrer\">The Yes Men\u003c/a>, photographer \u003ca href=\"https://en.wikipedia.org/wiki/Glen_E._Friedman\" target=\"_blank\" rel=\"noopener noreferrer\">Glen E. Friedman\u003c/a>, West Memphis Three survivor \u003ca href=\"https://twitter.com/damienechols\" target=\"_blank\" rel=\"noopener noreferrer\">Damien Echols\u003c/a>, trans activist \u003ca href=\"https://twitter.com/buckangel\" target=\"_blank\" rel=\"noopener noreferrer\">Buck Angel\u003c/a>, and former Minister of Culture for the Black Panther Party, \u003ca href=\"https://en.wikipedia.org/wiki/Emory_Douglas\" target=\"_blank\" rel=\"noopener noreferrer\">Emory Douglas\u003c/a>. Douglas describes how art was an essential method of spreading the group’s message. “The power of art,” he says, “is that it tells the truth that you won’t get from a bureaucrat, or politicians.”\u003c/p>\n\u003cp>Musicians interviewed include Moby, Tom Morello, Dave Navarro and members of Anti-Flag, Youth Brigade, Agnostic Front, Rise Against, Crass and Pussy Riot. (“We were prepared to die for what we believe in,” Nadya Tolokonnikova casually notes.) Bay Area punk mainstays like Jello Biafra, Fat Mike from NOFX, and \u003ca href=\"https://winstonsmith.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Winston Smith\u003c/a> all pop up. As does San Francisco-based Burning Man co-founder \u003ca href=\"https://en.wikipedia.org/wiki/John_Law_(artist)\" target=\"_blank\" rel=\"noopener noreferrer\">John Law\u003c/a>, who firmly states, “Fucking shit up is really fixing things.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Just as the interviewees hold nothing back, the documentary’s visuals are equally unfiltered. That means sitting through some deeply upsetting (though already infamous) footage of Black men and protesters being harmed by police officers, as well as clips from racist rallies. Footage of children playing soccer with replicas of prominent politicians’ heads also does not fail in its goal to shock.\u003c/p>\n\u003cp>\u003cem>The Art of Protest\u003c/em> then is a single-minded attempt to win viewers over to the ideas of revolutionary action. And it does so with a passion and urgency that, at times, feels infectious. But it’s in more sedate moments that the film has the greatest impact. Like when musician \u003ca href=\"https://www.grandsonmusic.com/dirty?ref=https://www.google.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Grandson\u003c/a> makes activism in art seem like merely a matter of good mental health: “Art parallels with the pent up anger—the unresolved calls for justice.” Or when Shepard Fairey points out that all art is capable of sharing something valuable with society. “The more contributing their voice in a creative way,” the Obey mastermind says, “the better the world will be.”\u003c/p>\n\u003cp>\u003cem>The Art of Protest\u003c/em> can be streamed in full at \u003ca href=\"https://www.rollingstone.com/culture/culture-news/indecline-documentary-art-of-protest-resistance-1074196/\" target=\"_blank\" rel=\"noopener noreferrer\">RollingStone.com\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>The Art of Protest\u003c/em> is not a measured, neutral or objective documentary. It’s an unabashed call to action for protesters, outspoken artists and radical musicians—and it’s not in the least bit interested in being anything else. If you don’t fall into any of those categories, there’s a good chance at least some of its content will offend you. If you are a person upset with the state of the world, it’s likely to provide inspiration. But, more than anything, \u003ci>The Art of Protest\u003c/i> is a succinct snapshot of an America dominated by political divisions.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The film is divisive because of who produced it: \u003ca href=\"https://thisisindecline.com/\" target=\"_blank\" rel=\"noopener noreferrer\">INDECLINE\u003c/a>. The anonymous art collective has been active in the Bay Area—along with major cities across the country—for nearly 20 years. You might remember them for the naked \u003ca href=\"https://www.kqed.org/pop/33376/so-theres-a-naked-donald-trump-statue-in-the-castro-now-nsfw\" target=\"_blank\" rel=\"noopener noreferrer\">Donald Trump statue\u003c/a> they installed in the Castro back in 2016. Or the “1-800-GOT-JUNK?” billboard in Emeryville they transformed into \u003ca href=\"https://news.artnet.com/art-world/indecline-trump-immigration-billboad-1307870\" target=\"_blank\" rel=\"noopener noreferrer\">an anti-ICE statement\u003c/a> in 2018. As this film explains, the group has also, at various times, built a cemetery on a Trump golf course (“Here lies decency” read one of the tombstones), and built a rat-infested cell inside a Trump Hotel room.\u003c/p>\n\u003cp>But \u003cem>The Art of Protest\u003c/em> is not simply an advertisement for the activism of INDECLINE. The 45-minute film also features a fairly astonishing array of voices from the art, music and protest worlds, all of whom passionately share their views about the important role art can have in changing the world. And many of them are brazen about their willingness to cross legal lines to do it. Monica Guzman of LA’s \u003ca href=\"https://www.sunrisemovement.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Sunrise Movement\u003c/a> notes: “Breaking a law is a reminder to young people that the laws have to change. Why are we supposed to be following laws when corporations are destroying our planet?”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/uYvUaChT508'\n title='//www.youtube.com/embed/uYvUaChT508'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Featured artists include \u003ca href=\"https://www.ralphsteadman.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Ralph Steadman\u003c/a>, \u003ca href=\"https://obeygiant.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Shepard Fairey\u003c/a>, \u003ca href=\"https://www.bbc.com/sport/american-football/53415638\" target=\"_blank\" rel=\"noopener noreferrer\">Fabian Williams and Ash Nash\u003c/a>, \u003ca href=\"http://monicacanilao.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Monica Canilao\u003c/a>, \u003ca href=\"http://www.drooker.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Eric Drooker\u003c/a>, \u003ca href=\"https://jodieherrera.