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"content": "\u003cp>The north-south median-divided street now known as Mandela Parkway is a microcosm of the changes at play throughout Oakland. Once, it was the site of the Cypress Structure, a 1.6-mile-long two-deck freeway that collapsed during the 1989 Loma Prieta earthquake and killed 42 people. Now, Mandela Parkway is home to food establishments, industrial businesses and pathways, which in the pre-pandemic era filled with affluent residents walking through the neighborhood. But tucked into the side streets is another, simultaneous, Oakland, one that reflects the uneven effects of gentrification sweeping the Town. \u003c/p>\n\u003cp>Vanessa Espinoza, better known as \u003ca href=\"https://www.instagram.com/dj_agana/\" rel=\"noopener noreferrer\" target=\"_blank\">DJ Agana\u003c/a>, is well aware of the disparity present in these streets. She’s looking up at \u003ci>You Are Beautiful\u003c/i>, a mural on the back of East Bay Resources recycling center on West Oakland’s Willow Street. “The mural is all trashed, I don’t know if this is going to work,” she says of a planned photoshoot.\u003c/p>\n\u003cp>DJ Agana is an East Oakland graffiti artist and a member of the women’s artist collective \u003ca href=\"https://www.fewandfarwomen.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Few and Far\u003c/a>. Agana is also an emcee, a 3D visual effects animator, a jewelry maker and an activist.\u003c/p>\n\u003cfigure id=\"attachment_13879429\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/AganaMural_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13879429\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/AganaMural_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/AganaMural_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/AganaMural_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/AganaMural_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/AganaMural_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">DJ Agana in front of her contribution to the ‘You Are Beautiful’ mural. \u003ccite>(\u003ca href=\"https://www.instagram.com/carla.hr/\" target=\"_blank\">Carla Hernandez Ramirez\u003c/a>)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>You Are Beautiful\u003c/i>, painted by Agana and Few and Far members in 2018, depicts women in all shapes and forms: pregnant, breast-feeding, voluptuous, in full tribal regalia. Its message is straightforward but emphatic—all women are beautiful. Agana’s contribution to the mural is a woman breastfeeding her baby, draped in a teal shawl, her feet surrounded by a maíz plant. \u003c/p>\n\u003cp>The image is Agana’s way of normalizing a part of motherhood that is often sexualized or seen as inappropriate in public space. “Breasts aren’t made for your sexual pleasure,” she says. “They are made to feed babies, they might be sexy, they might turn you on or make you uncomfortable, but I’m going to feed my baby when he’s hungry, and I don’t care who is around.”[pullquote size='medium' citation='DJ Agana']‘This is reclaiming what is sacred and keeping our traditions alive through our recipes, and our food.’[/pullquote]\u003c/p>\n\u003cp>Fans of Agana’s work will recognize the imagery of corn, a recurring motif in her practice. Before shelter-in-place orders shuttered the eatery, it could be seen in \u003ca href=\"https://www.instagram.com/p/B8HNJHYFjm7/\" rel=\"noopener noreferrer\" target=\"_blank\">the mural\u003c/a> that adorns the inside wall of La Guerrera’s Kitchen, a mother-daughter food establishment in Fruitvale (currently offering \u003ca href=\"https://www.laguerreraskitchen.com/#how-to-support-during-covid-19-section\" rel=\"noopener noreferrer\" target=\"_blank\">pick-up services\u003c/a> from a nearby brewery, Friday through Sunday).\u003c/p>\n\u003cp>Agana’s maíz imagery draws from her Venezuelan roots and the knowledge that ancient civilizations in Mexico and Central and South America \u003ca href=\"https://www.smithsonianmag.com/smart-news/rethinking-corny-history-maize-180971038/\" rel=\"noopener noreferrer\" target=\"_blank\">used the grain as a food staple\u003c/a> until it was colonized by the food industry. She wants to bring awareness to this sacred grain in its natural form, not as corn syrup or other heavily processed corn-based products. “This is reclaiming what is sacred and keeping our traditions alive through our recipes, and our food,” she says. “That’s why it is my symbol.” \u003c/p>\n\u003cp>As Agana walks around the mural on Willow Street, she notices missing pieces and new tags. All that remains of the homeless encampment that once occupied that stretch of the street is the illegal dumping lining the bottom of the mural.\u003c/p>\n\u003cfigure id=\"attachment_13879431\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/WillowStreet_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13879431\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/WillowStreet_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/WillowStreet_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/WillowStreet_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/WillowStreet_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/WillowStreet_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Few and Far’s mural ‘You Are Beautiful,’ seen in 2020 on West Oakland’s Willow Street. \u003ccite>(\u003ca href=\"https://www.instagram.com/carla.hr/\" target=\"_blank\">Carla Hernandez Ramirez\u003c/a>)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The theme of this mural is ‘you are beautiful,’ which is super ironic considering the state that it is in right now,” Agana says. “But that was the state that [the area] was in when we first got here.” At the time, Willow Street was the site of a homeless encampment of over 100 unhoused people. \u003c/p>\n\u003cp>\u003ca href=\"https://www.fewandfarwomen.com/meme\" rel=\"noopener noreferrer\" target=\"_blank\">Meme\u003c/a>, one of the artists in Few and Far, leads efforts to obtain permission from building owners to secure wall space for their projects. She reached out to the owner of East Bay Resources (who owns several buildings across town that often boast street art), secured sponsorships from Ironlak Spray Paint and Monster Energy, and the collective got to work. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“When we started working on the mural, we made friends with the homeless folks, they had our back and we had theirs,” Agana says. “We shared food, we broke bread, we brought them clothes, whatever we could do to support [them].” The collective prepped and cleaned the area before they started painting. Now, the upkeep of the mural also falls on the artists, damaged walls, trash and all.\u003c/p>\n\u003cp>Today, the mural and its surroundings are a juxtaposition of the changing demographics of the city. Artists struggle to remain rooted, often a few hundred dollars away from coming up short on rent and losing housing themselves—even more the case during the ongoing coronavirus pandemic. \u003c/p>\n\u003cp>[aside postID='arts_13874738']Talking about \u003ci>You Are Beautiful\u003c/i>, Agana touches on the subject of who has permission to paint a mural and where. \u003ca href=\"https://www.kqed.org/arts/13874738/a-mural-of-tom-hanks-and-too-short-in-oakland-goes-deeper-than-paint\" rel=\"noopener noreferrer\" target=\"_blank\">Controversy recently flared\u003c/a> up over a Tom Hanks and Too $hort mural painted on the side of the building at Oakland’s San Pablo Avenue and Castro Street. \u003c/p>\n\u003cp>“We all get our walls different ways, but there is a thing about going over other people’s art,” Agana emphasizes. “Even if the owner gives you consent, that’s not enough, you gotta know what art was there before. Where it came from, who did it, you can sue, it’s disrespectful.” \u003c/p>\n\u003cp>Agana mentions a mural in San Francisco’s Mission District created by local youth under the guidance of the Precita Eyes Mural Arts Center. When it was \u003ca href=\"https://missionlocal.org/2017/06/missions-culture-not-for-sale-but-it-can-be-painted-over/\" rel=\"noopener noreferrer\" target=\"_blank\">painted over\u003c/a> in 2017, it was perceived as an attempt as a way to erase the Latinx contributions to the neighborhood. “Folks that are rooted where they are from feel some type of way,” Agana says. “If an out-of-towner rolls up and paints a wall, there’s definitely tension.” \u003c/p>\n\u003cp>The clash isn’t just between local artists and those coming from out of town. Agana says there is tension even between artists who work in different styles. “There’s tension between the graffiti and street art, between who is native to the neighborhood and the Town, and who is coming to just get some fame,” she explains. When the artist isn’t connected to the site, she says, “People feel like they are gentrifying [a wall] and taking something that is sacred.” \u003c/p>\n\u003cfigure id=\"attachment_13879430\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/FewAndFar_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13879430\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/FewAndFar_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/FewAndFar_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/FewAndFar_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/FewAndFar_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/FewAndFar_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Few and Far is a women’s artist collective. \u003ccite>(\u003ca href=\"https://www.instagram.com/carla.hr/\" target=\"_blank\">Carla Hernandez Ramirez\u003c/a>)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For Agana and the Few and Far crew, there are even more obstacles than getting permission to paint on a particular wall. The world of graffiti and street art remains heavily male dominated; getting recognition and respect as women is a battle they continue to fight. “I’m putting in a lot of work, and the ladies in the crew are also putting in a lot of work where we gain respect, but it didn’t come easy,” Agana says. “There’s a stereotype of ‘she got good because her boyfriend taught her.’ There’s this assumption that you got good because of a dude.” She emphasizes the need to respect the artistry without sexist assumptions. \u003c/p>\n\u003cp>Agana’s work, sprayed across Bay Area walls, challenges the notion of who, and what, gets to take up space in the public realm. In her purposeful depictions of maíz, of different body types engaged in activities that represent her own lived experience—and the experiences of her community—Agana puts her own beliefs into large-scale practice. \u003c/p>\n\u003cp>As she says, “It’s not about putting your name everywhere and your own personal fame. It’s about everybody and what your art represents.