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Two fairs descend on San Francisco beginning Thursday, and everyone is pulling out the stops. \u003c/p>\n\u003cp>\u003ca href=\"https://fogfair.com/\" rel=\"noopener\" target=\"_blank\">FOG Art+Design\u003c/a> (located at Fort Mason’s Festival Pavilion) and \u003ca href=\"https://untitledartfairs.com/san-francisco\" rel=\"noopener\" target=\"_blank\">Untitled, San Francisco\u003c/a> (trying out venue number three at Pier 35) bring 112 exhibitors (some local, some from as far away as Warsaw and Taipei) to the northeast edge of San Francisco for a weekend of art viewing, accompanying events and—the exhibitors hope—sales.\u003c/p>\n\u003cp>If you’re an gallerygoer without much wall space or pocket change to spare, fairs are a chance to see offerings by out-of-town galleries, take the temperature of other regions’ art scenes and make note of venues to visit should you happen to find yourself in London, Madrid or, more easily, Los Angeles and New York. \u003c/p>\n\u003cp>And if you’re a collector, fairs are pretty much all of the above, but with the added possibility of purchasing work.\u003c/p>\n\u003cfigure id=\"attachment_13848780\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/FOG.jpg\" alt=\"Last year's FOG Design+Art, fittingly, in the fog of Fort Mason.\" width=\"1600\" height=\"1066\" class=\"size-full wp-image-13848780\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/FOG.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/FOG-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/FOG-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/FOG-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/FOG-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/FOG-1200x800.jpg 1200w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">Last year’s FOG Design+Art, fittingly, in the fog of Fort Mason. \u003ccite>(Courtesy of FOG)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It can all be a bit overwhelming, but in addition to strolling through rows of booths filled with beautiful things, FOG and Untitled offer visitors a variety of extra programming in the days to come (which may help justify the $25 and $35 ticket prices, respectively). \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At 4:30pm on Thursday, Jan. 17, FOG (uniquely divided between fine art offerings and design objects) features the Bay Area’s favorite nonagenarian artist and designer, Barbara Stauffacher Solomon, \u003ca href=\"https://fogfair.com/schedule/\" rel=\"noopener\" target=\"_blank\">in conversation\u003c/a> with SFMOMA architecture and design curator Jennifer Dunlop Fletcher. (Stauffacher Solomon’s work is currently on view as part of the museum’s \u003ca href=\"https://www.sfmoma.org/exhibition/sea-ranch/\" rel=\"noopener\" target=\"_blank\">Sea Ranch exhibition\u003c/a>.) The talk is titled “Make it Happy, Kid!” and if that alone isn’t enough incentive, revisit \u003ca href=\"https://www.kqed.org/arts/13839094/barbara-stauffacher-solomon-bampfa-art-wall\" rel=\"noopener\" target=\"_blank\">last year’s interview\u003c/a> with Stauffacher Solomon for a taste of just how delightfully no-nonsense she is in person.\u003c/p>\n\u003cp>[contextly_sidebar id=”2Q5HADnyUel6A71UJgVXrCWKcRAT4lZm”]\u003c/p>\n\u003cp>This year’s art fair weekend coincides with the now-annual Women’s March, and instead of ignoring that fact, Berkeley-based artist Masako Miki (whose work is up at BAMPFA in \u003ca href=\"https://bampfa.org/event/womens-march-poster-workshop-bampfa-art-lab-and-masako-miki\" rel=\"noopener\" target=\"_blank\">the latest MATRIX show\u003c/a>) welcomes Untitled visitors to a preemptive \u003ca href=\"https://untitledartfairs.com/san-francisco/program/event/01-18-2019\" rel=\"noopener\" target=\"_blank\">poster-making workshop\u003c/a> on Friday, Jan. 18, 1–5pm. \u003c/p>\n\u003cp>In that vein, the final event on FOG’s slate (scheduled for 1pm on Sunday, Jan. 20) is the panel “Art and Activism In and Out of Institutions,” including artist Nigel Poor (of the fantastic podcast \u003ci>\u003ca href=\"https://www.kqed.org/arts/13847946/california-inmate-takes-unlikely-path-to-freedom-podcasting\" rel=\"noopener\" target=\"_blank\">Ear Hustle\u003c/a>\u003c/i>) and artist Stephanie Syjuco (whose open-source \u003ca href=\"https://www.kqed.org/arts/12682235/with-fabric-banners-stephanie-syjuco-shares-patterns-for-protest\" rel=\"noopener\" target=\"_blank\">textile designs\u003c/a> appeared prominently in early anti-Trump protests) in conversation with Milwaukee Art Museum curator Lisa Sutcliffe.\u003c/p>\n\u003cp>Art fairs may be otherworldly events full of rarefied people and things, but the concentration of objects, time and space can also yield an inspirational energy that reminds everyone involved why they fell in love with art in the first place.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003ca href=\"https://fogfair.com/\" rel=\"noopener\" target=\"_blank\">FOG Design+Art\u003c/a> takes place at Fort Mason’s Festival Pavilion Jan. 17–20. \u003ca href=\"https://untitledartfairs.com/san-francisco\" rel=\"noopener\" target=\"_blank\">Untitled, San Francisco\u003c/a> takes place at Pier 35 Jan. 18–20. A shuttle runs between the two fairs Friday through Sunday.\u003c/i>\u003c/p>\n\n",
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"excerpt": "This weekend's full of art happenings, courtesy of two overlapping fairs: FOG Design+Art and Untitled, San Francisco.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Bay Area art lovers, prepare thyselves for a very full weekend. Two fairs descend on San Francisco beginning Thursday, and everyone is pulling out the stops. \u003c/p>\n\u003cp>\u003ca href=\"https://fogfair.com/\" rel=\"noopener\" target=\"_blank\">FOG Art+Design\u003c/a> (located at Fort Mason’s Festival Pavilion) and \u003ca href=\"https://untitledartfairs.com/san-francisco\" rel=\"noopener\" target=\"_blank\">Untitled, San Francisco\u003c/a> (trying out venue number three at Pier 35) bring 112 exhibitors (some local, some from as far away as Warsaw and Taipei) to the northeast edge of San Francisco for a weekend of art viewing, accompanying events and—the exhibitors hope—sales.\u003c/p>\n\u003cp>If you’re an gallerygoer without much wall space or pocket change to spare, fairs are a chance to see offerings by out-of-town galleries, take the temperature of other regions’ art scenes and make note of venues to visit should you happen to find yourself in London, Madrid or, more easily, Los Angeles and New York. \u003c/p>\n\u003cp>And if you’re a collector, fairs are pretty much all of the above, but with the added possibility of purchasing work.\u003c/p>\n\u003cfigure id=\"attachment_13848780\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/FOG.jpg\" alt=\"Last year's FOG Design+Art, fittingly, in the fog of Fort Mason.\" width=\"1600\" height=\"1066\" class=\"size-full wp-image-13848780\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/FOG.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/FOG-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/FOG-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/FOG-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/FOG-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/FOG-1200x800.jpg 1200w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">Last year’s FOG Design+Art, fittingly, in the fog of Fort Mason. \u003ccite>(Courtesy of FOG)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It can all be a bit overwhelming, but in addition to strolling through rows of booths filled with beautiful things, FOG and Untitled offer visitors a variety of extra programming in the days to come (which may help justify the $25 and $35 ticket prices, respectively). \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At 4:30pm on Thursday, Jan. 17, FOG (uniquely divided between fine art offerings and design objects) features the Bay Area’s favorite nonagenarian artist and designer, Barbara Stauffacher Solomon, \u003ca href=\"https://fogfair.com/schedule/\" rel=\"noopener\" target=\"_blank\">in conversation\u003c/a> with SFMOMA architecture and design curator Jennifer Dunlop Fletcher. (Stauffacher Solomon’s work is currently on view as part of the museum’s \u003ca href=\"https://www.sfmoma.org/exhibition/sea-ranch/\" rel=\"noopener\" target=\"_blank\">Sea Ranch exhibition\u003c/a>.) The talk is titled “Make it Happy, Kid!” and if that alone isn’t enough incentive, revisit \u003ca href=\"https://www.kqed.org/arts/13839094/barbara-stauffacher-solomon-bampfa-art-wall\" rel=\"noopener\" target=\"_blank\">last year’s interview\u003c/a> with Stauffacher Solomon for a taste of just how delightfully no-nonsense she is in person.