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Jodie Herrera\u003c/a> and many more. All speak passionately (and punchily—some are reduced to swift soundbites) about their motivations and methods. As do political practical jokers \u003ca href=\"https://theyesmen.org/\" target=\"_blank\" rel=\"noopener noreferrer\">The Yes Men\u003c/a>, photographer \u003ca href=\"https://en.wikipedia.org/wiki/Glen_E._Friedman\" target=\"_blank\" rel=\"noopener noreferrer\">Glen E. Friedman\u003c/a>, West Memphis Three survivor \u003ca href=\"https://twitter.com/damienechols\" target=\"_blank\" rel=\"noopener noreferrer\">Damien Echols\u003c/a>, trans activist \u003ca href=\"https://twitter.com/buckangel\" target=\"_blank\" rel=\"noopener noreferrer\">Buck Angel\u003c/a>, and former Minister of Culture for the Black Panther Party, \u003ca href=\"https://en.wikipedia.org/wiki/Emory_Douglas\" target=\"_blank\" rel=\"noopener noreferrer\">Emory Douglas\u003c/a>. Douglas describes how art was an essential method of spreading the group’s message. “The power of art,” he says, “is that it tells the truth that you won’t get from a bureaucrat, or politicians.”\u003c/p>\n\u003cp>Musicians interviewed include Moby, Tom Morello, Dave Navarro and members of Anti-Flag, Youth Brigade, Agnostic Front, Rise Against, Crass and Pussy Riot. (“We were prepared to die for what we believe in,” Nadya Tolokonnikova casually notes.) Bay Area punk mainstays like Jello Biafra, Fat Mike from NOFX, and \u003ca href=\"https://winstonsmith.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Winston Smith\u003c/a> all pop up. As does San Francisco-based Burning Man co-founder \u003ca href=\"https://en.wikipedia.org/wiki/John_Law_(artist)\" target=\"_blank\" rel=\"noopener noreferrer\">John Law\u003c/a>, who firmly states, “Fucking shit up is really fixing things.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Just as the interviewees hold nothing back, the documentary’s visuals are equally unfiltered. That means sitting through some deeply upsetting (though already infamous) footage of Black men and protesters being harmed by police officers, as well as clips from racist rallies. Footage of children playing soccer with replicas of prominent politicians’ heads also does not fail in its goal to shock.\u003c/p>\n\u003cp>\u003cem>The Art of Protest\u003c/em> then is a single-minded attempt to win viewers over to the ideas of revolutionary action. And it does so with a passion and urgency that, at times, feels infectious. But it’s in more sedate moments that the film has the greatest impact. Like when musician \u003ca href=\"https://www.grandsonmusic.com/dirty?ref=https://www.google.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Grandson\u003c/a> makes activism in art seem like merely a matter of good mental health: “Art parallels with the pent up anger—the unresolved calls for justice.” Or when Shepard Fairey points out that all art is capable of sharing something valuable with society. “The more contributing their voice in a creative way,” the Obey mastermind says, “the better the world will be.”\u003c/p>\n\u003cp>\u003cem>The Art of Protest\u003c/em> can be streamed in full at \u003ca href=\"https://www.rollingstone.com/culture/culture-news/indecline-documentary-art-of-protest-resistance-1074196/\" target=\"_blank\" rel=\"noopener noreferrer\">RollingStone.com\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In the Black Panthers’ influential and widely-circulated newspaper, Emory Douglas’ drawings held near-equal space to the lines of written text, shaping the visual aesthetic of the Black Power movement. His designs and illustrations commanded attention: police as pigs; iconic renderings of Party leaders; young men bearing arms; slogans rendered in fat block letters. And they lived on—well after newsprint pages crumpled into wastebaskets, or deteriorated over time. Next to each, an underlined “Emory” identified their creator, as if the images could be attributed to anyone but the Black Panthers’ Minister of Culture.\u003c/p>\n\u003cp>Over the five decades since the founding of the Black Panther Party, Douglas’ work has never lost its power. In a recent interview with \u003ca href=\"https://news.artnet.com/art-world/emory-douglas-interview-1889924\" rel=\"noopener noreferrer\" target=\"_blank\">Artnet\u003c/a>, he explained, “Fifty years later, the artwork still has relevancy to it. Because we still have some of the same things happening now as happening then. You have young people who see that. When I do a talk, they’ll say, ‘Well, you could just tweak this and tweak that.’”\u003c/p>\n\u003cfigure id=\"attachment_13885335\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/TheBlackPanther_1200.jpg\" alt=\"\" width=\"1200\" height=\"893\" class=\"size-full wp-image-13885335\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/TheBlackPanther_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/TheBlackPanther_1200-800x595.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/TheBlackPanther_1200-1020x759.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/TheBlackPanther_1200-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/TheBlackPanther_1200-768x572.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Early issues of ‘The Black Panther’ from 1967. \u003ccite>(Courtesy The Freedom Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And now audiences will have that opportunity once again. On Thursday, Aug. 27, Douglas joins Stephen Coles, the associate curator and editorial director of San Francisco’s Letterform Archive, to talk about his creative process, his years with the Black Panthers and his relationship to the current uprising for racial justice. \u003c/p>\n\u003cp>If you haven’t heard of the hosting institution, a bit of background: The Letterform Archive is a nonprofit center in San Francisco’s Potrero Hill that houses over 60,000 items related to lettering, typography, calligraphy and graphic design (a.k.a. heaven for design geeks). Important for Thursday’s purposes, the collection holds 100 issues of \u003ci>The Black Panther\u003c/i> newspaper, which will be shown along with original prints during Douglas’ talk. \u003c/p>\n\u003cp>The event is part of the archive’s monthly Salon Series, in which a member of the staff or a guest expert takes a deeper dive into specific collections or themes. Unique in this new world of endless Zoom gatherings, these salons include a view of the discussed material via a live overhead camera, meaning audience members can see the objects as they would in person, leaning over one of the archive’s massive wooden tables.