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The north-south median-divided street now known as Mandela Parkway is a microcosm of the changes at play throughout Oakland. Once, it was the site of the Cypress Structure, a 1.6-mile-long two-deck freeway that collapsed during the 1989 Loma Prieta earthquake and killed 42 people. Now, Mandela Parkway is home to food establishments, industrial businesses and pathways, which in the pre-pandemic era filled with affluent residents walking through the neighborhood. But tucked into the side streets is another, simultaneous, Oakland, one that reflects the uneven effects of gentrification sweeping the Town. \u003c/p>\n\u003cp>Vanessa Espinoza, better known as \u003ca href=\"https://www.instagram.com/dj_agana/\" rel=\"noopener noreferrer\" target=\"_blank\">DJ Agana\u003c/a>, is well aware of the disparity present in these streets. She’s looking up at \u003ci>You Are Beautiful\u003c/i>, a mural on the back of East Bay Resources recycling center on West Oakland’s Willow Street. “The mural is all trashed, I don’t know if this is going to work,” she says of a planned photoshoot.\u003c/p>\n\u003cp>DJ Agana is an East Oakland graffiti artist and a member of the women’s artist collective \u003ca href=\"https://www.fewandfarwomen.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Few and Far\u003c/a>. Agana is also an emcee, a 3D visual effects animator, a jewelry maker and an activist.\u003c/p>\n\u003cfigure id=\"attachment_13879429\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/AganaMural_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13879429\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/AganaMural_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/AganaMural_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/AganaMural_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/AganaMural_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/AganaMural_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">DJ Agana in front of her contribution to the ‘You Are Beautiful’ mural. \u003ccite>(\u003ca href=\"https://www.instagram.com/carla.hr/\" target=\"_blank\">Carla Hernandez Ramirez\u003c/a>)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>You Are Beautiful\u003c/i>, painted by Agana and Few and Far members in 2018, depicts women in all shapes and forms: pregnant, breast-feeding, voluptuous, in full tribal regalia. Its message is straightforward but emphatic—all women are beautiful. Agana’s contribution to the mural is a woman breastfeeding her baby, draped in a teal shawl, her feet surrounded by a maíz plant. \u003c/p>\n\u003cp>The image is Agana’s way of normalizing a part of motherhood that is often sexualized or seen as inappropriate in public space. “Breasts aren’t made for your sexual pleasure,” she says. “They are made to feed babies, they might be sexy, they might turn you on or make you uncomfortable, but I’m going to feed my baby when he’s hungry, and I don’t care who is around.”\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Fans of Agana’s work will recognize the imagery of corn, a recurring motif in her practice. Before shelter-in-place orders shuttered the eatery, it could be seen in \u003ca href=\"https://www.instagram.com/p/B8HNJHYFjm7/\" rel=\"noopener noreferrer\" target=\"_blank\">the mural\u003c/a> that adorns the inside wall of La Guerrera’s Kitchen, a mother-daughter food establishment in Fruitvale (currently offering \u003ca href=\"https://www.laguerreraskitchen.com/#how-to-support-during-covid-19-section\" rel=\"noopener noreferrer\" target=\"_blank\">pick-up services\u003c/a> from a nearby brewery, Friday through Sunday).\u003c/p>\n\u003cp>Agana’s maíz imagery draws from her Venezuelan roots and the knowledge that ancient civilizations in Mexico and Central and South America \u003ca href=\"https://www.smithsonianmag.com/smart-news/rethinking-corny-history-maize-180971038/\" rel=\"noopener noreferrer\" target=\"_blank\">used the grain as a food staple\u003c/a> until it was colonized by the food industry. She wants to bring awareness to this sacred grain in its natural form, not as corn syrup or other heavily processed corn-based products. “This is reclaiming what is sacred and keeping our traditions alive through our recipes, and our food,” she says. “That’s why it is my symbol.” \u003c/p>\n\u003cp>As Agana walks around the mural on Willow Street, she notices missing pieces and new tags. All that remains of the homeless encampment that once occupied that stretch of the street is the illegal dumping lining the bottom of the mural.\u003c/p>\n\u003cfigure id=\"attachment_13879431\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/WillowStreet_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13879431\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/WillowStreet_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/WillowStreet_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/WillowStreet_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/WillowStreet_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/WillowStreet_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Few and Far’s mural ‘You Are Beautiful,’ seen in 2020 on West Oakland’s Willow Street. \u003ccite>(\u003ca href=\"https://www.instagram.com/carla.hr/\" target=\"_blank\">Carla Hernandez Ramirez\u003c/a>)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The theme of this mural is ‘you are beautiful,’ which is super ironic considering the state that it is in right now,” Agana says. “But that was the state that [the area] was in when we first got here.” At the time, Willow Street was the site of a homeless encampment of over 100 unhoused people. \u003c/p>\n\u003cp>\u003ca href=\"https://www.fewandfarwomen.com/meme\" rel=\"noopener noreferrer\" target=\"_blank\">Meme\u003c/a>, one of the artists in Few and Far, leads efforts to obtain permission from building owners to secure wall space for their projects. She reached out to the owner of East Bay Resources (who owns several buildings across town that often boast street art), secured sponsorships from Ironlak Spray Paint and Monster Energy, and the collective got to work. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“When we started working on the mural, we made friends with the homeless folks, they had our back and we had theirs,” Agana says. “We shared food, we broke bread, we brought them clothes, whatever we could do to support [them].” The collective prepped and cleaned the area before they started painting. Now, the upkeep of the mural also falls on the artists, damaged walls, trash and all.\u003c/p>\n\u003cp>Today, the mural and its surroundings are a juxtaposition of the changing demographics of the city. Artists struggle to remain rooted, often a few hundred dollars away from coming up short on rent and losing housing themselves—even more the case during the ongoing coronavirus pandemic. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Talking about \u003ci>You Are Beautiful\u003c/i>, Agana touches on the subject of who has permission to paint a mural and where. \u003ca href=\"https://www.kqed.org/arts/13874738/a-mural-of-tom-hanks-and-too-short-in-oakland-goes-deeper-than-paint\" rel=\"noopener noreferrer\" target=\"_blank\">Controversy recently flared\u003c/a> up over a Tom Hanks and Too $hort mural painted on the side of the building at Oakland’s San Pablo Avenue and Castro Street. \u003c/p>\n\u003cp>“We all get our walls different ways, but there is a thing about going over other people’s art,” Agana emphasizes. “Even if the owner gives you consent, that’s not enough, you gotta know what art was there before. Where it came from, who did it, you can sue, it’s disrespectful.” \u003c/p>\n\u003cp>Agana mentions a mural in San Francisco’s Mission District created by local youth under the guidance of the Precita Eyes Mural Arts Center. When it was \u003ca href=\"https://missionlocal.org/2017/06/missions-culture-not-for-sale-but-it-can-be-painted-over/\" rel=\"noopener noreferrer\" target=\"_blank\">painted over\u003c/a> in 2017, it was perceived as an attempt as a way to erase the Latinx contributions to the neighborhood. “Folks that are rooted where they are from feel some type of way,” Agana says. “If an out-of-towner rolls up and paints a wall, there’s definitely tension.” \u003c/p>\n\u003cp>The clash isn’t just between local artists and those coming from out of town. Agana says there is tension even between artists who work in different styles. “There’s tension between the graffiti and street art, between who is native to the neighborhood and the Town, and who is coming to just get some fame,” she explains. When the artist isn’t connected to the site, she says, “People feel like they are gentrifying [a wall] and taking something that is sacred.” \u003c/p>\n\u003cfigure id=\"attachment_13879430\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/FewAndFar_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13879430\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/FewAndFar_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/FewAndFar_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/FewAndFar_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/FewAndFar_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/FewAndFar_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Few and Far is a women’s artist collective. \u003ccite>(\u003ca href=\"https://www.instagram.com/carla.hr/\" target=\"_blank\">Carla Hernandez Ramirez\u003c/a>)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For Agana and the Few and Far crew, there are even more obstacles than getting permission to paint on a particular wall. The world of graffiti and street art remains heavily male dominated; getting recognition and respect as women is a battle they continue to fight. “I’m putting in a lot of work, and the ladies in the crew are also putting in a lot of work where we gain respect, but it didn’t come easy,” Agana says. “There’s a stereotype of ‘she got good because her boyfriend taught her.’ There’s this assumption that you got good because of a dude.” She emphasizes the need to respect the artistry without sexist assumptions. \u003c/p>\n\u003cp>Agana’s work, sprayed across Bay Area walls, challenges the notion of who, and what, gets to take up space in the public realm. In her purposeful depictions of maíz, of different body types engaged in activities that represent her own lived experience—and the experiences of her community—Agana puts her own beliefs into large-scale practice. \u003c/p>\n\u003cp>As she says, “It’s not about putting your name everywhere and your own personal fame. It’s about everybody and what your art represents.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "A Mural of Tom Hanks and Too Short in Oakland Goes Deeper Than Paint",