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>This year’s art fair weekend coincides with the now-annual Women’s March, and instead of ignoring that fact, Berkeley-based artist Masako Miki (whose work is up at BAMPFA in \u003ca href=\"https://bampfa.org/event/womens-march-poster-workshop-bampfa-art-lab-and-masako-miki\" rel=\"noopener\" target=\"_blank\">the latest MATRIX show\u003c/a>) welcomes Untitled visitors to a preemptive \u003ca href=\"https://untitledartfairs.com/san-francisco/program/event/01-18-2019\" rel=\"noopener\" target=\"_blank\">poster-making workshop\u003c/a> on Friday, Jan. 18, 1–5pm. \u003c/p>\n\u003cp>In that vein, the final event on FOG’s slate (scheduled for 1pm on Sunday, Jan. 20) is the panel “Art and Activism In and Out of Institutions,” including artist Nigel Poor (of the fantastic podcast \u003ci>\u003ca href=\"https://www.kqed.org/arts/13847946/california-inmate-takes-unlikely-path-to-freedom-podcasting\" rel=\"noopener\" target=\"_blank\">Ear Hustle\u003c/a>\u003c/i>) and artist Stephanie Syjuco (whose open-source \u003ca href=\"https://www.kqed.org/arts/12682235/with-fabric-banners-stephanie-syjuco-shares-patterns-for-protest\" rel=\"noopener\" target=\"_blank\">textile designs\u003c/a> appeared prominently in early anti-Trump protests) in conversation with Milwaukee Art Museum curator Lisa Sutcliffe.\u003c/p>\n\u003cp>Art fairs may be otherworldly events full of rarefied people and things, but the concentration of objects, time and space can also yield an inspirational energy that reminds everyone involved why they fell in love with art in the first place.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003ca href=\"https://fogfair.com/\" rel=\"noopener\" target=\"_blank\">FOG Design+Art\u003c/a> takes place at Fort Mason’s Festival Pavilion Jan. 17–20. \u003ca href=\"https://untitledartfairs.com/san-francisco\" rel=\"noopener\" target=\"_blank\">Untitled, San Francisco\u003c/a> takes place at Pier 35 Jan. 18–20. A shuttle runs between the two fairs Friday through Sunday.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Our Picks for the San Francisco International Arts Festival",
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"content": "\u003cp>Since 2003, the San Francisco International Arts Festival has presented an eclectic array of performance—from circus to cabaret, dance to drag, solo shows to sprawling ensembles.\u003c/p>\n\u003cp>For audiences unfamiliar with performing arts festivals in other counties (including the Canadian Fringe Festival circuit, the Festival d’Avignon, and the largest of them all, the Edinburgh Festival), such an array of possibilities can seem daunting. How to choose between acts of similar merit but completely different mediums performing at the same time?\u003c/p>\n\u003cfigure id=\"attachment_13833125\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13833125\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/Bandelion_This_Little_Light_6_Photo_by_Hans_Holtan-copy-800x666.jpg\" alt=\"\" width=\"800\" height=\"666\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Bandelion_This_Little_Light_6_Photo_by_Hans_Holtan-copy-800x666.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Bandelion_This_Little_Light_6_Photo_by_Hans_Holtan-copy-160x133.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Bandelion_This_Little_Light_6_Photo_by_Hans_Holtan-copy-768x640.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Bandelion_This_Little_Light_6_Photo_by_Hans_Holtan-copy-960x800.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Bandelion_This_Little_Light_6_Photo_by_Hans_Holtan-copy-240x200.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Bandelion_This_Little_Light_6_Photo_by_Hans_Holtan-copy-375x312.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Bandelion_This_Little_Light_6_Photo_by_Hans_Holtan-copy-520x433.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Bandelion_This_Little_Light_6_Photo_by_Hans_Holtan-copy.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dandelion/Bandelion will perform at SFIAF in “We Are All Dragons in Drag.” \u003ccite>(Hans Holtan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For example, what represents the shrewdest choice for an adventurous festival-goer: the chance to see Bay Area solo storyteller \u003cstrong>Brian Copeland\u003c/strong> in his foray into documentary drama, \u003cem>The Scion\u003c/em>, or \u003cstrong>Baobab\u003c/strong> dance ensemble from Japan, paired with local queer dance company \u003cstrong>STEAMROLLER\u003c/strong>? The answer is twofold: as each act performs multiple dates, there’s ample opportunity to see both—but also, accepting in the moment that there is no wrong choice can be liberating.\u003c/p>\n\u003cp>In truth, successful festival-hopping includes a component of surrender, especially as Fort Mason, where SFIAF now makes its home, is a bit of a trek for downtown city dwellers. “That hill,” observes festival director Andrew Wood, “is a bit of a physical and psychological barrier.”\u003c/p>\n\u003cp>To get the most out of any festival, but particularly one as varied as the SFIAF, making a full day of it is the best approach, with a willingness to take a chance on artists or art forms you may not have previously experienced. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Still looking for direction? Here are some of our picks below.\u003c/p>\n\u003ch2>Think Globally\u003c/h2>\n\u003cp>In terms of work that hasn’t been seen before in the Bay Area, the international acts are the festival’s biggest draw, though they typically only make up around 25% of the bill on any given year. This year sees not only the return of circus to SFIAF after an eleven-year hiatus, but one of the featured circus companies, \u003cstrong>Cirquantique\u003c/strong>, hails from Montreal, one of the hottest circus cities in the world. A female-led “burlesque” circus cooperative making their US debut, Cirquantique’s show, \u003cem>Bang Bang\u003c/em>, transports audiences to a prohibition-era bordello, where the working girls rise up against the bootlegging mafia to control their own bodies—and their own destinies.\u003c/p>\n\u003cp>Another highly-anticipated international act is Taiwan’s \u003cstrong>Pao-Chang Tsai\u003c/strong>, whose “overtly queer,” multi-media examination of the consequences of social media and data mining, \u003cem>Solo Date\u003c/em>, is one that Wood has been working to bring to San Francisco since 2016. Confronted with the loss of his longtime lover Alain, Tsai (as Ho-Nien) seeks to recreate him through the advances of artificial intelligence (a scenario somewhat reminiscent of a \u003cem>Black Mirror\u003c/em> episode), with unforeseen consequences. Almost aggressively futuristic, yet emphatically human, Tsai’s piece seems tailor-made for San Francisco—where new tech and old principles so often collide.