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Salon Series 23: A Conversation with Emory Douglas takes place Thursday, Aug. 27, 12–1:30pm, tickets are $10. \u003ca href=\"https://letterformarchive.org/events/letterform-archive-salon-series-23-a-conversation-with-emory-douglas\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the Black Panthers’ influential and widely-circulated newspaper, Emory Douglas’ drawings held near-equal space to the lines of written text, shaping the visual aesthetic of the Black Power movement. His designs and illustrations commanded attention: police as pigs; iconic renderings of Party leaders; young men bearing arms; slogans rendered in fat block letters. And they lived on—well after newsprint pages crumpled into wastebaskets, or deteriorated over time. Next to each, an underlined “Emory” identified their creator, as if the images could be attributed to anyone but the Black Panthers’ Minister of Culture.\u003c/p>\n\u003cp>Over the five decades since the founding of the Black Panther Party, Douglas’ work has never lost its power. In a recent interview with \u003ca href=\"https://news.artnet.com/art-world/emory-douglas-interview-1889924\" rel=\"noopener noreferrer\" target=\"_blank\">Artnet\u003c/a>, he explained, “Fifty years later, the artwork still has relevancy to it. Because we still have some of the same things happening now as happening then. You have young people who see that. When I do a talk, they’ll say, ‘Well, you could just tweak this and tweak that.’”\u003c/p>\n\u003cfigure id=\"attachment_13885335\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/TheBlackPanther_1200.jpg\" alt=\"\" width=\"1200\" height=\"893\" class=\"size-full wp-image-13885335\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/TheBlackPanther_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/TheBlackPanther_1200-800x595.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/TheBlackPanther_1200-1020x759.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/TheBlackPanther_1200-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/TheBlackPanther_1200-768x572.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Early issues of ‘The Black Panther’ from 1967. \u003ccite>(Courtesy The Freedom Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And now audiences will have that opportunity once again. On Thursday, Aug. 27, Douglas joins Stephen Coles, the associate curator and editorial director of San Francisco’s Letterform Archive, to talk about his creative process, his years with the Black Panthers and his relationship to the current uprising for racial justice. \u003c/p>\n\u003cp>If you haven’t heard of the hosting institution, a bit of background: The Letterform Archive is a nonprofit center in San Francisco’s Potrero Hill that houses over 60,000 items related to lettering, typography, calligraphy and graphic design (a.k.a. heaven for design geeks). Important for Thursday’s purposes, the collection holds 100 issues of \u003ci>The Black Panther\u003c/i> newspaper, which will be shown along with original prints during Douglas’ talk. \u003c/p>\n\u003cp>The event is part of the archive’s monthly Salon Series, in which a member of the staff or a guest expert takes a deeper dive into specific collections or themes. Unique in this new world of endless Zoom gatherings, these salons include a view of the discussed material via a live overhead camera, meaning audience members can see the objects as they would in person, leaning over one of the archive’s massive wooden tables.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Salon Series 23: A Conversation with Emory Douglas takes place Thursday, Aug. 27, 12–1:30pm, tickets are $10. \u003ca href=\"https://letterformarchive.org/events/letterform-archive-salon-series-23-a-conversation-with-emory-douglas\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The Faces and Conversations of MoAD's Winter Opening Reception",
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"content": "\u003cp>The event last Tuesday at the Museum of the African Diaspora (MoAD) in San Francisco was billed as the Winter 2020 Opening Reception. But it felt more like a family reunion, with art as a fantastic background, or rather, a talking piece.\u003c/p>\n\u003cp>On the first floor, where the entrance flows into a lobby and bookstore, there were two perpendicular lines of people: one with folks hanging up coats and bags, the other with people awaiting refreshments, many of them in conversation with whoever was adjacent to them. A quick scan of the room showed a gang of familiar faces, and pieces of Laylah Amatullah Barrayn’s artwork from the exhibit \u003ca href=\"https://www.moadsf.org/exhibition/baye-fall-riits-in-spirituality-fashion-and-resistance/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Baye Fall: Roots in Spirituality, Fashion and Resistance\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>I shook hands and exchanged hugs as I made my way through the building, all the way up to the third floor. That’s where I saw the work of Kwame Brathwaite’s \u003ca href=\"https://www.kqed.org/arts/13871900/photos-that-defined-black-is-beautiful-can-spark-conversation-once-again\">\u003cem>Black is Beautiful\u003c/em>\u003c/a>. The exhibition, which opened in December and runs through March, is comprised of large-scale photos of the \u003ca href=\"https://en.wikipedia.org/wiki/Grandassa_Models\" target=\"_blank\" rel=\"noopener noreferrer\">Grandassa models\u003c/a>, as well as smaller lifestyle photos, images of jazz album covers, and portraits of Brathwaite and his family.\u003c/p>\n\u003cfigure id=\"attachment_13873634\" class=\"wp-caption alignnone\" style=\"max-width: 1334px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13873634\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/ACC0DD24-6B68-4269-9E5E-7B78A1B3303A-e1579711371411.jpg\" alt='Lynworth \"Joonbug\" McIntosh looking at photo of the Grandassa Models. ' width=\"1334\" height=\"750\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/ACC0DD24-6B68-4269-9E5E-7B78A1B3303A-e1579711371411.jpg 1334w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/ACC0DD24-6B68-4269-9E5E-7B78A1B3303A-e1579711371411-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/ACC0DD24-6B68-4269-9E5E-7B78A1B3303A-e1579711371411-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/ACC0DD24-6B68-4269-9E5E-7B78A1B3303A-e1579711371411-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/ACC0DD24-6B68-4269-9E5E-7B78A1B3303A-e1579711371411-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/ACC0DD24-6B68-4269-9E5E-7B78A1B3303A-e1579711371411-1020x573.jpg 1020w\" sizes=\"(max-width: 1334px) 100vw, 1334px\">\u003cfigcaption class=\"wp-caption-text\">\u003ca href=\"https://www.instagram.com/p/B3-OBGlFYwm/\" target=\"_blank\" rel=\"noopener noreferrer\">Lynworth “Joonbug” McIntosh\u003c/a> looks at photos of the Grandassa models. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I made one loop and then headed down to the second floor for the main attraction of the evening: the work of MoAD’s current Emerging Artist Program awardee \u003ca href=\"https://www.instagram.com/___califia/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Chanell Stone\u003c/a>. Her series of self-portraits set in urban landscapes explores the connection between the lived-in environment and black bodies. “I want black people to reconnect with nature,” she told me. “Especially the nature that’s right in front of them.”\u003c/p>\n\u003cp>Stone uses a Pentax film camera to create images representative of what it’s like to be connected to nature despite residing in spaces enclosed in concrete, focusing on New York, her hometown of Los Angeles, and Oakland, where she currently resides.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The conversation about inner city residents’ connection to nature, or lack thereof, is evergreen. But it’s especially relevant now, given last week’s headlines of \u003ca href=\"https://www.npr.org/2020/01/14/796354560/lax-bound-aircraft-dumps-fuel-on-a-los-angeles-elementary-school\" target=\"_blank\" rel=\"noopener noreferrer\">jet fuel\u003c/a> being dumped in Los Angeles and \u003ca href=\"https://www.npr.org/2020/01/14/795961381/racist-housing-practices-from-the-1930s-linked-to-hotter-neighborhoods-today\" target=\"_blank\" rel=\"noopener noreferrer\">a study\u003c/a> showing higher temperatures in historically redlined neighborhoods.\u003c/p>\n\u003cfigure id=\"attachment_13873787\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13873787\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/511EB374-F14D-46EE-A72F-7F2B74318A0E-800x450.jpg\" alt=\"Idris Hassan standing in front of her work at the SF MoAD\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/511EB374-F14D-46EE-A72F-7F2B74318A0E-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/511EB374-F14D-46EE-A72F-7F2B74318A0E-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/511EB374-F14D-46EE-A72F-7F2B74318A0E-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/511EB374-F14D-46EE-A72F-7F2B74318A0E-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/511EB374-F14D-46EE-A72F-7F2B74318A0E-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/511EB374-F14D-46EE-A72F-7F2B74318A0E.jpg 1334w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Idris Hassan stands in front of her work at the MoAD in San Francisco. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On the same floor as Stone’s photography is \u003cem>Don’t Shoot: An Opus of the Opulence of Blackness\u003c/em>, a group exhibition including work by \u003ca href=\"https://www.oneworldjournalist.com/Gallery/About\" target=\"_blank\" rel=\"noopener noreferrer\">Angelica Ekeke\u003c/a>, \u003ca href=\"http://www.adrianowalker.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Adrian Walker\u003c/a> and \u003ca href=\"http://www.idrishassan.portfoliobox.me/\" target=\"_blank\" rel=\"noopener noreferrer\">Idris Hassan\u003c/a>, among many others.\u003c/p>\n\u003cp>A conversation with Melonie Green, co-curator of \u003cem>Don’t Shoot\u003c/em> along with her twin sister Melorra, led me to understand what went into the exhibition. “We’ve been a part of panel discussions, talk-backs, town halls,” said Melonie. “It gets to a point where you’re tired of talking. That’s why we created the other part of the installation, where people could put up their words”—referring to a chalkboard with prompts about how being in a majority white space makes one feel.\u003c/p>\n\u003cp>Melonie explained that she and her sister (the two are also executive directors of the \u003ca href=\"http://aaacc.org/\">African American Art & Culture Complex\u003c/a>) asked themselves, “What actions do we want people to take?” That led to adding a photo booth with empowering messages for African American attendees, and notes on how to be an ally for those who don’t identify as such.\u003c/p>\n\u003cfigure id=\"attachment_13873794\" class=\"wp-caption alignnone\" style=\"max-width: 1334px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13873794\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/6FDC11BB-0A7D-438B-B1CE-FD3761D1F369-e1579824886902.jpg\" alt=\"A message for the allies\" width=\"1334\" height=\"750\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/6FDC11BB-0A7D-438B-B1CE-FD3761D1F369-e1579824886902.jpg 1334w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/6FDC11BB-0A7D-438B-B1CE-FD3761D1F369-e1579824886902-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/6FDC11BB-0A7D-438B-B1CE-FD3761D1F369-e1579824886902-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/6FDC11BB-0A7D-438B-B1CE-FD3761D1F369-e1579824886902-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/6FDC11BB-0A7D-438B-B1CE-FD3761D1F369-e1579824886902-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/6FDC11BB-0A7D-438B-B1CE-FD3761D1F369-e1579824886902-1020x573.jpg 1020w\" sizes=\"(max-width: 1334px) 100vw, 1334px\">\u003cfigcaption class=\"wp-caption-text\">A message for the allies. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Melonie credited MoAD’s new Executive Director Monetta White for making a positive impact, evidenced by the attendance that evening. “There’s something special about the entire building being filled with a fresh vibe,” she said, going on to acknowledge that, as a museum which some still see as off-limits to them, “there is more work to be done.”\u003c/p>\n\u003cp>Melonie ended our chat by inviting me to the upcoming \u003ca href=\"https://www.moadsf.org/event/curator-artist-talk-dont-shoot-an-opus-of-the-opulence-of-blackness/?instance_id=15590\" target=\"_blank\" rel=\"noopener noreferrer\">artist talk on Jan. 30\u003c/a>. And she wasn’t the only one giving info about upcoming events.\u003c/p>\n\u003cp>Traci Bartlow told me about her upcoming exhibition, \u003ca href=\"https://www.eventbrite.com/e/my-life-in-nudes-exclusive-valentines-day-photo-viewing-tickets-88754191175\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>My Life in Nudes\u003c/em>\u003c/a>, which includes unpublished behind-the-scenes photos from HBO’s \u003cem>Real Sex: Episode 24,\u003c/em> which featured the Punany Poets and was filmed in Oakland in 1999.\u003c/p>\n\u003cp>Jarrell Phillips told me about his photography show \u003cem>The Souls of Black Folk: Joy, Grace and Glory\u003c/em>, a firsthand look at the African disapora showing at multiple branches of the San Francisco Public Library, starting with the Western Addition branch \u003ca href=\"https://www.facebook.com/events/san-francisco-public-library-western-addition-branch/the-souls-of-black-folk-joy-grace-and-glory-jarrel-phillips/1020081311664206/\" target=\"_blank\" rel=\"noopener noreferrer\">on Feb. 8\u003c/a>.