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"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span> really thought I was \u003cem>doing\u003c/em> \u003cem>something\u003c/em> when I took a picture of a nearly finished mural of Tom Hanks and Too $hort and then \u003ca href=\"https://twitter.com/OGpenn/status/1222571572185055234\" target=\"_blank\" rel=\"noopener noreferrer\">posted it\u003c/a> to social media. I mean, I really put my phone in my pocket, thinking I actually did something good for people.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>My rationale? The mural was a huge street-side tribute to two vastly different hometown luminaries. I figured it would uplift folks, and help take their minds off the deflating news cycle about the unimpeachable president, the spread of an international virus and the dire housing situation in the Bay Area.\u003c/p>\n\u003cp>Instead, that picture put a number of the issues we’re facing into perspective—issues that I didn’t notice until the mural was gone.\u003c/p>\n\u003cp>It took less than three days for the mural to be covered. All of the work from the artists, whose Instagram handles are \u003ca href=\"https://www.instagram.com/pierremadethat/\">@pierremadethat\u003c/a>, \u003ca href=\"https://www.instagram.com/charles.utero.the3rd/\">@charles.utero.the3rd\u003c/a> and \u003ca href=\"https://www.instagram.com/funkysquash/\">@funkysquash\u003c/a>, on the broad side of the building at San Pablo Avenue and Castro Street was erased.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>What once was a short-lived mural depicting a young and spunky Tom Hanks from the movie \u003cem>Big\u003c/em> and an image of Too $hort from the \u003cem>Life Is… Too $hort\u003c/em> era—big donkey rope chain in tow—was gone. Poof! The details in the photo, all the easter eggs in the illustrations that accompanied Hanks’ image: a computer mouse from \u003cem>You’ve Got Mail\u003c/em>, the Wilson ball from \u003cem>Cast Away\u003c/em>, and a nod to \u003cem>Toy Story\u003c/em> in the form of a cowboy hat. Behind $hort were a number of details, too, including a boom box and some unidentified booties of women in thongs.\u003c/p>\n\u003cp>It was homage to two guys who spent their formative years in Oakland, who made it big in entertainment and who speak highly of their East Bay roots in nearly every interview I’ve ever seen. What could be wrong with that?\u003c/p>\n\u003cp>A lot.\u003c/p>\n\u003cfigure id=\"attachment_13874868\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13874868\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/83915355_10102711897512530_1065418198855188480_n-1-800x600.jpg\" alt=\"A Work in Progress\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/83915355_10102711897512530_1065418198855188480_n-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/83915355_10102711897512530_1065418198855188480_n-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/83915355_10102711897512530_1065418198855188480_n-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/83915355_10102711897512530_1065418198855188480_n-1.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A Work in Progress. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">“T\u003c/span>he level (of) keebler cracker and gmo wheat toast fkery in these pictures is ridiculously pitiful,” wrote Refa One, a well-known activist and artist from West Oakland, in \u003ca href=\"https://www.facebook.com/oakmaroons/posts/2665314293585655?__xts__%5B0%5D=68.ARCEiibWYkc0UOEBORd7mld8IUIZ9ij7SpHPEXZzG11yll845j72wqdXYfahW3B5vQsKg4u66WP0-c3XfOpH-hSrebJr3OfEWbyvN3pZI5v5pi8hCf-aXKKQMRxrdBeE5EKT3v5jLwASZZ-k6DWuosGNZ0aDvO90xfR1DCgapXTSNTwVhwT8jyEFmcMMfT4JNa1zWo_y4mvg3hRCRbu-ogjrzryDjcK4wQetfh8_wkHCJtyDYPwLtTPzf7O5PGu00eRkMGwCSEmsfDLfhgxbd6JODOoija6lnbCrm8IlavCqROMHexOYAfkywNzgKowzQ9ZU6SXuYpTKTfc1pM0E09TC7A&__tn__=-R\" target=\"_blank\" rel=\"noopener noreferrer\">a Facebook post\u003c/a> with the image of the mural. “I’m still processing the amount of thirsty accolades this work is receiving from Negropeans that have embraced defeat by the gentrifying colonizers hell bent on mascot iconography of a displaced BLACK people.”\u003c/p>\n\u003cp>Damn man, I hate to admit it, but I was one of those “Negropeans.”\u003c/p>\n\u003cp>Not too long after Refa One made the Facebook post, the mural was covered with a massive blotting of light blue paint—similar to the color the \u003ca href=\"https://exhibits.stanford.edu/fitch/browse/black-panther-party-oakland-california-1968-1972?page=2&view=slideshow\" target=\"_blank\" rel=\"noopener noreferrer\">Black Panther Party’s school uniforms\u003c/a>. “Mural in Progress. Reserved for Black Panther Party,” was the only message left on the elongated wall that parallels the 980 freeway.\u003c/p>\n\u003cp>The next day, I went down to the corner of San Pablo and Castro Street, and took a close photo of the new coat of paint and the message inscribed on the wall. I posted the picture on social media, and in came the questions: “Why’d they cover it?” “Who did it?” “What’s coming next?”\u003c/p>\n\u003cp>So I called Refa One.\u003c/p>\n\u003cp>“This is about African people controlling the visual landscape in their community, particularly against all forms of gentrification,” said Refa One, a longtime Oakland-based creator who heads the international arts collective \u003ca href=\"http://www.aerosoulart.com/\">Aerosoul\u003c/a>, and the son of two Black Panther Party members. He’s also the artist behind numerous murals in Oakland, including one of \u003ca href=\"https://www.kqed.org/arts/13851520/rightnowish-refa-one-spraypaint-in-hand-honors-west-oaklands-history\" target=\"_blank\" rel=\"noopener noreferrer\">Huey P. Newton in West Oakland\u003c/a> and one of \u003ca href=\"https://www.kqed.org/news/11753459/bart-unveils-oscar-grant-mural-and-street-sign-at-fruitvale-station\" target=\"_blank\" rel=\"noopener noreferrer\">Oscar Grant at Fruitvale Station\u003c/a>. “And in this particular situation,” he added, “we’re dealing with visual culture.”\u003c/p>\n\u003cfigure id=\"attachment_13874866\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13874866\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/EPeCCkKU8AAllIP-800x600.jpg\" alt=\"The image of Tom Hanks and a nod to his movies.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/EPeCCkKU8AAllIP-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/EPeCCkKU8AAllIP-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/EPeCCkKU8AAllIP-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/EPeCCkKU8AAllIP.jpg 900w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The image of Tom Hanks and a nod to his movies. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He told me he had a few issues with the mural of Hanks and $hort.\u003c/p>\n\u003cp>For starters, it depicts Tom Hanks, a multimillionaire who speaks proudly of his Oakland roots, but has yet to make a public statement about inequity in Oakland, Refa One said. And that’s for a city where the housing crisis has been noted as an emergency by local, state and international officials; an emergency that has \u003ca href=\"http://www.pbs.org/independentlens/blog/stepping-up-for-homeless-black-people-in-oakland/\" target=\"_blank\" rel=\"noopener noreferrer\">disproportionately impacted black people\u003c/a>.\u003c/p>\n\u003cp>And the image of Too $hort, known for misogynistic lyrics, is an issue too, Refa One added. It’s on the side of a wall that butts up against San Pablo Avenue not too far from the Greyhound Bus Station, which over the decades has been a hot spot for sex trafficking, an issue that’s plagued Oakland for longer than Too $hort has been rapping. And it has disproportionately impacted black women.\u003c/p>\n\u003cp>Then Refa One noted that two of the three artists involved in the mural were white folks, and not from Oakland. He questioned what right they had to paint the walls in a traditionally black community. “Can I go to Chinatown and paint whatever I want? Can I go to Piedmont and paint there?” he asked.\u003c/p>\n\u003cp>Well, when you put it like that, I get it. So did the other artists. They told me that they understood the politics behind Refa’s point and ambition to paint over their work, and deferred any further comment.\u003c/p>\n\u003cp>“It’s a good thing,” one of the artists \u003ca href=\"https://www.instagram.com/p/B8E2hvIp50u/\" target=\"_blank\" rel=\"noopener noreferrer\">wrote\u003c/a> on Instagram. “Excited for what’s going up next.\u003c/p>\n\u003cfigure id=\"attachment_13874867\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13874867\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/EPeCCmBVAAEqE_w-800x576.jpg\" alt=\"The image of Too $hort and details from aspects of his career.\" width=\"800\" height=\"576\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/EPeCCmBVAAEqE_w-800x576.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/EPeCCmBVAAEqE_w-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/EPeCCmBVAAEqE_w-768x553.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/EPeCCmBVAAEqE_w.jpg 900w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The image of Too $hort and details from aspects of his career. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>here’s a long history of African American culture being compromised and remade to fit the palate of white America. Elvis Presley re-recording “Hound Dog” and selling 9.5 million more copies than the original \u003ca href=\"https://www.history.com/this-day-in-history/hound-dog-is-recorded-for-the-first-time-by-big-mama-thornton\" target=\"_blank\" rel=\"noopener noreferrer\">Big Mama Thornton version\u003c/a>. The long-running TV show \u003cem>Friends\u003c/em>, a spinoff of \u003ca href=\"https://www.citylab.com/life/2017/01/the-gentrification-of-city-based-sitcoms/513302/\">Living Single\u003c/a>. Hell, famed slavery abolitionist \u003ca href=\"https://www.loc.gov/exhibits/odyssey/educate/truth.html\">Sojouner Truth\u003c/a>‘s first language was Dutch, and when she learned English, she spoke in a Dutch accent. Yet her famous speech, “Ain’t I A Woman,” is usually thought to have been spoken in “\u003ca href=\"https://www.thesojournertruthproject.com/\" target=\"_blank\" rel=\"noopener noreferrer\">a stereotypical ‘southern black slave accent\u003c/a>,'” because that’s how (white) historians believed all enslaved Africans spoke.\u003c/p>\n\u003cp>It’s deeper than some paint on the walls. It’s about the importance of controlling your story, no matter the medium, because from that comes control over your life.\u003c/p>\n\u003cp>And on that note of self-determination shown through community art, Refa One told me about a time he was painting a piece in Campbell Village, a well-known public housing project in West Oakland.\u003c/p>\n\u003cp>“You know how to do \u003cem>this\u003c/em>?” Refa One said a young man asked, watching him paint while playing with a group of friends. “We thought only white people did this.”\u003c/p>\n\u003cp>Refa One said he talked to the group of children, and told them, “The first people on the planet to ever paint murals, and to express their culture in that fashion, were African people just like us.”\u003c/p>\n\u003cfigure id=\"attachment_13851523\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13851523\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/02/RefaOne.street-800x535.jpg\" alt=\"Refa One in West Oakland.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.street-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.street-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.street-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.street-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.street-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.street.