\u003c/p>\n\u003cfigure id=\"attachment_13832861\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13832861\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/Pao-Chang-Large-Image-1-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Pao-Chang-Large-Image-1-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Pao-Chang-Large-Image-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Pao-Chang-Large-Image-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Pao-Chang-Large-Image-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Pao-Chang-Large-Image-1-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Pao-Chang-Large-Image-1-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Pao-Chang-Large-Image-1-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Pao-Chang-Large-Image-1-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Pao-Chang-Large-Image-1.jpg 1153w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pao-Chang Tsai in Solo Date at SFIAF. \u003ccite>(courtesy of SFIAF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Act Locally\u003c/h2>\n\u003cp>Putting the San Francisco in SFIAF, acts as varied as the aforementioned Brian Copeland and STEAMROLLER Dance Company rub elbows with the likes of experimental performance artist and “sculptural” costumer \u003cstrong>Sha Sha Higby\u003c/strong>, and \u003cstrong>Dandelion/Bandelion\u003c/strong>’s playful, participatory \u003cem>We are All Dragons in Drag\u003c/em>. In keeping with the spirit of the “international” component, however, many of the featured acts also incorporate a strong diasporic identity into their work, such as Los Altos’ \u003cstrong>Samudra Dance Creations\u003c/strong> and \u003cem>The Caged Bird Sings\u003c/em>, which takes Indian classical dance as inspiration and reinterprets it for a modern audience. Likewise, Oakland’s \u003cstrong>De Rompe y Raja Cultural Association\u003c/strong> performs an original Afro-Peruvian musical entitled \u003cem>Cristo Moreno\u003c/em> in tribute to the African influences that helped shape South America tradition, and \u003cstrong>Theatre Flamenco de San Francisco\u003c/strong> invite international performers—from Spain, Mexico, South America, and India—for their newest piece \u003cem>El Cruce de Lenguajes\u003c/em> (\u003cem>The Crossing of Languages\u003c/em>), created especially for the festival.\u003c/p>\n\u003cfigure id=\"attachment_13832879\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13832879\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/Theatre-Flamenco_SFIAF-1-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Theatre-Flamenco_SFIAF-1-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Theatre-Flamenco_SFIAF-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Theatre-Flamenco_SFIAF-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Theatre-Flamenco_SFIAF-1-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Theatre-Flamenco_SFIAF-1-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Theatre-Flamenco_SFIAF-1-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Theatre-Flamenco_SFIAF-1-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Theatre-Flamenco_SFIAF-1.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Theatre Flamenco in “El Cruce de Lenguajes,” with artists from Spain, Mexico, India, South America, and the USA. \u003ccite>(courtesy of SFIAF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Down By the Riverside\u003c/h2>\n\u003cp>One of the biggest events for this year’s SFIAF, and one very much rooted in the American experience, is this year’s centerpiece performance, \u003ca href=\"https://www.kqed.org/arts/13832643/jazz-is-protest-music-in-angela-davis-anthony-brown-collaboration\">\u003cem>Down By the Riverside: Requiem for a King\u003c/em>\u003c/a>. A world premiere that interprets Martin Luther King, Jr.’s antiwar “Beyond Vietnam” speech through instrumental jazz, movement, and song, it’s led by composer \u003cstrong>Dr. Anthony Brown and the Asian-American Orchestra\u003c/strong>, and features \u003cstrong>Dr. Angela Davis\u003c/strong>. A companion piece, \u003cem>Go For Broke\u003c/em>, gives recognition to the Nisei veterans and the people forced into Japanese-American internment camps during WWII, featuring former poet laureate of San Francisco, Janice Mirikitani.\u003c/p>\n\u003cfigure id=\"attachment_13832859\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13832859\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/Anthony-Angela-Janice-800x367.jpg\" alt=\"\" width=\"800\" height=\"367\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Anthony-Angela-Janice-800x367.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Anthony-Angela-Janice-160x73.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Anthony-Angela-Janice-768x352.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Anthony-Angela-Janice-240x110.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Anthony-Angela-Janice-375x172.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Anthony-Angela-Janice-520x239.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Anthony-Angela-Janice.jpg 848w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Janice Mirikitani, Dr. Angela Davis, and Dr. Anthony Brown to perform centerpiece production at SFIAF. \u003ccite>(courtesy of SFIAF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite the challenges of curating and hosting a multi-faceted festival without a single defining factor or performance style, Wood prefers to think of the inability to pigeonhole his festival as its own kind of focus.\u003c/p>\n\u003cp>“There’s a lot of variety here,” he emphasizes, “(of artists) that you may never have seen before, and are not part of any circuit that’s going to come around every couple of years. And that’s what festivals are for…to experience this density, and variety of work.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The San Francisco International Arts Festival runs Thursday, May 24–Sunday, June 3. \u003ca href=\"http://www.sfiaf.org/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "It's probably best to take a full day to be adventurous about the festival's varied lineup—but here's what's not to miss.",
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"title": "Our Picks for the San Francisco International Arts Festival | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Since 2003, the San Francisco International Arts Festival has presented an eclectic array of performance—from circus to cabaret, dance to drag, solo shows to sprawling ensembles.\u003c/p>\n\u003cp>For audiences unfamiliar with performing arts festivals in other counties (including the Canadian Fringe Festival circuit, the Festival d’Avignon, and the largest of them all, the Edinburgh Festival), such an array of possibilities can seem daunting. How to choose between acts of similar merit but completely different mediums performing at the same time?\u003c/p>\n\u003cfigure id=\"attachment_13833125\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13833125\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/Bandelion_This_Little_Light_6_Photo_by_Hans_Holtan-copy-800x666.jpg\" alt=\"\" width=\"800\" height=\"666\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Bandelion_This_Little_Light_6_Photo_by_Hans_Holtan-copy-800x666.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Bandelion_This_Little_Light_6_Photo_by_Hans_Holtan-copy-160x133.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Bandelion_This_Little_Light_6_Photo_by_Hans_Holtan-copy-768x640.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Bandelion_This_Little_Light_6_Photo_by_Hans_Holtan-copy-960x800.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Bandelion_This_Little_Light_6_Photo_by_Hans_Holtan-copy-240x200.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Bandelion_This_Little_Light_6_Photo_by_Hans_Holtan-copy-375x312.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Bandelion_This_Little_Light_6_Photo_by_Hans_Holtan-copy-520x433.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Bandelion_This_Little_Light_6_Photo_by_Hans_Holtan-copy.