\u003c/p>\n\u003cp>Marijuana entrepreneur Chelsea Candelaria told me about a 420-friendly movie night coming up on Jan. 31, presented in collaboration with one of her retail partners, \u003ca href=\"https://www.eventhi.io/event/movie-night-every-last-friday-of-the-3151\" target=\"_blank\" rel=\"noopener noreferrer\">New Life\u003c/a>.\u003c/p>\n\u003cp>Toshia Christal and Alie Jones are curating an upcoming SOMArts show called \u003ca href=\"https://www.somarts.org/curatorialresidency2019-2020/\" target=\"_blank\" rel=\"noopener noreferrer\">Unbound Roots\u003c/a>, opening March 12.\u003c/p>\n\u003cp>And even the DJ has events coming up: on Jan. 31, DJ Aebl Dee spins at the Oakland Musuem as part of the museum’s \u003ca href=\"https://museumca.org/2020/friday-nights-omca-jan31\" target=\"_blank\" rel=\"noopener noreferrer\">Friday Nights at OMCA\u003c/a> series.\u003c/p>\n\u003cp>A number of the artists I bumped into, like photographer and designer \u003ca href=\"https://me-cali-photo-art.pixieset.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Ron Calime \u003c/a>and visual designer \u003ca href=\"http://www.ayanaivery.com/\">Ayana Ivery\u003c/a>, are part of the \u003ca href=\"https://www.facebook.com/events/2975173265827275/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Art of the African Diaspora\u003c/em> show\u003c/a> opening this weekend at the Richmond Arts Center. Formerly known as \u003cem>The Art of Living Black\u003c/em>, the annual show features the work of \u003ca href=\"https://www.facebook.com/pg/TheArtOfLivingBlack2019/events/\" target=\"_blank\" rel=\"noopener noreferrer\">over 100 artists at venues all around the Bay Area\u003c/a> over the coming weeks.\u003c/p>\n\u003cp>Before leaving, I shook the hand of famed Black Panther Party Minister of Culture Emory Douglas. I hugged artist and co-creator of \u003cem>The Black Woman is God\u003c/em> Karen Senefru. I met \u003ca href=\"https://magazine.sfsu.edu/fall-2018/striking-gold\" target=\"_blank\" rel=\"noopener noreferrer\">Maryom Ana Al-Wadi\u003c/a>, who fought for a Black Studies program and the development of the College of Ethnic Studies at SF State over 50 years ago, and I was introduced to Sean Smith, a current student at SF State involved in the Black Student Union.\u003c/p>\n\u003cp>To think, when Chanell Stone sent me a message about the opening, I replied that I’d come but only stay for an hour or so, figuring that’d be enough time to take in the art.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But you know how it goes: come for the art, stay for the people.\u003c/p>\n\n",
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"title": "The Faces and Conversations of MoAD's Winter Opening Reception | KQED",
"description": "The event last Tuesday at the Museum of the African Diaspora (MoAD) in San Francisco was billed as the Winter 2020 Opening Reception. But it felt more like a family reunion, with art as a fantastic background, or rather, a talking piece. On the first floor, where the entrance flows into a lobby and bookstore, there were two perpendicular lines of people: one with folks hanging up coats and bags, the other with people awaiting refreshments, many of them in conversation with whoever was adjacent to them. A quick scan of the room showed a gang of familiar faces, and",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The event last Tuesday at the Museum of the African Diaspora (MoAD) in San Francisco was billed as the Winter 2020 Opening Reception. But it felt more like a family reunion, with art as a fantastic background, or rather, a talking piece.\u003c/p>\n\u003cp>On the first floor, where the entrance flows into a lobby and bookstore, there were two perpendicular lines of people: one with folks hanging up coats and bags, the other with people awaiting refreshments, many of them in conversation with whoever was adjacent to them. A quick scan of the room showed a gang of familiar faces, and pieces of Laylah Amatullah Barrayn’s artwork from the exhibit \u003ca href=\"https://www.moadsf.org/exhibition/baye-fall-riits-in-spirituality-fashion-and-resistance/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Baye Fall: Roots in Spirituality, Fashion and Resistance\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>I shook hands and exchanged hugs as I made my way through the building, all the way up to the third floor. That’s where I saw the work of Kwame Brathwaite’s \u003ca href=\"https://www.kqed.org/arts/13871900/photos-that-defined-black-is-beautiful-can-spark-conversation-once-again\">\u003cem>Black is Beautiful\u003c/em>\u003c/a>. The exhibition, which opened in December and runs through March, is comprised of large-scale photos of the \u003ca href=\"https://en.wikipedia.org/wiki/Grandassa_Models\" target=\"_blank\" rel=\"noopener noreferrer\">Grandassa models\u003c/a>, as well as smaller lifestyle photos, images of jazz album covers, and portraits of Brathwaite and his family.\u003c/p>\n\u003cfigure id=\"attachment_13873634\" class=\"wp-caption alignnone\" style=\"max-width: 1334px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13873634\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/ACC0DD24-6B68-4269-9E5E-7B78A1B3303A-e1579711371411.jpg\" alt='Lynworth \"Joonbug\" McIntosh looking at photo of the Grandassa Models. ' width=\"1334\" height=\"750\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/ACC0DD24-6B68-4269-9E5E-7B78A1B3303A-e1579711371411.jpg 1334w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/ACC0DD24-6B68-4269-9E5E-7B78A1B3303A-e1579711371411-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/ACC0DD24-6B68-4269-9E5E-7B78A1B3303A-e1579711371411-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/ACC0DD24-6B68-4269-9E5E-7B78A1B3303A-e1579711371411-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/ACC0DD24-6B68-4269-9E5E-7B78A1B3303A-e1579711371411-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/ACC0DD24-6B68-4269-9E5E-7B78A1B3303A-e1579711371411-1020x573.jpg 1020w\" sizes=\"(max-width: 1334px) 100vw, 1334px\">\u003cfigcaption class=\"wp-caption-text\">\u003ca href=\"https://www.instagram.com/p/B3-OBGlFYwm/\" target=\"_blank\" rel=\"noopener noreferrer\">Lynworth “Joonbug” McIntosh\u003c/a> looks at photos of the Grandassa models. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I made one loop and then headed down to the second floor for the main attraction of the evening: the work of MoAD’s current Emerging Artist Program awardee \u003ca href=\"https://www.instagram.com/___califia/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Chanell Stone\u003c/a>. Her series of self-portraits set in urban landscapes explores the connection between the lived-in environment and black bodies. “I want black people to reconnect with nature,” she told me. “Especially the nature that’s right in front of them.”\u003c/p>\n\u003cp>Stone uses a Pentax film camera to create images representative of what it’s like to be connected to nature despite residing in spaces enclosed in concrete, focusing on New York, her hometown of Los Angeles, and Oakland, where she currently resides.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The conversation about inner city residents’ connection to nature, or lack thereof, is evergreen. But it’s especially relevant now, given last week’s headlines of \u003ca href=\"https://www.npr.org/2020/01/14/796354560/lax-bound-aircraft-dumps-fuel-on-a-los-angeles-elementary-school\" target=\"_blank\" rel=\"noopener noreferrer\">jet fuel\u003c/a> being dumped in Los Angeles and \u003ca href=\"https://www.npr.org/2020/01/14/795961381/racist-housing-practices-from-the-1930s-linked-to-hotter-neighborhoods-today\" target=\"_blank\" rel=\"noopener noreferrer\">a study\u003c/a> showing higher temperatures in historically redlined neighborhoods.\u003c/p>\n\u003cfigure id=\"attachment_13873787\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13873787\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/511EB374-F14D-46EE-A72F-7F2B74318A0E-800x450.jpg\" alt=\"Idris Hassan standing in front of her work at the SF MoAD\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/511EB374-F14D-46EE-A72F-7F2B74318A0E-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/511EB374-F14D-46EE-A72F-7F2B74318A0E-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/511EB374-F14D-46EE-A72F-7F2B74318A0E-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/511EB374-F14D-46EE-A72F-7F2B74318A0E-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/511EB374-F14D-46EE-A72F-7F2B74318A0E-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/511EB374-F14D-46EE-A72F-7F2B74318A0E.jpg 1334w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Idris Hassan stands in front of her work at the MoAD in San Francisco. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On the same floor as Stone’s photography is \u003cem>Don’t Shoot: An Opus of the Opulence of Blackness\u003c/em>, a group exhibition including work by \u003ca href=\"https://www.oneworldjournalist.com/Gallery/About\" target=\"_blank\" rel=\"noopener noreferrer\">Angelica Ekeke\u003c/a>, \u003ca href=\"http://www.adrianowalker.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Adrian Walker\u003c/a> and \u003ca href=\"http://www.idrishassan.portfoliobox.me/\" target=\"_blank\" rel=\"noopener noreferrer\">Idris Hassan\u003c/a>, among many others.\u003c/p>\n\u003cp>A conversation with Melonie Green, co-curator of \u003cem>Don’t Shoot\u003c/em> along with her twin sister Melorra, led me to understand what went into the exhibition. “We’ve been a part of panel discussions, talk-backs, town halls,” said Melonie. “It gets to a point where you’re tired of talking. That’s why we created the other part of the installation, where people could put up their words”—referring to a chalkboard with prompts about how being in a majority white space makes one feel.\u003c/p>\n\u003cp>Melonie explained that she and her sister (the two are also executive directors of the \u003ca href=\"http://aaacc.org/\">African American Art & Culture Complex\u003c/a>) asked themselves, “What actions do we want people to take?” That led to adding a photo booth with empowering messages for African American attendees, and notes on how to be an ally for those who don’t identify as such.\u003c/p>\n\u003cfigure id=\"attachment_13873794\" class=\"wp-caption alignnone\" style=\"max-width: 1334px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13873794\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/6FDC11BB-0A7D-438B-B1CE-FD3761D1F369-e1579824886902.jpg\" alt=\"A message for the allies\" width=\"1334\" height=\"750\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/6FDC11BB-0A7D-438B-B1CE-FD3761D1F369-e1579824886902.jpg 1334w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/6FDC11BB-0A7D-438B-B1CE-FD3761D1F369-e1579824886902-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/6FDC11BB-0A7D-438B-B1CE-FD3761D1F369-e1579824886902-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/6FDC11BB-0A7D-438B-B1CE-FD3761D1F369-e1579824886902-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/6FDC11BB-0A7D-438B-B1CE-FD3761D1F369-e1579824886902-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/6FDC11BB-0A7D-438B-B1CE-FD3761D1F369-e1579824886902-1020x573.jpg 1020w\" sizes=\"(max-width: 1334px) 100vw, 1334px\">\u003cfigcaption class=\"wp-caption-text\">A message for the allies. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Melonie credited MoAD’s new Executive Director Monetta White for making a positive impact, evidenced by the attendance that evening. “There’s something special about the entire building being filled with a fresh vibe,” she said, going on to acknowledge that, as a museum which some still see as off-limits to them, “there is more work to be done.”\u003c/p>\n\u003cp>Melonie ended our chat by inviting me to the upcoming \u003ca href=\"https://www.moadsf.org/event/curator-artist-talk-dont-shoot-an-opus-of-the-opulence-of-blackness/?instance_id=15590\" target=\"_blank\" rel=\"noopener noreferrer\">artist talk on Jan. 30\u003c/a>. And she wasn’t the only one giving info about upcoming events.\u003c/p>\n\u003cp>Traci Bartlow told me about her upcoming exhibition, \u003ca href=\"https://www.eventbrite.com/e/my-life-in-nudes-exclusive-valentines-day-photo-viewing-tickets-88754191175\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>My Life in Nudes\u003c/em>\u003c/a>, which includes unpublished behind-the-scenes photos from HBO’s \u003cem>Real Sex: Episode 24,\u003c/em> which featured the Punany Poets and was filmed in Oakland in 1999.\u003c/p>\n\u003cp>Jarrell Phillips told me about his photography show \u003cem>The Souls of Black Folk: Joy, Grace and Glory\u003c/em>, a firsthand look at the African disapora showing at multiple branches of the San Francisco Public Library, starting with the Western Addition branch \u003ca href=\"https://www.facebook.com/events/san-francisco-public-library-western-addition-branch/the-souls-of-black-folk-joy-grace-and-glory-jarrel-phillips/1020081311664206/\" target=\"_blank\" rel=\"noopener noreferrer\">on Feb. 8\u003c/a>.