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Refa One, of \u003ca href=\"https://www.instagram.com/aerosoul_ig/\">@aerosoul_ig\u003c/a>, in West Oakland. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He invited the youngsters to pick up some paint and participate in the production of the piece, giving them “collective ownership of their walls.” Which is especially important in the black community, where we’re constantly combating self-hatred.\u003c/p>\n\u003cp>“We’ve been conditioned to believe that anything happening positively in our community must come from the outside,” said Refa One, in reference to numerous images of African American leaders painted by white artists in Oakland. “Oftentimes the community is ignorant to the fact that we’re being ‘mascotted’ by white folks who consider themselves the ambassador to our culture, and how it should be used and decimated.”\u003c/p>\n\u003cp>He says he can’t simply paint over those walls. It’s a Catch-22. “At that point it becomes difficult to remove those images, because people’s overall thought is that it’s positive.”\u003c/p>\n\u003cp>But in a town where black folks have been disproportionately killed, over-policed, under-educated, sex trafficked and pushed out by the masses, putting up images of black folks \u003cem>is\u003c/em> like sports teams having mascots. Mascots derived from cultural aspects of the natives, who’ve been killed off of the very land where they now toss a pigskin or pitch a four-seam fastball.\u003c/p>\n\u003cp>Damn, it \u003cem>is\u003c/em> just like sports: it’s easy to root for a team because you like their mascot or star players, but you better do your research on who’s really in control.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Otherwise you’ll be cheering for the “Negropeans.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span> really thought I was \u003cem>doing\u003c/em> \u003cem>something\u003c/em> when I took a picture of a nearly finished mural of Tom Hanks and Too $hort and then \u003ca href=\"https://twitter.com/OGpenn/status/1222571572185055234\" target=\"_blank\" rel=\"noopener noreferrer\">posted it\u003c/a> to social media. I mean, I really put my phone in my pocket, thinking I actually did something good for people.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>My rationale? The mural was a huge street-side tribute to two vastly different hometown luminaries. I figured it would uplift folks, and help take their minds off the deflating news cycle about the unimpeachable president, the spread of an international virus and the dire housing situation in the Bay Area.\u003c/p>\n\u003cp>Instead, that picture put a number of the issues we’re facing into perspective—issues that I didn’t notice until the mural was gone.\u003c/p>\n\u003cp>It took less than three days for the mural to be covered. All of the work from the artists, whose Instagram handles are \u003ca href=\"https://www.instagram.com/pierremadethat/\">@pierremadethat\u003c/a>, \u003ca href=\"https://www.instagram.com/charles.utero.the3rd/\">@charles.utero.the3rd\u003c/a> and \u003ca href=\"https://www.instagram.com/funkysquash/\">@funkysquash\u003c/a>, on the broad side of the building at San Pablo Avenue and Castro Street was erased.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>What once was a short-lived mural depicting a young and spunky Tom Hanks from the movie \u003cem>Big\u003c/em> and an image of Too $hort from the \u003cem>Life Is… Too $hort\u003c/em> era—big donkey rope chain in tow—was gone. Poof! The details in the photo, all the easter eggs in the illustrations that accompanied Hanks’ image: a computer mouse from \u003cem>You’ve Got Mail\u003c/em>, the Wilson ball from \u003cem>Cast Away\u003c/em>, and a nod to \u003cem>Toy Story\u003c/em> in the form of a cowboy hat. Behind $hort were a number of details, too, including a boom box and some unidentified booties of women in thongs.\u003c/p>\n\u003cp>It was homage to two guys who spent their formative years in Oakland, who made it big in entertainment and who speak highly of their East Bay roots in nearly every interview I’ve ever seen. What could be wrong with that?\u003c/p>\n\u003cp>A lot.\u003c/p>\n\u003cfigure id=\"attachment_13874868\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13874868\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/83915355_10102711897512530_1065418198855188480_n-1-800x600.jpg\" alt=\"A Work in Progress\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/83915355_10102711897512530_1065418198855188480_n-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/83915355_10102711897512530_1065418198855188480_n-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/83915355_10102711897512530_1065418198855188480_n-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/83915355_10102711897512530_1065418198855188480_n-1.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A Work in Progress. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">“T\u003c/span>he level (of) keebler cracker and gmo wheat toast fkery in these pictures is ridiculously pitiful,” wrote Refa One, a well-known activist and artist from West Oakland, in \u003ca href=\"https://www.facebook.com/oakmaroons/posts/2665314293585655?__xts__%5B0%5D=68.ARCEiibWYkc0UOEBORd7mld8IUIZ9ij7SpHPEXZzG11yll845j72wqdXYfahW3B5vQsKg4u66WP0-c3XfOpH-hSrebJr3OfEWbyvN3pZI5v5pi8hCf-aXKKQMRxrdBeE5EKT3v5jLwASZZ-k6DWuosGNZ0aDvO90xfR1DCgapXTSNTwVhwT8jyEFmcMMfT4JNa1zWo_y4mvg3hRCRbu-ogjrzryDjcK4wQetfh8_wkHCJtyDYPwLtTPzf7O5PGu00eRkMGwCSEmsfDLfhgxbd6JODOoija6lnbCrm8IlavCqROMHexOYAfkywNzgKowzQ9ZU6SXuYpTKTfc1pM0E09TC7A&__tn__=-R\" target=\"_blank\" rel=\"noopener noreferrer\">a Facebook post\u003c/a> with the image of the mural. “I’m still processing the amount of thirsty accolades this work is receiving from Negropeans that have embraced defeat by the gentrifying colonizers hell bent on mascot iconography of a displaced BLACK people.”\u003c/p>\n\u003cp>Damn man, I hate to admit it, but I was one of those “Negropeans.”\u003c/p>\n\u003cp>Not too long after Refa One made the Facebook post, the mural was covered with a massive blotting of light blue paint—similar to the color the \u003ca href=\"https://exhibits.stanford.edu/fitch/browse/black-panther-party-oakland-california-1968-1972?page=2&view=slideshow\" target=\"_blank\" rel=\"noopener noreferrer\">Black Panther Party’s school uniforms\u003c/a>. “Mural in Progress. Reserved for Black Panther Party,” was the only message left on the elongated wall that parallels the 980 freeway.\u003c/p>\n\u003cp>The next day, I went down to the corner of San Pablo and Castro Street, and took a close photo of the new coat of paint and the message inscribed on the wall. I posted the picture on social media, and in came the questions: “Why’d they cover it?” “Who did it?” “What’s coming next?”\u003c/p>\n\u003cp>So I called Refa One.\u003c/p>\n\u003cp>“This is about African people controlling the visual landscape in their community, particularly against all forms of gentrification,” said Refa One, a longtime Oakland-based creator who heads the international arts collective \u003ca href=\"http://www.aerosoulart.com/\">Aerosoul\u003c/a>, and the son of two Black Panther Party members. He’s also the artist behind numerous murals in Oakland, including one of \u003ca href=\"https://www.kqed.org/arts/13851520/rightnowish-refa-one-spraypaint-in-hand-honors-west-oaklands-history\" target=\"_blank\" rel=\"noopener noreferrer\">Huey P. Newton in West Oakland\u003c/a> and one of \u003ca href=\"https://www.kqed.org/news/11753459/bart-unveils-oscar-grant-mural-and-street-sign-at-fruitvale-station\" target=\"_blank\" rel=\"noopener noreferrer\">Oscar Grant at Fruitvale Station\u003c/a>. “And in this particular situation,” he added, “we’re dealing with visual culture.”\u003c/p>\n\u003cfigure id=\"attachment_13874866\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13874866\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/EPeCCkKU8AAllIP-800x600.jpg\" alt=\"The image of Tom Hanks and a nod to his movies.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/EPeCCkKU8AAllIP-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/EPeCCkKU8AAllIP-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/EPeCCkKU8AAllIP-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/EPeCCkKU8AAllIP.jpg 900w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The image of Tom Hanks and a nod to his movies. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He told me he had a few issues with the mural of Hanks and $hort.\u003c/p>\n\u003cp>For starters, it depicts Tom Hanks, a multimillionaire who speaks proudly of his Oakland roots, but has yet to make a public statement about inequity in Oakland, Refa One said. And that’s for a city where the housing crisis has been noted as an emergency by local, state and international officials; an emergency that has \u003ca href=\"http://www.pbs.org/independentlens/blog/stepping-up-for-homeless-black-people-in-oakland/\" target=\"_blank\" rel=\"noopener noreferrer\">disproportionately impacted black people\u003c/a>.\u003c/p>\n\u003cp>And the image of Too $hort, known for misogynistic lyrics, is an issue too, Refa One added. It’s on the side of a wall that butts up against San Pablo Avenue not too far from the Greyhound Bus Station, which over the decades has been a hot spot for sex trafficking, an issue that’s plagued Oakland for longer than Too $hort has been rapping. And it has disproportionately impacted black women.\u003c/p>\n\u003cp>Then Refa One noted that two of the three artists involved in the mural were white folks, and not from Oakland. He questioned what right they had to paint the walls in a traditionally black community. “Can I go to Chinatown and paint whatever I want? Can I go to Piedmont and paint there?” he asked.\u003c/p>\n\u003cp>Well, when you put it like that, I get it. So did the other artists. They told me that they understood the politics behind Refa’s point and ambition to paint over their work, and deferred any further comment.\u003c/p>\n\u003cp>“It’s a good thing,” one of the artists \u003ca href=\"https://www.instagram.com/p/B8E2hvIp50u/\" target=\"_blank\" rel=\"noopener noreferrer\">wrote\u003c/a> on Instagram. “Excited for what’s going up next.\u003c/p>\n\u003cfigure id=\"attachment_13874867\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13874867\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/EPeCCmBVAAEqE_w-800x576.jpg\" alt=\"The image of Too $hort and details from aspects of his career.\" width=\"800\" height=\"576\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/EPeCCmBVAAEqE_w-800x576.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/EPeCCmBVAAEqE_w-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/EPeCCmBVAAEqE_w-768x553.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/EPeCCmBVAAEqE_w.jpg 900w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The image of Too $hort and details from aspects of his career. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>here’s a long history of African American culture being compromised and remade to fit the palate of white America. Elvis Presley re-recording “Hound Dog” and selling 9.5 million more copies than the original \u003ca href=\"https://www.history.com/this-day-in-history/hound-dog-is-recorded-for-the-first-time-by-big-mama-thornton\" target=\"_blank\" rel=\"noopener noreferrer\">Big Mama Thornton version\u003c/a>. The long-running TV show \u003cem>Friends\u003c/em>, a spinoff of \u003ca href=\"https://www.citylab.com/life/2017/01/the-gentrification-of-city-based-sitcoms/513302/\">Living Single\u003c/a>. Hell, famed slavery abolitionist \u003ca href=\"https://www.loc.gov/exhibits/odyssey/educate/truth.html\">Sojouner Truth\u003c/a>‘s first language was Dutch, and when she learned English, she spoke in a Dutch accent. Yet her famous speech, “Ain’t I A Woman,” is usually thought to have been spoken in “\u003ca href=\"https://www.thesojournertruthproject.com/\" target=\"_blank\" rel=\"noopener noreferrer\">a stereotypical ‘southern black slave accent\u003c/a>,'” because that’s how (white) historians believed all enslaved Africans spoke.\u003c/p>\n\u003cp>It’s deeper than some paint on the walls. It’s about the importance of controlling your story, no matter the medium, because from that comes control over your life.\u003c/p>\n\u003cp>And on that note of self-determination shown through community art, Refa One told me about a time he was painting a piece in Campbell Village, a well-known public housing project in West Oakland.\u003c/p>\n\u003cp>“You know how to do \u003cem>this\u003c/em>?” Refa One said a young man asked, watching him paint while playing with a group of friends. “We thought only white people did this.”\u003c/p>\n\u003cp>Refa One said he talked to the group of children, and told them, “The first people on the planet to ever paint murals, and to express their culture in that fashion, were African people just like us.”\u003c/p>\n\u003cfigure id=\"attachment_13851523\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13851523\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/02/RefaOne.street-800x535.jpg\" alt=\"Refa One in West Oakland.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.street-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.street-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.street-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.street-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.street-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.street.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Refa One, of \u003ca href=\"https://www.instagram.com/aerosoul_ig/\">@aerosoul_ig\u003c/a>, in West Oakland. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He invited the youngsters to pick up some paint and participate in the production of the piece, giving them “collective ownership of their walls.” Which is especially important in the black community, where we’re constantly combating self-hatred.\u003c/p>\n\u003cp>“We’ve been conditioned to believe that anything happening positively in our community must come from the outside,” said Refa One, in reference to numerous images of African American leaders painted by white artists in Oakland. “Oftentimes the community is ignorant to the fact that we’re being ‘mascotted’ by white folks who consider themselves the ambassador to our culture, and how it should be used and decimated.”\u003c/p>\n\u003cp>He says he can’t simply paint over those walls. It’s a Catch-22. “At that point it becomes difficult to remove those images, because people’s overall thought is that it’s positive.”\u003c/p>\n\u003cp>But in a town where black folks have been disproportionately killed, over-policed, under-educated, sex trafficked and pushed out by the masses, putting up images of black folks \u003cem>is\u003c/em> like sports teams having mascots. Mascots derived from cultural aspects of the natives, who’ve been killed off of the very land where they now toss a pigskin or pitch a four-seam fastball.\u003c/p>\n\u003cp>Damn, it \u003cem>is\u003c/em> just like sports: it’s easy to root for a team because you like their mascot or star players, but you better do your research on who’s really in control.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Otherwise you’ll be cheering for the “Negropeans.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "rightnowish-refa-one-spraypaint-in-hand-honors-west-oaklands-history",
"title": "Claiming Community Walls for the Black Panther Party",
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"headTitle": "Claiming Community Walls for the Black Panther Party | KQED",
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"content": "\u003cp>\u003ci>Listen to the podcast to hear moments from the Rightnowish Family Gathering.\u003c/i>\u003c/p>\n\u003cp>I stand on the corner of 14th and Peralta in West Oakland, marveling over a mural painted on the broad side of the Sav-Mor liquor store. With a brilliant blue background, African Adinkra symbols along the top and the image of Black Panther Party co-founder Huey Newton squarely in the middle, the words “Serve The People” send a simple, clear mission statement.\u003c/p>\n\u003cp>“We are standing at ground zero, where the Black Panther Party started,” says \u003ca href=\"http://www.refa1.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Refa One\u003c/a>, the artist behind the mural. “And there is nothing in this neighborhood of any consequence that is promoting the legacy of the Black Panther Party.”\u003c/p>\n\u003cp>Until last year, that is, when Refa painted the mural, giving visual honor to one of the most well-known organizations to emerge from the Bay Area.\u003c/p>\n\u003cfigure id=\"attachment_13851524\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13851524\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/RefaOne.HueyMural-800x492.jpg\" alt=\"Refa One's mural honoring Huey Newton of the Black Panthers.\" width=\"800\" height=\"492\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.HueyMural-800x492.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.HueyMural-160x98.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.HueyMural-768x472.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.HueyMural-1020x627.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.HueyMural-1200x738.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.HueyMural.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Refa One’s mural honoring Huey Newton of the Black Panthers. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Having his work on the walls around town isn’t new to Refa—he’s been active since the 1980s, when he painted with the graffiti crew BSK. You can see his work \u003ca href=\"http://www.refa1.com/uploads/1/0/4/0/10407124/ahc-mural_orig.jpg\" target=\"_blank\" rel=\"noopener noreferrer\">under the 580 overpass at Market\u003c/a>, or on 8th Street, between Campbell and Willow. He’s currently working on a mural dedicated to the memory of Oscar Grant at Fruitvale BART station, where Grant was fatally shot 10 years ago.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Still, the Huey Newton piece is directly representative of the reason Refa, founder of the \u003ca href=\"http://www.aerosoulart.com/\" target=\"_blank\" rel=\"noopener noreferrer\">AeroSoul\u003c/a> art collective, is invested in art. Both of his parents were Black Panther members, rank-and-file, as he called them. His dad, \u003ca href=\"https://www.eastbayexpress.com/oakland/panther-power/Content?oid=4994061\" target=\"_blank\" rel=\"noopener noreferrer\">Ducho Dennis\u003c/a>, served as official photographer for the Panthers, and walls of his photos transform Refa’s living room into a sort of mini-museum.\u003c/p>\n\u003cfigure id=\"attachment_13851523\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13851523\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/RefaOne.street-800x535.jpg\" alt=\"Refa One in West Oakland.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.street-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.street-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.street-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.street-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.street-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.street.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Refa One in West Oakland. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Yeah I’m a collector of many sorts, mostly related to art. Whether it’s sculpture, paintings, music, you know, I’m also an archivist,” says Refa as we walk into his house. “There’s times where I will meet rank-and-file panthers, and this documentation may be the only physical documentation that records their involvement in the party, and that means a lot to their family.”\u003c/p>\n\u003cp>And it means a lot to me.\u003c/p>\n\u003cp>Knowing how rapidly West Oakland is changing, this documentation is gold. The stories from this soil need to be told, no matter their form. To let them dissipate into history would be a disservice to those who came before us—as well as those who come after us.\u003c/p>\n\u003cfigure id=\"attachment_13851525\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13851525\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/RefaOne.fist_-800x535.jpg\" alt=\"Artist Refa One with his mural honoring Huey Newton at 14th and Peralta in West Oakland.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.fist_-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.fist_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.fist_-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.fist_-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.fist_-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.fist_.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist Refa One with his mural honoring Huey Newton at 14th and Peralta in West Oakland. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Refa One would agree about the importance of that intergenerational connection. Along with his parents’ involvement in the party, his son Senay Alkebu-lan runs a clothing line called \u003ca href=\"https://www.madowfutur.com/\" target=\"_blank\" rel=\"noopener noreferrer\">MADOW FUTUR\u003c/a>, which features images of the Black Panther logo on the apparel.\u003c/p>\n\u003cp>When asked about his art’s purpose, Refa One doesn’t have to deliberate. “My mission statement can be capsulated in the Black Panther commemorative mural around the corner from here: to serve the people.”\u003c/p>\n\u003cp>\u003cem>A shorter version of this episode was first broadcast on February 24, 2019.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>Listen to the podcast to hear moments from the Rightnowish Family Gathering.\u003c/i>\u003c/p>\n\u003cp>I stand on the corner of 14th and Peralta in West Oakland, marveling over a mural painted on the broad side of the Sav-Mor liquor store. With a brilliant blue background, African Adinkra symbols along the top and the image of Black Panther Party co-founder Huey Newton squarely in the middle, the words “Serve The People” send a simple, clear mission statement.\u003c/p>\n\u003cp>“We are standing at ground zero, where the Black Panther Party started,” says \u003ca href=\"http://www.refa1.