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dandelion/Bandelion will perform at SFIAF in “We Are All Dragons in Drag.” \u003ccite>(Hans Holtan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For example, what represents the shrewdest choice for an adventurous festival-goer: the chance to see Bay Area solo storyteller \u003cstrong>Brian Copeland\u003c/strong> in his foray into documentary drama, \u003cem>The Scion\u003c/em>, or \u003cstrong>Baobab\u003c/strong> dance ensemble from Japan, paired with local queer dance company \u003cstrong>STEAMROLLER\u003c/strong>? The answer is twofold: as each act performs multiple dates, there’s ample opportunity to see both—but also, accepting in the moment that there is no wrong choice can be liberating.\u003c/p>\n\u003cp>In truth, successful festival-hopping includes a component of surrender, especially as Fort Mason, where SFIAF now makes its home, is a bit of a trek for downtown city dwellers. “That hill,” observes festival director Andrew Wood, “is a bit of a physical and psychological barrier.”\u003c/p>\n\u003cp>To get the most out of any festival, but particularly one as varied as the SFIAF, making a full day of it is the best approach, with a willingness to take a chance on artists or art forms you may not have previously experienced. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Still looking for direction? Here are some of our picks below.\u003c/p>\n\u003ch2>Think Globally\u003c/h2>\n\u003cp>In terms of work that hasn’t been seen before in the Bay Area, the international acts are the festival’s biggest draw, though they typically only make up around 25% of the bill on any given year. This year sees not only the return of circus to SFIAF after an eleven-year hiatus, but one of the featured circus companies, \u003cstrong>Cirquantique\u003c/strong>, hails from Montreal, one of the hottest circus cities in the world. A female-led “burlesque” circus cooperative making their US debut, Cirquantique’s show, \u003cem>Bang Bang\u003c/em>, transports audiences to a prohibition-era bordello, where the working girls rise up against the bootlegging mafia to control their own bodies—and their own destinies.\u003c/p>\n\u003cp>Another highly-anticipated international act is Taiwan’s \u003cstrong>Pao-Chang Tsai\u003c/strong>, whose “overtly queer,” multi-media examination of the consequences of social media and data mining, \u003cem>Solo Date\u003c/em>, is one that Wood has been working to bring to San Francisco since 2016. Confronted with the loss of his longtime lover Alain, Tsai (as Ho-Nien) seeks to recreate him through the advances of artificial intelligence (a scenario somewhat reminiscent of a \u003cem>Black Mirror\u003c/em> episode), with unforeseen consequences. Almost aggressively futuristic, yet emphatically human, Tsai’s piece seems tailor-made for San Francisco—where new tech and old principles so often collide.\u003c/p>\n\u003cfigure id=\"attachment_13832861\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13832861\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/Pao-Chang-Large-Image-1-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Pao-Chang-Large-Image-1-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Pao-Chang-Large-Image-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Pao-Chang-Large-Image-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Pao-Chang-Large-Image-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Pao-Chang-Large-Image-1-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Pao-Chang-Large-Image-1-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Pao-Chang-Large-Image-1-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Pao-Chang-Large-Image-1-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Pao-Chang-Large-Image-1.jpg 1153w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pao-Chang Tsai in Solo Date at SFIAF. \u003ccite>(courtesy of SFIAF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Act Locally\u003c/h2>\n\u003cp>Putting the San Francisco in SFIAF, acts as varied as the aforementioned Brian Copeland and STEAMROLLER Dance Company rub elbows with the likes of experimental performance artist and “sculptural” costumer \u003cstrong>Sha Sha Higby\u003c/strong>, and \u003cstrong>Dandelion/Bandelion\u003c/strong>’s playful, participatory \u003cem>We are All Dragons in Drag\u003c/em>. In keeping with the spirit of the “international” component, however, many of the featured acts also incorporate a strong diasporic identity into their work, such as Los Altos’ \u003cstrong>Samudra Dance Creations\u003c/strong> and \u003cem>The Caged Bird Sings\u003c/em>, which takes Indian classical dance as inspiration and reinterprets it for a modern audience. Likewise, Oakland’s \u003cstrong>De Rompe y Raja Cultural Association\u003c/strong> performs an original Afro-Peruvian musical entitled \u003cem>Cristo Moreno\u003c/em> in tribute to the African influences that helped shape South America tradition, and \u003cstrong>Theatre Flamenco de San Francisco\u003c/strong> invite international performers—from Spain, Mexico, South America, and India—for their newest piece \u003cem>El Cruce de Lenguajes\u003c/em> (\u003cem>The Crossing of Languages\u003c/em>), created especially for the festival.\u003c/p>\n\u003cfigure id=\"attachment_13832879\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13832879\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/Theatre-Flamenco_SFIAF-1-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Theatre-Flamenco_SFIAF-1-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Theatre-Flamenco_SFIAF-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Theatre-Flamenco_SFIAF-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Theatre-Flamenco_SFIAF-1-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Theatre-Flamenco_SFIAF-1-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Theatre-Flamenco_SFIAF-1-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Theatre-Flamenco_SFIAF-1-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Theatre-Flamenco_SFIAF-1.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Theatre Flamenco in “El Cruce de Lenguajes,” with artists from Spain, Mexico, India, South America, and the USA. \u003ccite>(courtesy of SFIAF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Down By the Riverside\u003c/h2>\n\u003cp>One of the biggest events for this year’s SFIAF, and one very much rooted in the American experience, is this year’s centerpiece performance, \u003ca href=\"https://www.kqed.org/arts/13832643/jazz-is-protest-music-in-angela-davis-anthony-brown-collaboration\">\u003cem>Down By the Riverside: Requiem for a King\u003c/em>\u003c/a>. A world premiere that interprets Martin Luther King, Jr.’s antiwar “Beyond Vietnam” speech through instrumental jazz, movement, and song, it’s led by composer \u003cstrong>Dr. Anthony Brown and the Asian-American Orchestra\u003c/strong>, and features \u003cstrong>Dr. Angela Davis\u003c/strong>. A companion piece, \u003cem>Go For Broke\u003c/em>, gives recognition to the Nisei veterans and the people forced into Japanese-American internment camps during WWII, featuring former poet laureate of San Francisco, Janice Mirikitani.\u003c/p>\n\u003cfigure id=\"attachment_13832859\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13832859\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/Anthony-Angela-Janice-800x367.jpg\" alt=\"\" width=\"800\" height=\"367\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Anthony-Angela-Janice-800x367.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Anthony-Angela-Janice-160x73.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Anthony-Angela-Janice-768x352.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Anthony-Angela-Janice-240x110.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Anthony-Angela-Janice-375x172.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Anthony-Angela-Janice-520x239.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Anthony-Angela-Janice.jpg 848w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Janice Mirikitani, Dr. Angela Davis, and Dr. Anthony Brown to perform centerpiece production at SFIAF. \u003ccite>(courtesy of SFIAF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite the challenges of curating and hosting a multi-faceted festival without a single defining factor or performance style, Wood prefers to think of the inability to pigeonhole his festival as its own kind of focus.\u003c/p>\n\u003cp>“There’s a lot of variety here,” he emphasizes, “(of artists) that you may never have seen before, and are not part of any circuit that’s going to come around every couple of years. And that’s what festivals are for…to experience this density, and variety of work.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The San Francisco International Arts Festival runs Thursday, May 24–Sunday, June 3. \u003ca href=\"http://www.sfiaf.org/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"headTitle": "Why Are You Hearing Foghorns on a Sunny Day? | KQED",