\u003c/p>\n\u003cp>Marijuana entrepreneur Chelsea Candelaria told me about a 420-friendly movie night coming up on Jan. 31, presented in collaboration with one of her retail partners, \u003ca href=\"https://www.eventhi.io/event/movie-night-every-last-friday-of-the-3151\" target=\"_blank\" rel=\"noopener noreferrer\">New Life\u003c/a>.\u003c/p>\n\u003cp>Toshia Christal and Alie Jones are curating an upcoming SOMArts show called \u003ca href=\"https://www.somarts.org/curatorialresidency2019-2020/\" target=\"_blank\" rel=\"noopener noreferrer\">Unbound Roots\u003c/a>, opening March 12.\u003c/p>\n\u003cp>And even the DJ has events coming up: on Jan. 31, DJ Aebl Dee spins at the Oakland Musuem as part of the museum’s \u003ca href=\"https://museumca.org/2020/friday-nights-omca-jan31\" target=\"_blank\" rel=\"noopener noreferrer\">Friday Nights at OMCA\u003c/a> series.\u003c/p>\n\u003cp>A number of the artists I bumped into, like photographer and designer \u003ca href=\"https://me-cali-photo-art.pixieset.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Ron Calime \u003c/a>and visual designer \u003ca href=\"http://www.ayanaivery.com/\">Ayana Ivery\u003c/a>, are part of the \u003ca href=\"https://www.facebook.com/events/2975173265827275/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Art of the African Diaspora\u003c/em> show\u003c/a> opening this weekend at the Richmond Arts Center. Formerly known as \u003cem>The Art of Living Black\u003c/em>, the annual show features the work of \u003ca href=\"https://www.facebook.com/pg/TheArtOfLivingBlack2019/events/\" target=\"_blank\" rel=\"noopener noreferrer\">over 100 artists at venues all around the Bay Area\u003c/a> over the coming weeks.\u003c/p>\n\u003cp>Before leaving, I shook the hand of famed Black Panther Party Minister of Culture Emory Douglas. I hugged artist and co-creator of \u003cem>The Black Woman is God\u003c/em> Karen Senefru. I met \u003ca href=\"https://magazine.sfsu.edu/fall-2018/striking-gold\" target=\"_blank\" rel=\"noopener noreferrer\">Maryom Ana Al-Wadi\u003c/a>, who fought for a Black Studies program and the development of the College of Ethnic Studies at SF State over 50 years ago, and I was introduced to Sean Smith, a current student at SF State involved in the Black Student Union.\u003c/p>\n\u003cp>To think, when Chanell Stone sent me a message about the opening, I replied that I’d come but only stay for an hour or so, figuring that’d be enough time to take in the art.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But you know how it goes: come for the art, stay for the people.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Aretha Franklin, the queen of soul and 20th century pop titan who died Thursday at home in Detroit, had a special connection to the Bay Area’s radical history. \u003c/p>\n\u003cp>Franklin, whose “Respect” became a civil-rights anthem, connected with the Black Power movement in the Bay Area. In a 1971 \u003cem>Jet\u003c/em> magazine interview, she offered to pay the bail of Angela Davis, then imprisoned after eluding arrest for alleged ties to a courtroom escape-turned-shootout in Marin. \u003c/p>\n\u003cp>“Angela Davis must go free,” Franklin said. “Black people will be free. I’ve been locked up… and I know you got to disturb the peace when you can’t get no peace. Jail is hell to be in. I’m going to see her free if there is any justice in our courts, not because I believe in communism, but because she’s a black woman and she wants freedom for black people. I have the money; I got it from black people.”\u003c/p>\n\u003cp>Franklin noted that her father, the preacher C.L. Franklin, did not approve of her position. “Well, I respect him, of course,” she said, “but I’m going to stick by my beliefs. Angela Davis must go free. Black people will be free.”\u003c/p>\n\u003cblockquote class=\"twitter-tweet\">\n\u003cp lang=\"en\" dir=\"ltr\">Aretha Franklin in a December 1970 issue of Jet Magazine, on why she was willing to post bond for Angela Davis. \u003ca href=\"https://t.co/UN7at4MiyD\">pic.twitter.com/UN7at4MiyD\u003c/a>\u003c/p>\n\u003cp>— Jacobin (@jacobinmag) \u003ca href=\"https://twitter.com/jacobinmag/status/1030117996138823680?ref_src=twsrc%5Etfw\">August 16, 2018\u003c/a>\u003c/p>\u003c/blockquote>\n\u003cp>The next year, Franklin wrote a letter to Black Panther Party Minister of Culture Emory Douglas, expressing her regret that due to timing issues, she couldn’t appear at a fundraiser for the Oakland-headquartered organization. “I love what you are doing in the community, and I am looking forward to meeting all of you,” she wrote.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I am also gratified that you thought enough to write and let me know your feelings, as once in a while one feels so inadequate in this business and wonders if people really feel we have talent or not and if that talent brings a smile or so from those we try to reach.” \u003c/p>\n\u003cp>Davis \u003ca href=\"https://www.thenation.com/article/aretha-franklin-musical-genius-truth-teller-freedom-fighter/\" rel=\"noopener noreferrer\" target=\"_blank\">told \u003cem>The Nation\u003c/em> \u003c/a>this week that Franklin was among her most high-profile supporters. “Her bold public call for justice in my case helped in a major way to consolidate the international campaign for my freedom,” Davis said.\u003c/p>\n\u003cblockquote class=\"twitter-tweet\">\n\u003cp lang=\"en\" dir=\"ltr\">just found this mind blowingly humble letter from Aretha Franklin to Emory Douglas, Minster of Culture for Culture of the Black Panther Party while doing some archival digging: “Once in a while one feels so inadequate in this business” \u003ca href=\"https://t.co/tGh7FXTMxT\">pic.twitter.com/tGh7FXTMxT\u003c/a>\u003c/p>\n\u003cp>— your friend jeff (@muttgomery) \u003ca href=\"https://twitter.com/muttgomery/status/1029045575423942656?ref_src=twsrc%5Etfw\">August 13, 2018\u003c/a>\u003c/p>\u003c/blockquote>\n\u003cp>Franklin’s connection to the Bay Area was also cemented in her concert appearances over the decades.