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Refa One\u003c/a>, the artist behind the mural. “And there is nothing in this neighborhood of any consequence that is promoting the legacy of the Black Panther Party.”\u003c/p>\n\u003cp>Until last year, that is, when Refa painted the mural, giving visual honor to one of the most well-known organizations to emerge from the Bay Area.\u003c/p>\n\u003cfigure id=\"attachment_13851524\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13851524\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/RefaOne.HueyMural-800x492.jpg\" alt=\"Refa One's mural honoring Huey Newton of the Black Panthers.\" width=\"800\" height=\"492\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.HueyMural-800x492.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.HueyMural-160x98.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.HueyMural-768x472.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.HueyMural-1020x627.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.HueyMural-1200x738.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.HueyMural.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Refa One’s mural honoring Huey Newton of the Black Panthers. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Having his work on the walls around town isn’t new to Refa—he’s been active since the 1980s, when he painted with the graffiti crew BSK. You can see his work \u003ca href=\"http://www.refa1.com/uploads/1/0/4/0/10407124/ahc-mural_orig.jpg\" target=\"_blank\" rel=\"noopener noreferrer\">under the 580 overpass at Market\u003c/a>, or on 8th Street, between Campbell and Willow. He’s currently working on a mural dedicated to the memory of Oscar Grant at Fruitvale BART station, where Grant was fatally shot 10 years ago.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Still, the Huey Newton piece is directly representative of the reason Refa, founder of the \u003ca href=\"http://www.aerosoulart.com/\" target=\"_blank\" rel=\"noopener noreferrer\">AeroSoul\u003c/a> art collective, is invested in art. Both of his parents were Black Panther members, rank-and-file, as he called them. His dad, \u003ca href=\"https://www.eastbayexpress.com/oakland/panther-power/Content?oid=4994061\" target=\"_blank\" rel=\"noopener noreferrer\">Ducho Dennis\u003c/a>, served as official photographer for the Panthers, and walls of his photos transform Refa’s living room into a sort of mini-museum.\u003c/p>\n\u003cfigure id=\"attachment_13851523\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13851523\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/RefaOne.street-800x535.jpg\" alt=\"Refa One in West Oakland.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.street-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.street-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.street-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.street-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.street-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.street.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Refa One in West Oakland. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Yeah I’m a collector of many sorts, mostly related to art. Whether it’s sculpture, paintings, music, you know, I’m also an archivist,” says Refa as we walk into his house. “There’s times where I will meet rank-and-file panthers, and this documentation may be the only physical documentation that records their involvement in the party, and that means a lot to their family.”\u003c/p>\n\u003cp>And it means a lot to me.\u003c/p>\n\u003cp>Knowing how rapidly West Oakland is changing, this documentation is gold. The stories from this soil need to be told, no matter their form. To let them dissipate into history would be a disservice to those who came before us—as well as those who come after us.\u003c/p>\n\u003cfigure id=\"attachment_13851525\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13851525\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/RefaOne.fist_-800x535.jpg\" alt=\"Artist Refa One with his mural honoring Huey Newton at 14th and Peralta in West Oakland.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.fist_-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.fist_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.fist_-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.fist_-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.fist_-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.fist_.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist Refa One with his mural honoring Huey Newton at 14th and Peralta in West Oakland. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Refa One would agree about the importance of that intergenerational connection. Along with his parents’ involvement in the party, his son Senay Alkebu-lan runs a clothing line called \u003ca href=\"https://www.madowfutur.com/\" target=\"_blank\" rel=\"noopener noreferrer\">MADOW FUTUR\u003c/a>, which features images of the Black Panther logo on the apparel.\u003c/p>\n\u003cp>When asked about his art’s purpose, Refa One doesn’t have to deliberate. “My mission statement can be capsulated in the Black Panther commemorative mural around the corner from here: to serve the people.”\u003c/p>\n\u003cp>\u003cem>A shorter version of this episode was first broadcast on February 24, 2019.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Banksy Has a Line of Homewares Now—But For the Best Possible Reason",
"headTitle": "Banksy Has a Line of Homewares Now—But For the Best Possible Reason | KQED",
"content": "\u003cp>It’s called \u003ca href=\"https://grossdomesticproduct.com/\" target=\"_blank\" rel=\"noopener\">\u003ci>Gross Domestic Product\u003c/i>\u003c/a> and it’s currently on display in a large locked storefront in Croydon, a blue-collar borough of greater London. The collection of Banksy creations appeared overnight and was greeted as a pleasant surprise by locals on Oct. 1. The renegade artist announced its arrival via social media.\u003c/p>\n\u003cp>https://www.instagram.com/p/B3FAJKonJ_z/\u003c/p>\n\u003cp>Though the storefront does feature a variety of original Banksy artworks, as well as the infamous Union Jack “stab vest” worn by London emcee \u003ca href=\"https://www.kqed.org/pop/97349/everyone-loves-this-british-mc-for-getting-trapped-in-a-bathroom-stall\" target=\"_blank\" rel=\"noopener\">Stormzy\u003c/a> during his \u003ca href=\"https://www.youtube.com/watch?v=9vgar9pInkg\" target=\"_blank\" rel=\"noopener\">Glastonbury Festival\u003c/a> set last year, \u003ci>Gross Domestic Product\u003c/i> really is a new line of homewares, designed by Banksy, that will go on sale shortly at a new, dedicated website.\u003c/p>\n\u003cfigure id=\"attachment_13867522\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867522\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/GettyImages-1172919452-800x534.jpg\" alt=\"The stab vest Banksy designed for Stormzy's headline set at the Glastonbury Festival, on display in the Gross Domestic Product store, Croydon, England.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/GettyImages-1172919452-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/GettyImages-1172919452-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/GettyImages-1172919452-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/GettyImages-1172919452-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/GettyImages-1172919452.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The stab vest Banksy designed for Stormzy’s headline set at the Glastonbury Festival, on display in the Gross Domestic Product store, Croydon, England. \u003ccite>(Chris J Ratcliffe/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The range is exactly what you’d expect from the always provocative street artist. There’s a rug that appears to be made from the pelt of Frosted Flakes mascot Tony the Tiger. There are throw pillows that instruct: “LIFE’S TOO SHORT TO TAKE ADVICE FROM A CUSHION.” There are curtain pullbacks made from heavy chains and padlocks, wall clocks that resemble rats running on exercise wheels, and a crib surrounded by CCTV cameras. There are even welcome mats made of life jackets, that were sewn together by refugees from detainment camps in Greece. (All proceeds from the sale will go back to the people that made them.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?time_continue=43&v=AAQYdtzGcU8\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The reason for this unexpected dystopian pop-up shop? A greeting card company is contesting Banksy’s trademark to his own work. “Banksy is in a difficult position because he doesn’t produce his own range of shoddy merchandise and the law is quite clear,” his lawyer \u003ca href=\"https://www.thisiscolossal.com/2019/10/gross-domestic-product/\" target=\"_blank\" rel=\"noopener\">Mark Stephens explained\u003c/a>. “If the trademark holder is not using the mark then it can be transferred to someone who will.” As such, Banksy needed to prove the trademark was still active—\u003ci>Gross Domestic Product\u003c/i> is the result.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Mugs, plates and clothing are also visible in the windows, and in a statement, Banksy said: “We hope to offer something for everyone, prices start from £10 but availability will be limited.” \u003ca href=\"https://www.thisiscolossal.com/2019/10/gross-domestic-product/\" target=\"_blank\" rel=\"noopener\">The artist also clarified\u003c/a> that: “I still encourage anyone to copy, borrow, steal and amend my art for amusement, academic research or activism. I just don’t want [the greeting card company] to get sole custody of my name.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Though the storefront does feature a variety of original Banksy artworks, as well as the infamous Union Jack “stab vest” worn by London emcee \u003ca href=\"https://www.kqed.org/pop/97349/everyone-loves-this-british-mc-for-getting-trapped-in-a-bathroom-stall\" target=\"_blank\" rel=\"noopener\">Stormzy\u003c/a> during his \u003ca href=\"https://www.youtube.com/watch?v=9vgar9pInkg\" target=\"_blank\" rel=\"noopener\">Glastonbury Festival\u003c/a> set last year, \u003ci>Gross Domestic Product\u003c/i> really is a new line of homewares, designed by Banksy, that will go on sale shortly at a new, dedicated website.\u003c/p>\n\u003cfigure id=\"attachment_13867522\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867522\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/GettyImages-1172919452-800x534.jpg\" alt=\"The stab vest Banksy designed for Stormzy's headline set at the Glastonbury Festival, on display in the Gross Domestic Product store, Croydon, England.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/GettyImages-1172919452-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/GettyImages-1172919452-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/GettyImages-1172919452-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/GettyImages-1172919452-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/GettyImages-1172919452.