"content": "\u003cp>It’s not every day you get to travel through time — but a carefully arranged group of audio speakers along the San Francisco waterfront allows visitors to do just that.\u003c/p>\n\u003cp>The centerpiece of \u003ca href=\"http://resoundings.org/\" rel=\"noopener\" target=\"_blank\">Bill Fontana\u003c/a>’s three-month-long installation at SFAI’s Fort Mason Campus, \u003ci>Landscape Sculpture with Foghorns\u003c/i>, transports its audiences through time — but not space — to 1981. It was then that Fontana participated in the \u003ca href=\"https://en.wikipedia.org/wiki/List_of_New_Music_America_performances\" rel=\"noopener\" target=\"_blank\">New Music America festival\u003c/a>, a week-long gathering of experimental sound and music luminaries in the Bay Area.\u003c/p>\n\u003cfigure id=\"attachment_13824768\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/Bill-Fontana_Landscape-Sculpture-with-Fog-Horns_Map-image_Reduced.jpg\" alt=\"Project ephemera from 'Landscape Sculpture with Foghorns,' June 1981; Design by Catherine Caldwell.\" width=\"2048\" height=\"1263\" class=\"size-full wp-image-13824768\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Bill-Fontana_Landscape-Sculpture-with-Fog-Horns_Map-image_Reduced.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Bill-Fontana_Landscape-Sculpture-with-Fog-Horns_Map-image_Reduced-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Bill-Fontana_Landscape-Sculpture-with-Fog-Horns_Map-image_Reduced-800x493.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Bill-Fontana_Landscape-Sculpture-with-Fog-Horns_Map-image_Reduced-768x474.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Bill-Fontana_Landscape-Sculpture-with-Fog-Horns_Map-image_Reduced-1020x629.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Bill-Fontana_Landscape-Sculpture-with-Fog-Horns_Map-image_Reduced-1920x1184.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Bill-Fontana_Landscape-Sculpture-with-Fog-Horns_Map-image_Reduced-1180x728.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Bill-Fontana_Landscape-Sculpture-with-Fog-Horns_Map-image_Reduced-960x592.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Bill-Fontana_Landscape-Sculpture-with-Fog-Horns_Map-image_Reduced-240x148.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Bill-Fontana_Landscape-Sculpture-with-Fog-Horns_Map-image_Reduced-375x231.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Bill-Fontana_Landscape-Sculpture-with-Fog-Horns_Map-image_Reduced-520x321.jpg 520w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Project ephemera from ‘Landscape Sculpture with Foghorns,’ June 1981; Design by Catherine Caldwell. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>During that festival, Brian Eno performed “Music for Museums” at the Berkeley Art Museum. Pauline Oliveros performed “Travelling Companions” in the Marx Meadow of Golden Gate Park. And Fontana, still early in his career as a composer and sound artist, installed eight microphones at points throughout the San Francisco Bay to pick up the sounds of foghorns in the foggy first weeks of June. (As much as the built landscape and demographics of San Francisco change, perhaps there is comfort in the fact that it will always be foggy in June.)\u003c/p>\n\u003cp>\u003ci>Landscape Sculpture with Foghorns\u003c/i> was such a mammoth project — with microphones positioned on Treasure Island, Alcatraz, Angel Island, the Golden Gate Bridge, the Marin Headlands and elsewhere — that it attracted the attention of KQED, who partnered with Fontana to release a \u003ca href=\"https://www.discogs.com/Bill-Fontana-Landscape-Sculpture-With-Fog-Horns/release/1719702\" rel=\"noopener\" target=\"_blank\">now sought-after long-playing LP\u003c/a> of Fontana’s recordings of the bay.\u003c/p>\n\u003cp>For the current reinstallation, eight speakers mounted along the eastern wall of Pier 2 broadcast the same ambient sounds heard by listeners in 1981: wind, waves, foghorns, the occasional automobile and seagulls. Mingling with the nearly identical sounds of 2018, the only clue that \u003ci>Landscape Sculpture with Foghorns\u003c/i> is temporally out of place is the fact that it can be heard on a perfectly sunny day.\u003c/p>\n\u003cfigure id=\"attachment_13824772\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/Fort-Mason-Black-Sea-Study_Bill-Fontana_Still1_1200.jpg\" alt=\"Bill Fontana, Video still from 'Black Sea Study,' 2014.\" width=\"1200\" height=\"899\" class=\"size-full wp-image-13824772\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Fort-Mason-Black-Sea-Study_Bill-Fontana_Still1_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Fort-Mason-Black-Sea-Study_Bill-Fontana_Still1_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Fort-Mason-Black-Sea-Study_Bill-Fontana_Still1_1200-800x599.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Fort-Mason-Black-Sea-Study_Bill-Fontana_Still1_1200-768x575.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Fort-Mason-Black-Sea-Study_Bill-Fontana_Still1_1200-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Fort-Mason-Black-Sea-Study_Bill-Fontana_Still1_1200-1180x884.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Fort-Mason-Black-Sea-Study_Bill-Fontana_Still1_1200-960x719.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Fort-Mason-Black-Sea-Study_Bill-Fontana_Still1_1200-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Fort-Mason-Black-Sea-Study_Bill-Fontana_Still1_1200-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Fort-Mason-Black-Sea-Study_Bill-Fontana_Still1_1200-520x390.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Bill Fontana, Video still from ‘Black Sea Study,’ 2014. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Complementing this “sound sculpture” — as Fontana terms such work — is a group of video pieces inside SFAI’s exhibition space. Three screens play \u003ci>Space Voyage\u003c/i>, studies of sound and moving image Fontana recently made around the Fort Mason waterfront. On one, a split pier piling moves hypnotically with the motion of the water beneath it, a glug-glug sound mingling with other watery noises. For those prone to motion sickness, gripping the cushioned bench provided may help. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Around the corner in the Gray Box Gallery (previously home to \u003ca href=\"https://ww2.kqed.org/arts/2017/12/12/dont-let-its-title-confuse-you-playtime-isnt-all-fun-and-games/\" rel=\"noopener\" target=\"_blank\">Isaac Julien\u003c/a>’s \u003ci>Better Life (Ten Thousand Waves)\u003c/i>), Fontana shows a newly created diptych from two recordings made years and thousands of miles apart. Attaching seismic accelerometers to a bell used in New York’s MetLife Tower and a temple bell in Kyoto, Fontana recorded the internal resonance of the bells at rest, capturing sounds imperceptible to the human ear. A technologically aided form of “deep listening,” Fontana describes the process as capturing the bells’ “acoustic energy.” \u003c/p>\n\u003cfigure id=\"attachment_13824773\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/Resonant-Silences_South-facing-Bell_Bill-Fontana_Still1_1200.jpg\" alt=\"Bill Fontana, Video still from 'Resonant Silences (Southern facing bell, MetLife Tower, New York),' 2015.