\u003c/p>\n\u003cp>As a teenager in the 1950s, Franklin performed at the Oakland Civic Auditorium (later named for industrialist Henry J. Kaiser) as part of a gospel revue led by her father. The event, promoted by Mel Reid of \u003ca href=\"https://www.npr.org/sections/therecord/2010/10/06/130376601/reid-s-records-65-years-of-family-owned-gospel\" rel=\"noopener noreferrer\" target=\"_blank\">Reid’s Records\u003c/a> in Berkeley, yielded her classic recording, “\u003ca href=\"https://www.youtube.com/watch?v=korCFV2etT8\">Precious Lord, Parts 1 and 2\u003c/a>.” In 1967, after making her San Francisco debut at the Jazz Workshop in North Beach, she returned to the Oakland Civic Auditorium as a headliner near the height of her secular stardom. \u003c/p>\n\u003cp>(Franklin has a plaque on the West Oakland Blues of Walk of Fame commemorating artists who performed on 7th Street, but in a 2015 \u003ca href=\"http://www.oaklandpost.org/2015/08/04/queen-soul-aretha-franklin-returns-oakland/\">interview\u003c/a> with the \u003cem>Oakland Post\u003c/em>, she claimed she never played Esther’s Orbit Room, as some have said.) \u003c/p>\n\u003cp>In 1971, storied promoter Bill Graham brought her to his Fillmore West in San Francisco for three nights, a recording of which was released on Atlantic Records that year as \u003cem>Live at Fillmore West\u003c/em>. Album highlights include her crossover covers of Simon & Garfunkel and Beatles, done as stomping, gospel-tinged funk, and a 19-minute duet, “Spirit in the Dark,” with surprise guest Ray Charles. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Franklin performed several times at the Circle Star Theater in Santa Clara, but between the years 1978 and 2014, a fear of flying kept Franklin from performing in the Bay Area entirely. She finally returned after nearly four decades for a concert at the Oracle Arena.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Aretha Franklin, the queen of soul and 20th century pop titan who died Thursday at home in Detroit, had a special connection to the Bay Area’s radical history. \u003c/p>\n\u003cp>Franklin, whose “Respect” became a civil-rights anthem, connected with the Black Power movement in the Bay Area. In a 1971 \u003cem>Jet\u003c/em> magazine interview, she offered to pay the bail of Angela Davis, then imprisoned after eluding arrest for alleged ties to a courtroom escape-turned-shootout in Marin. \u003c/p>\n\u003cp>“Angela Davis must go free,” Franklin said. “Black people will be free. I’ve been locked up… and I know you got to disturb the peace when you can’t get no peace. Jail is hell to be in. I’m going to see her free if there is any justice in our courts, not because I believe in communism, but because she’s a black woman and she wants freedom for black people. I have the money; I got it from black people.”\u003c/p>\n\u003cp>Franklin noted that her father, the preacher C.L. Franklin, did not approve of her position. “Well, I respect him, of course,” she said, “but I’m going to stick by my beliefs. Angela Davis must go free. Black people will be free.”\u003c/p>\n\u003cblockquote class=\"twitter-tweet\">\n\u003cp lang=\"en\" dir=\"ltr\">Aretha Franklin in a December 1970 issue of Jet Magazine, on why she was willing to post bond for Angela Davis. \u003ca href=\"https://t.co/UN7at4MiyD\">pic.twitter.com/UN7at4MiyD\u003c/a>\u003c/p>\n\u003cp>— Jacobin (@jacobinmag) \u003ca href=\"https://twitter.com/jacobinmag/status/1030117996138823680?ref_src=twsrc%5Etfw\">August 16, 2018\u003c/a>\u003c/p>\u003c/blockquote>\n\u003cp>The next year, Franklin wrote a letter to Black Panther Party Minister of Culture Emory Douglas, expressing her regret that due to timing issues, she couldn’t appear at a fundraiser for the Oakland-headquartered organization. “I love what you are doing in the community, and I am looking forward to meeting all of you,” she wrote.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I am also gratified that you thought enough to write and let me know your feelings, as once in a while one feels so inadequate in this business and wonders if people really feel we have talent or not and if that talent brings a smile or so from those we try to reach.” \u003c/p>\n\u003cp>Davis \u003ca href=\"https://www.thenation.com/article/aretha-franklin-musical-genius-truth-teller-freedom-fighter/\" rel=\"noopener noreferrer\" target=\"_blank\">told \u003cem>The Nation\u003c/em> \u003c/a>this week that Franklin was among her most high-profile supporters. “Her bold public call for justice in my case helped in a major way to consolidate the international campaign for my freedom,” Davis said.\u003c/p>\n\u003cblockquote class=\"twitter-tweet\">\n\u003cp lang=\"en\" dir=\"ltr\">just found this mind blowingly humble letter from Aretha Franklin to Emory Douglas, Minster of Culture for Culture of the Black Panther Party while doing some archival digging: “Once in a while one feels so inadequate in this business” \u003ca href=\"https://t.co/tGh7FXTMxT\">pic.twitter.com/tGh7FXTMxT\u003c/a>\u003c/p>\n\u003cp>— your friend jeff (@muttgomery) \u003ca href=\"https://twitter.com/muttgomery/status/1029045575423942656?ref_src=twsrc%5Etfw\">August 13, 2018\u003c/a>\u003c/p>\u003c/blockquote>\n\u003cp>Franklin’s connection to the Bay Area was also cemented in her concert appearances over the decades.\u003c/p>\n\u003cp>As a teenager in the 1950s, Franklin performed at the Oakland Civic Auditorium (later named for industrialist Henry J. Kaiser) as part of a gospel revue led by her father. The event, promoted by Mel Reid of \u003ca href=\"https://www.npr.org/sections/therecord/2010/10/06/130376601/reid-s-records-65-years-of-family-owned-gospel\" rel=\"noopener noreferrer\" target=\"_blank\">Reid’s Records\u003c/a> in Berkeley, yielded her classic recording, “\u003ca href=\"https://www.youtube.com/watch?v=korCFV2etT8\">Precious Lord, Parts 1 and 2\u003c/a>.” In 1967, after making her San Francisco debut at the Jazz Workshop in North Beach, she returned to the Oakland Civic Auditorium as a headliner near the height of her secular stardom. \u003c/p>\n\u003cp>(Franklin has a plaque on the West Oakland Blues of Walk of Fame commemorating artists who performed on 7th Street, but in a 2015 \u003ca href=\"http://www.oaklandpost.org/2015/08/04/queen-soul-aretha-franklin-returns-oakland/\">interview\u003c/a> with the \u003cem>Oakland Post\u003c/em>, she claimed she never played Esther’s Orbit Room, as some have said.) \u003c/p>\n\u003cp>In 1971, storied promoter Bill Graham brought her to his Fillmore West in San Francisco for three nights, a recording of which was released on Atlantic Records that year as \u003cem>Live at Fillmore West\u003c/em>. Album highlights include her crossover covers of Simon & Garfunkel and Beatles, done as stomping, gospel-tinged funk, and a 19-minute duet, “Spirit in the Dark,” with surprise guest Ray Charles. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Franklin performed several times at the Circle Star Theater in Santa Clara, but between the years 1978 and 2014, a fear of flying kept Franklin from performing in the Bay Area entirely. She finally returned after nearly four decades for a concert at the Oracle Arena.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"soldout": {
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