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The stab vest Banksy designed for Stormzy’s headline set at the Glastonbury Festival, on display in the Gross Domestic Product store, Croydon, England. \u003ccite>(Chris J Ratcliffe/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The range is exactly what you’d expect from the always provocative street artist. There’s a rug that appears to be made from the pelt of Frosted Flakes mascot Tony the Tiger. There are throw pillows that instruct: “LIFE’S TOO SHORT TO TAKE ADVICE FROM A CUSHION.” There are curtain pullbacks made from heavy chains and padlocks, wall clocks that resemble rats running on exercise wheels, and a crib surrounded by CCTV cameras. There are even welcome mats made of life jackets, that were sewn together by refugees from detainment camps in Greece. (All proceeds from the sale will go back to the people that made them.)\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/AAQYdtzGcU8'\n title='//www.youtube.com/embed/AAQYdtzGcU8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The reason for this unexpected dystopian pop-up shop? A greeting card company is contesting Banksy’s trademark to his own work. “Banksy is in a difficult position because he doesn’t produce his own range of shoddy merchandise and the law is quite clear,” his lawyer \u003ca href=\"https://www.thisiscolossal.com/2019/10/gross-domestic-product/\" target=\"_blank\" rel=\"noopener\">Mark Stephens explained\u003c/a>. “If the trademark holder is not using the mark then it can be transferred to someone who will.” As such, Banksy needed to prove the trademark was still active—\u003ci>Gross Domestic Product\u003c/i> is the result.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Mugs, plates and clothing are also visible in the windows, and in a statement, Banksy said: “We hope to offer something for everyone, prices start from £10 but availability will be limited.” \u003ca href=\"https://www.thisiscolossal.com/2019/10/gross-domestic-product/\" target=\"_blank\" rel=\"noopener\">The artist also clarified\u003c/a> that: “I still encourage anyone to copy, borrow, steal and amend my art for amusement, academic research or activism. I just don’t want [the greeting card company] to get sole custody of my name.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>On Aug. 17, Mosswood Park in Oakland will be full of people gathered in celebration of the 50th birthday of the late, great Mike “Dream” Francisco.\u003c/p>\n\u003cp>Dream, a legendary graffiti writer, was raised in Alameda and spent time all over the Bay Area. But he found a home on the walls of Oakland—specifically those near 23rd Avenue and East 12th Street, in what’s known as Oakland’s 23rd Yards. He got his first taste of writing in 1983, and from that moment on, Dream used the walls of the Bay Area as a canvas to create artwork so impressive that publications around the world took note.\u003c/p>\n\u003cp>His notable hand styles and clever messages, as well as the proliferation of pieces that simply read DREAM, helped to spread his name in the graffiti writing world.\u003c/p>\n\u003cfigure id=\"attachment_13864061\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13864061\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/DSC01619-800x532.jpg\" alt=\"Best Of Both Worlds-Dream\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/DSC01619-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/DSC01619-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/DSC01619-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/DSC01619-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/DSC01619-1200x797.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/DSC01619-1920x1276.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/DSC01619.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Two of Dream’s more popular pieces, ‘The Best Of Both Worlds’ and ‘Sweet Dreams.’ \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Much more than just a writer, Dream was a hustler who grew to be politicized. He had the Bay Area vernacular and charisma, \u003ca href=\"https://www.youtube.com/watch?v=zklG2h4B86o\" target=\"_blank\" rel=\"noopener\">and used it in conversation\u003c/a>. He was a proud first-generation Filipino guy who loved hip-hop, and kicked it with folks of all nationalities.\u003c/p>\n\u003cp>He was also a founding member of a crew of writers known as TDK, which originally stood for “Those Damn Kids.” But you know how it is: multiple meanings for an acronym emerge, depending on what the crew got into. So, when they did devious things, they were “The Dark Knights.” When they were talking politics, it was “Tax Dollars Kill.” When they were bragging about how dope they were, they were “The Damn Kings.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Years have passed and the crew has grown. A lot of them still paint; you can find TDK pieces in all corners of the Town. Some have used their artistic ability for other things, like becoming tattoo artists. And a few of them became teachers, still carrying the TDK name—you know, “Teach Da Kids.”\u003c/p>\n\u003cfigure id=\"attachment_13864060\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13864060\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/IMG_1636-800x600.jpg\" alt=\"Dream memorial at the front door of East Side Arts Alliance\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/IMG_1636-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/IMG_1636-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/IMG_1636-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/IMG_1636-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/IMG_1636-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/IMG_1636-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/IMG_1636.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dream memorial at the front door of East Side Arts Alliance. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After Mike ‘Dream’ Francisco was killed on Feb. 17, 2000, in Oakland, the City of Oakland \u003ca href=\"http://nvrovr.blogspot.com/2010/02/city-of-oakland-honors-dream-day.html\" target=\"_blank\" rel=\"noopener\">officially designated\u003c/a> that day as Dream Day in 2010. His legacy not only lives on in the photos of his work and his crew’s continued contributions to the arts, but through his son Akil as well.\u003c/p>\n\u003cp>I have a close connection to Dream’s story: my 2014 documentary film, \u003ca href=\"https://www.youtube.com/watch?v=cDp38sltic8\" target=\"_blank\" rel=\"noopener\">\u003cem>TDK: The Dream Kontinues\u003c/em>\u003c/a>, highlights just a bit of his life and artistry.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But for a real sense of his legacy in the Bay Area, there’s nothing like being around the people he worked with, and the writers he inspired. At Mosswood Park this Saturday, friends, family and writers from around the world will share signatures, tell stories and listen to golden-era hip-hop, with music by DJ Qbert, Wes, Nump and more. It’s all to honor the life of one of the most well-loved graffiti artists of the region.\u003cem>—Pendarvis Harshaw\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On Aug. 17, Mosswood Park in Oakland will be full of people gathered in celebration of the 50th birthday of the late, great Mike “Dream” Francisco.\u003c/p>\n\u003cp>Dream, a legendary graffiti writer, was raised in Alameda and spent time all over the Bay Area. But he found a home on the walls of Oakland—specifically those near 23rd Avenue and East 12th Street, in what’s known as Oakland’s 23rd Yards. He got his first taste of writing in 1983, and from that moment on, Dream used the walls of the Bay Area as a canvas to create artwork so impressive that publications around the world took note.\u003c/p>\n\u003cp>His notable hand styles and clever messages, as well as the proliferation of pieces that simply read DREAM, helped to spread his name in the graffiti writing world.\u003c/p>\n\u003cfigure id=\"attachment_13864061\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13864061\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/DSC01619-800x532.jpg\" alt=\"Best Of Both Worlds-Dream\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/DSC01619-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/DSC01619-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/DSC01619-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/DSC01619-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/DSC01619-1200x797.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/DSC01619-1920x1276.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/DSC01619.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Two of Dream’s more popular pieces, ‘The Best Of Both Worlds’ and ‘Sweet Dreams.’ \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Much more than just a writer, Dream was a hustler who grew to be politicized. He had the Bay Area vernacular and charisma, \u003ca href=\"https://www.youtube.com/watch?v=zklG2h4B86o\" target=\"_blank\" rel=\"noopener\">and used it in conversation\u003c/a>. He was a proud first-generation Filipino guy who loved hip-hop, and kicked it with folks of all nationalities.\u003c/p>\n\u003cp>He was also a founding member of a crew of writers known as TDK, which originally stood for “Those Damn Kids.” But you know how it is: multiple meanings for an acronym emerge, depending on what the crew got into. So, when they did devious things, they were “The Dark Knights.” When they were talking politics, it was “Tax Dollars Kill.” When they were bragging about how dope they were, they were “The Damn Kings.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Years have passed and the crew has grown. A lot of them still paint; you can find TDK pieces in all corners of the Town. Some have used their artistic ability for other things, like becoming tattoo artists. And a few of them became teachers, still carrying the TDK name—you know, “Teach Da Kids.”\u003c/p>\n\u003cfigure id=\"attachment_13864060\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13864060\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/IMG_1636-800x600.jpg\" alt=\"Dream memorial at the front door of East Side Arts Alliance\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/IMG_1636-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/IMG_1636-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/IMG_1636-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/IMG_1636-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/IMG_1636-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/IMG_1636-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/IMG_1636.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dream memorial at the front door of East Side Arts Alliance. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After Mike ‘Dream’ Francisco was killed on Feb. 17, 2000, in Oakland, the City of Oakland \u003ca href=\"http://nvrovr.blogspot.com/2010/02/city-of-oakland-honors-dream-day.html\" target=\"_blank\" rel=\"noopener\">officially designated\u003c/a> that day as Dream Day in 2010. His legacy not only lives on in the photos of his work and his crew’s continued contributions to the arts, but through his son Akil as well.\u003c/p>\n\u003cp>I have a close connection to Dream’s story: my 2014 documentary film, \u003ca href=\"https://www.youtube.com/watch?v=cDp38sltic8\" target=\"_blank\" rel=\"noopener\">\u003cem>TDK: The Dream Kontinues\u003c/em>\u003c/a>, highlights just a bit of his life and artistry.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But for a real sense of his legacy in the Bay Area, there’s nothing like being around the people he worked with, and the writers he inspired. At Mosswood Park this Saturday, friends, family and writers from around the world will share signatures, tell stories and listen to golden-era hip-hop, with music by DJ Qbert, Wes, Nump and more. It’s all to honor the life of one of the most well-loved graffiti artists of the region.\u003cem>—Pendarvis Harshaw\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "For Dancers of R.O.O.T.S. The Movement, the Richmond Renaissance is Now",