\" width=\"1200\" height=\"714\" class=\"size-full wp-image-13824773\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Resonant-Silences_South-facing-Bell_Bill-Fontana_Still1_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Resonant-Silences_South-facing-Bell_Bill-Fontana_Still1_1200-160x95.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Resonant-Silences_South-facing-Bell_Bill-Fontana_Still1_1200-800x476.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Resonant-Silences_South-facing-Bell_Bill-Fontana_Still1_1200-768x457.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Resonant-Silences_South-facing-Bell_Bill-Fontana_Still1_1200-1020x607.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Resonant-Silences_South-facing-Bell_Bill-Fontana_Still1_1200-1180x702.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Resonant-Silences_South-facing-Bell_Bill-Fontana_Still1_1200-960x571.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Resonant-Silences_South-facing-Bell_Bill-Fontana_Still1_1200-240x143.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Resonant-Silences_South-facing-Bell_Bill-Fontana_Still1_1200-375x223.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Resonant-Silences_South-facing-Bell_Bill-Fontana_Still1_1200-520x309.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Bill Fontana, Video still from ‘Resonant Silences (Southern facing bell, MetLife Tower, New York),’ 2015. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to that internal resonance, Fontana’s equipment picks up the sounds each bell “hears,” depending on its location: city life, New York weather, chirping birds, footsteps on gravel. As Fontana says: “The bell is always listening.”\u003c/p>\n\u003cp>If it’s daunting to dwell too long on the magnitude of what humans cannot hear, the sonic space created by \u003ci>Landscape Sculpture with Foghorns\u003c/i> offers something a bit more soothing, despite its eerie displacement in time. As a foghorn blares on one speaker, another location picks up the same blast a bit later, creating a deep call and response that sounds symphonic.\u003c/p>\n\u003cp>I found myself walking away from Fort Mason listening intently. How long could I hear the foghorns fading behind me? What was that new gurgling sound coming from under the sidewalk? From its outset, \u003ci>Landscape Sculpture with Foghorns\u003c/i> asks if deep looking and listening can change the way we experience the world. Thankfully, even nearly four decades later — it can.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Bill Fontana: Landscape Sculpture with Foghorns’ is on view at the San Francisco Art Institute’s Fort Mason Campus through April 22, 2018. For more information, \u003ca href=\"http://www.sfai.edu/exhibitions-public-events/detail/bill-fontana\" rel=\"noopener\" target=\"_blank\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"excerpt": "SFAI reinstalls a 1981 project by Bill Fontana on a Fort Mason pier, mingling the past and present sounds of the San Francisco Bay.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s not every day you get to travel through time — but a carefully arranged group of audio speakers along the San Francisco waterfront allows visitors to do just that.\u003c/p>\n\u003cp>The centerpiece of \u003ca href=\"http://resoundings.org/\" rel=\"noopener\" target=\"_blank\">Bill Fontana\u003c/a>’s three-month-long installation at SFAI’s Fort Mason Campus, \u003ci>Landscape Sculpture with Foghorns\u003c/i>, transports its audiences through time — but not space — to 1981. It was then that Fontana participated in the \u003ca href=\"https://en.wikipedia.org/wiki/List_of_New_Music_America_performances\" rel=\"noopener\" target=\"_blank\">New Music America festival\u003c/a>, a week-long gathering of experimental sound and music luminaries in the Bay Area.\u003c/p>\n\u003cfigure id=\"attachment_13824768\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/Bill-Fontana_Landscape-Sculpture-with-Fog-Horns_Map-image_Reduced.jpg\" alt=\"Project ephemera from 'Landscape Sculpture with Foghorns,' June 1981; Design by Catherine Caldwell.\" width=\"2048\" height=\"1263\" class=\"size-full wp-image-13824768\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Bill-Fontana_Landscape-Sculpture-with-Fog-Horns_Map-image_Reduced.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Bill-Fontana_Landscape-Sculpture-with-Fog-Horns_Map-image_Reduced-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Bill-Fontana_Landscape-Sculpture-with-Fog-Horns_Map-image_Reduced-800x493.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Bill-Fontana_Landscape-Sculpture-with-Fog-Horns_Map-image_Reduced-768x474.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Bill-Fontana_Landscape-Sculpture-with-Fog-Horns_Map-image_Reduced-1020x629.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Bill-Fontana_Landscape-Sculpture-with-Fog-Horns_Map-image_Reduced-1920x1184.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Bill-Fontana_Landscape-Sculpture-with-Fog-Horns_Map-image_Reduced-1180x728.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Bill-Fontana_Landscape-Sculpture-with-Fog-Horns_Map-image_Reduced-960x592.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Bill-Fontana_Landscape-Sculpture-with-Fog-Horns_Map-image_Reduced-240x148.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Bill-Fontana_Landscape-Sculpture-with-Fog-Horns_Map-image_Reduced-375x231.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Bill-Fontana_Landscape-Sculpture-with-Fog-Horns_Map-image_Reduced-520x321.jpg 520w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Project ephemera from ‘Landscape Sculpture with Foghorns,’ June 1981; Design by Catherine Caldwell. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>During that festival, Brian Eno performed “Music for Museums” at the Berkeley Art Museum. Pauline Oliveros performed “Travelling Companions” in the Marx Meadow of Golden Gate Park. And Fontana, still early in his career as a composer and sound artist, installed eight microphones at points throughout the San Francisco Bay to pick up the sounds of foghorns in the foggy first weeks of June. (As much as the built landscape and demographics of San Francisco change, perhaps there is comfort in the fact that it will always be foggy in June.)\u003c/p>\n\u003cp>\u003ci>Landscape Sculpture with Foghorns\u003c/i> was such a mammoth project — with microphones positioned on Treasure Island, Alcatraz, Angel Island, the Golden Gate Bridge, the Marin Headlands and elsewhere — that it attracted the attention of KQED, who partnered with Fontana to release a \u003ca href=\"https://www.discogs.com/Bill-Fontana-Landscape-Sculpture-With-Fog-Horns/release/1719702\" rel=\"noopener\" target=\"_blank\">now sought-after long-playing LP\u003c/a> of Fontana’s recordings of the bay.\u003c/p>\n\u003cp>For the current reinstallation, eight speakers mounted along the eastern wall of Pier 2 broadcast the same ambient sounds heard by listeners in 1981: wind, waves, foghorns, the occasional automobile and seagulls. Mingling with the nearly identical sounds of 2018, the only clue that \u003ci>Landscape Sculpture with Foghorns\u003c/i> is temporally out of place is the fact that it can be heard on a perfectly sunny day.\u003c/p>\n\u003cfigure id=\"attachment_13824772\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/Fort-Mason-Black-Sea-Study_Bill-Fontana_Still1_1200.jpg\" alt=\"Bill Fontana, Video still from 'Black Sea Study,' 2014.\" width=\"1200\" height=\"899\" class=\"size-full wp-image-13824772\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Fort-Mason-Black-Sea-Study_Bill-Fontana_Still1_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Fort-Mason-Black-Sea-Study_Bill-Fontana_Still1_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Fort-Mason-Black-Sea-Study_Bill-Fontana_Still1_1200-800x599.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Fort-Mason-Black-Sea-Study_Bill-Fontana_Still1_1200-768x575.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Fort-Mason-Black-Sea-Study_Bill-Fontana_Still1_1200-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Fort-Mason-Black-Sea-Study_Bill-Fontana_Still1_1200-1180x884.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Fort-Mason-Black-Sea-Study_Bill-Fontana_Still1_1200-960x719.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Fort-Mason-Black-Sea-Study_Bill-Fontana_Still1_1200-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Fort-Mason-Black-Sea-Study_Bill-Fontana_Still1_1200-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Fort-Mason-Black-Sea-Study_Bill-Fontana_Still1_1200-520x390.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Bill Fontana, Video still from ‘Black Sea Study,’ 2014. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Complementing this “sound sculpture” — as Fontana terms such work — is a group of video pieces inside SFAI’s exhibition space. Three screens play \u003ci>Space Voyage\u003c/i>, studies of sound and moving image Fontana recently made around the Fort Mason waterfront. On one, a split pier piling moves hypnotically with the motion of the water beneath it, a glug-glug sound mingling with other watery noises. For those prone to motion sickness, gripping the cushioned bench provided may help. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Around the corner in the Gray Box Gallery (previously home to \u003ca href=\"https://ww2.kqed.org/arts/2017/12/12/dont-let-its-title-confuse-you-playtime-isnt-all-fun-and-games/\" rel=\"noopener\" target=\"_blank\">Isaac Julien\u003c/a>’s \u003ci>Better Life (Ten Thousand Waves)\u003c/i>), Fontana shows a newly created diptych from two recordings made years and thousands of miles apart. Attaching seismic accelerometers to a bell used in New York’s MetLife Tower and a temple bell in Kyoto, Fontana recorded the internal resonance of the bells at rest, capturing sounds imperceptible to the human ear. A technologically aided form of “deep listening,” Fontana describes the process as capturing the bells’ “acoustic energy.” \u003c/p>\n\u003cfigure id=\"attachment_13824773\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/Resonant-Silences_South-facing-Bell_Bill-Fontana_Still1_1200.jpg\" alt=\"Bill Fontana, Video still from 'Resonant Silences (Southern facing bell, MetLife Tower, New York),' 2015.\" width=\"1200\" height=\"714\" class=\"size-full wp-image-13824773\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Resonant-Silences_South-facing-Bell_Bill-Fontana_Still1_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Resonant-Silences_South-facing-Bell_Bill-Fontana_Still1_1200-160x95.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Resonant-Silences_South-facing-Bell_Bill-Fontana_Still1_1200-800x476.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Resonant-Silences_South-facing-Bell_Bill-Fontana_Still1_1200-768x457.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Resonant-Silences_South-facing-Bell_Bill-Fontana_Still1_1200-1020x607.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Resonant-Silences_South-facing-Bell_Bill-Fontana_Still1_1200-1180x702.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Resonant-Silences_South-facing-Bell_Bill-Fontana_Still1_1200-960x571.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Resonant-Silences_South-facing-Bell_Bill-Fontana_Still1_1200-240x143.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Resonant-Silences_South-facing-Bell_Bill-Fontana_Still1_1200-375x223.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Resonant-Silences_South-facing-Bell_Bill-Fontana_Still1_1200-520x309.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Bill Fontana, Video still from ‘Resonant Silences (Southern facing bell, MetLife Tower, New York),’ 2015. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to that internal resonance, Fontana’s equipment picks up the sounds each bell “hears,” depending on its location: city life, New York weather, chirping birds, footsteps on gravel. As Fontana says: “The bell is always listening.”\u003c/p>\n\u003cp>If it’s daunting to dwell too long on the magnitude of what humans cannot hear, the sonic space created by \u003ci>Landscape Sculpture with Foghorns\u003c/i> offers something a bit more soothing, despite its eerie displacement in time. As a foghorn blares on one speaker, another location picks up the same blast a bit later, creating a deep call and response that sounds symphonic.\u003c/p>\n\u003cp>I found myself walking away from Fort Mason listening intently. How long could I hear the foghorns fading behind me? What was that new gurgling sound coming from under the sidewalk? From its outset, \u003ci>Landscape Sculpture with Foghorns\u003c/i> asks if deep looking and listening can change the way we experience the world. Thankfully, even nearly four decades later — it can.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Bill Fontana: Landscape Sculpture with Foghorns’ is on view at the San Francisco Art Institute’s Fort Mason Campus through April 22, 2018. For more information, \u003ca href=\"http://www.sfai.edu/exhibitions-public-events/detail/bill-fontana\" rel=\"noopener\" target=\"_blank\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Tales of Seeking Sanctuary Woven into 36 Rugs at Fort Mason",
"headTitle": "Tales of Seeking Sanctuary Woven into 36 Rugs at Fort Mason | KQED",
"content": "\u003cp>The For-Site Foundation, which oversaw the provocative @\u003cem>Large: Ai Weiwei on Alcatraz\u003c/em> exhibition in 2014, is back with an equally thoughtful and troubling show about the idea of sanctuary as a basic human right. The concept dates back to biblical times, but the topic is certainly timely. Tens of millions of refugees currently struggle to find a temporary safe haven while countries (like the US) that once welcomed them now try to keep them out. \u003c/p>\n\u003cp>The exhibition is called \u003cem>Sanctuary\u003c/em>, and it’s a collection of 36 colorful rugs, hand made in Pakistan, and designed by artists from around the world. Many of the artists are from Arab countries listed in President Trump’s travel ban. \u003c/p>\n\u003cfigure id=\"attachment_13824627\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13824627\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-800x601.jpg\" alt=\"The rug designed by Ammar al-Beik in For-Sites show 'Sanctuary' at the Fort Mason Chapel\" width=\"800\" height=\"601\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-800x601.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-768x577.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-1020x766.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-1920x1442.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-1180x886.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-960x721.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-375x282.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-520x391.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The rug designed by Ammar al-Beik in For-Sites show ‘Sanctuary’ at the Fort Mason Chapel \u003ccite>(Photo: Robert Divers Herrick/For-Site Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>You can walk on the rugs with your shoes off, even though they’re valuable works of art. I did so with curator and For-Site Founding Director Cheryl Haines. She pointed out one rug by Ammar al-Beik featuring chilling portraits of Donald Trump and Bashar Al Assad, facing each other under a chemical bomb, set like a frond of mistletoe between them.\u003c/p>\n\u003cfigure id=\"attachment_13824641\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13824641\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Mazinani-1-800x601.jpg\" alt=\"The rug designed by Sanaz Mazinani in For-Site's show 'Sanctuary' at the Fort Mason Chapel\" width=\"800\" height=\"601\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Mazinani-1-800x601.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Mazinani-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Mazinani-1-768x577.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Mazinani-1-1020x766.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Mazinani-1-1920x1442.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Mazinani-1-1180x886.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Mazinani-1-960x721.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Mazinani-1-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Mazinani-1-375x282.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Mazinani-1-520x391.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Mazinani-1.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The rug designed by Sanaz Mazinani in For-Site’s show ‘Sanctuary’ at the Fort Mason Chapel \u003ccite>(Photo: Robert Divers Herrick/For-Site Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Many of the rugs are lovely to look at but reveal a troubled narrative of war and displacement. Haines pointed to one by Sanaz Mazinani, an Iranian-born artist now living in the Bay Area. “If you look across the field of these rugs, at first many appear to be abstraction only, but as you take a closer look, [at this one by] Sanaz Mazinani, [it features] beautiful kaleidoscopic imagery, but what it really is exploding bombs.”\u003c/p>\n\u003cp>Details for the exhibition \u003cem>Sanctuary \u003c/em>through March 11 at the Fort Mason Chapel, including upcoming lectures and concerts, \u003ca href=\"https://www.for-site.org/project/sanctuary/\" target=\"_blank\" rel=\"noopener\">are here.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The For-Site Foundation, which oversaw the provocative @\u003cem>Large: Ai Weiwei on Alcatraz\u003c/em> exhibition in 2014, is back with an equally thoughtful and troubling show about the idea of sanctuary as a basic human right. The concept dates back to biblical times, but the topic is certainly timely. Tens of millions of refugees currently struggle to find a temporary safe haven while countries (like the US) that once welcomed them now try to keep them out. \u003c/p>\n\u003cp>The exhibition is called \u003cem>Sanctuary\u003c/em>, and it’s a collection of 36 colorful rugs, hand made in Pakistan, and designed by artists from around the world. Many of the artists are from Arab countries listed in President Trump’s travel ban. \u003c/p>\n\u003cfigure id=\"attachment_13824627\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13824627\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-800x601.jpg\" alt=\"The rug designed by Ammar al-Beik in For-Sites show 'Sanctuary' at the Fort Mason Chapel\" width=\"800\" height=\"601\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-800x601.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-768x577.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-1020x766.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-1920x1442.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-1180x886.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-960x721.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-375x282.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-520x391.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The rug designed by Ammar al-Beik in For-Sites show ‘Sanctuary’ at the Fort Mason Chapel \u003ccite>(Photo: Robert Divers Herrick/For-Site Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>You can walk on the rugs with your shoes off, even though they’re valuable works of art. I did so with curator and For-Site Founding Director Cheryl Haines. She pointed out one rug by Ammar al-Beik featuring chilling portraits of Donald Trump and Bashar Al Assad, facing each other under a chemical bomb, set like a frond of mistletoe between them.\u003c/p>\n\u003cfigure id=\"attachment_13824641\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13824641\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Mazinani-1-800x601.jpg\" alt=\"The rug designed by Sanaz Mazinani in For-Site's show 'Sanctuary' at the Fort Mason Chapel\" width=\"800\" height=\"601\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Mazinani-1-800x601.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Mazinani-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Mazinani-1-768x577.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Mazinani-1-1020x766.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Mazinani-1-1920x1442.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Mazinani-1-1180x886.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Mazinani-1-960x721.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Mazinani-1-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Mazinani-1-375x282.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Mazinani-1-520x391.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Mazinani-1.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The rug designed by Sanaz Mazinani in For-Site’s show ‘Sanctuary’ at the Fort Mason Chapel \u003ccite>(Photo: Robert Divers Herrick/For-Site Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Many of the rugs are lovely to look at but reveal a troubled narrative of war and displacement. Haines pointed to one by Sanaz Mazinani, an Iranian-born artist now living in the Bay Area. “If you look across the field of these rugs, at first many appear to be abstraction only, but as you take a closer look, [at this one by] Sanaz Mazinani, [it features] beautiful kaleidoscopic imagery, but what it really is exploding bombs.”\u003c/p>\n\u003cp>Details for the exhibition \u003cem>Sanctuary \u003c/em>through March 11 at the Fort Mason Chapel, including upcoming lectures and concerts, \u003ca href=\"https://www.for-site.org/project/sanctuary/\" target=\"_blank\" rel=\"noopener\">are here.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
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},
"californiareport": {
"id": "californiareport",
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"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"officialWebsiteLink": "/californiareport",
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"order": 8
},
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},
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"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"order": 1
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"source": "Commonwealth Club of California"
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"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"order": 9
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"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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"id": "fresh-air",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"meta": {
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"source": "NPR"
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"how-i-built-this": {
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"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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},
"masters-of-scale": {
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"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
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