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"content": "\u003cp>\u003ci>Editor’s Note: Step into the shoes of dancers from across the country who dare to imagine what it would look like if their city could dance with KQED’s \u003c/i>If Cities Could Dance\u003ci>. Watch a new episode from season two of the video series every Tuesday through May 14, 2019.\u003c/i>\u003c/p>\n\u003cp>Many often label the rich history of Richmond’s WWII-era days as the city’s long-ago “renaissance.” The population swelled with tens of thousands of shipyard workers—many of them African American—recruited from throughout the United States. Legendary blues clubs proliferated in North Richmond, and the downtown grew.\u003c/p>\n\u003cp>But for the members of the emerging hip-hop dance troupe R.O.O.T.S. (Rising Out of the System) The Movement, Richmond’s heyday isn’t resigned to the history books.\u003c/p>\n\u003cp>There’s beauty within present-day Richmond, R.O.O.T.S. The Movement dancer Deontae Watkins says—a beauty that inspires his movements. “People who came from the South in the 1940s, they came with so much spunk to make these ships for the war,” says fellow dancer Kabreshiona Tiyteea La’Shae Smith. “That just fuels my fire to continue to go hard for our city.”\u003c/p>\n\u003cp>R.O.O.T.S. The Movement members, all born and raised in Richmond, came up through the RYSE Youth Center and the East Bay Center for the Performing Arts, known as “The Center.” For the dance troupe, who perform a mixture of styles influenced by krumping, hip-hop moves, African dance and modern ballet, their approach to collaborative choreography is crucial to their mission. “We like to see everyone shine and grow at the same time,” says Aziza Thomas.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Now many of them are teaching classes at those same spaces. “I have the opportunity to teach how you can use art as a way to transform negative influences or emotions into a positive and beautiful thing,” says Watkins.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Watch Watkins, Smith and Thomas dance proudly in front of Point Richmond, along Macdonald Avenue and outside the RYSE Youth Center (where young artists created some of the music heard in this video). —\u003cem>text by Sarah Hotchkiss\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Now many of them are teaching classes at those same spaces. “I have the opportunity to teach how you can use art as a way to transform negative influences or emotions into a positive and beautiful thing,” says Watkins.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Watch Watkins, Smith and Thomas dance proudly in front of Point Richmond, along Macdonald Avenue and outside the RYSE Youth Center (where young artists created some of the music heard in this video). —\u003cem>text by Sarah Hotchkiss\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ci>Editor’s Note: Step into the shoes of dancers from across the country who dare to imagine what it would look like if their city could dance with KQED’s \u003c/i>If Cities Could Dance\u003ci>. Watch a new episode from season two of the video series every Tuesday through May 14, 2019.\u003c/i>\u003c/p>\n\u003cp>If your eyes aren’t fast enough to keep up with Chicago footwork, don’t be alarmed. As the backbone of street dance battles, the lightning-speed dance style pioneered on Chicago’s South and West Sides is meant to dazzle and discombobulate in equal measure.\u003c/p>\n\u003cp>For many, footwork is more than just rapid moves, it’s a way to express an alternative to violence and other effects of poverty—the results of decades of disinvestment and the city’s legacy of segregation.\u003c/p>\n\u003cp>“Footwork is a form of resistance against oppressive living conditions,” says dancer Christopher “Maddog” Thomas, a member of Creation Global Battle Clique, who grew up in public housing on Chicago’s South Side. “You could take a thousand classes, and you would never perform at the scale of any footworker that’s from Chicago performs, because you’re not from that struggle.”\u003c/p>\n\u003cp>Over the last decade, Chicago has spent billions to improve infrastructure and modernize the city. Neighborhoods in the South Side are becoming gentrified. And Chicago’s African American population, once the city’s largest demographic, dropped 24 percent between 2000 and 2017.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In the city’s race to “Build A New Chicago,” footworkers and other artists continue their fight for support and belonging. Get to know a handful of Chicago’s brightest footwork dancers, soundtracked by modern footwork legends DJ Taye and DJ Diamond. \u003cem>–Gabe Meline\u003c/em>\u003c/p>\n\n",
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"content": "\u003cp>\u003ci>Editor’s Note: Step into the shoes of dancers from across the country who dare to imagine what it would look like if their city could dance with KQED’s \u003c/i>If Cities Could Dance\u003ci>. Watch a new episode from season two of the video series every Tuesday through May 14, 2019.\u003c/i>\u003c/p>\n\u003cp>In hoop dance lore, every time dancers pass through their hoops, they get younger and younger. “So you’ve got to be careful,” Lumhe “Micco” Sampson jokes. “When you do that too much you’ll end up back in first grade and with really tiny limbs.”\u003c/p>\n\u003cp>Micco and his older brother Samsoche (Seneca and Muscogee Creek), who perform together as \u003ca href=\"https://sampsonbrosarts.com\" target=\"_blank\" rel=\"noopener noreferrer\">the Sampson Brothers\u003c/a> are well known on powwow grounds and beyond for their impressive hoop dance routines. They’ve performed at dance and music festivals in more than half a dozen countries, and made appearances at hundreds of schools and universities.\u003c/p>\n\u003cp>“To have an opportunity to exercise it, to me, is an act of sovereignty, of resistance,” says Micco. “I’m still here. I’m still dancing.”\u003c/p>\n\u003cp>It takes years of practice to master hoop dance, and the intricate footwork and high-level coordination necessary to manipulate sometimes as many as 42 hoops at a time. Hoop dancers interlock the rings to mimic majestic animals, small insects or celestial orbs.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But the Sampson Brothers add another layer of difficulty to the traditional movements—they dance in synchronization, often to the beat of Native hip-hop, bridging the past and future in their coordinated steps.\u003c/p>\n\u003cp>Their mother, an acclaimed fancy shawl dancer, had them taking dance lessons from an early age. They spent their childhoods in Los Angeles, where their late father, Will Sampson, was establishing himself as a Native American actor in mainstream cinema (he played Chief Bromden in \u003cem>One Flew Over the Cuckoo’s Nest\u003c/em>).\u003c/p>\n\u003cp>Today, after years spent living and dancing all over the country, the brothers are based in Minneapolis with their families. This, too, is about a connection between the past and future: The city was a starting ground for the American Indian Movement, which in turn, “was a call to action for a lot of urban indigenous people to reclaim their culture and their identities,” says Samsoche.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Watch the Sampson Brothers perform traditional hoop dance formations and reenact an Iroquois creation story in front of Minneapolis’ American Indian Center, on the Mississippi’s Stone Arch Bridge and underneath the Hennepin Avenue overpass, as well as teach the next generation of Native youth the art of the hoop. \u003cem>— Text by Sarah Hotchkiss\u003c/em>\u003c/p>\n\n",
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"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">L\u003c/span>uis Lopez walked into SoleSpace in downtown Oakland last week with his classmates from Oakland School for the Arts for a brief lecture from renowned artist Justin Bua.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>Lopez strolled right past the shoes on the sales racks and the mounted images of Bua’s work and randomly introduced himself to me, an unassuming guy holding a camera in the back of the room. I quickly learned that Lopez is a music producer, and just recently started rapping over his own beats. One of his friends chimed in, calling him by his stage name, “Casso,” inspired by Picasso. Why Picasso?\u003c/p>\n\u003cp>Because, Lopez told me, he wants to make art that lasts.\u003c/p>\n\u003cp>Just then, it was time to hear from Bua, the prolific New York-raised painter, illustrator and entrepreneur. Bua was in town for an annual event, called Art For the People; every year he chooses one city in the world and sets up shop, selling prints of his work at discounted prices and donating a portion of the proceeds to a noble cause—and this time, it was Oakland School for the Arts.\u003c/p>\n\u003cfigure id=\"attachment_13840715\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840715\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/LRG-DSC9659-800x535.jpg\" alt=\"Justin Bua talks with students at SoleSpace in downtown Oakland.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9659-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9659-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9659-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9659-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9659-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9659.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9659-1180x789.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9659-960x642.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9659-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9659-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9659-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Justin Bua talks with students at SoleSpace in downtown Oakland. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It was a fitting event for SoleSpace, a shoe store that doubles as a community space. Run by Jeff Perlstein, it’s located in the heart of where the change is happening in Oakland. The place sells shoes to keep the lights on, but over the years they’ve hosted political rallies, small live performances, movie screenings, and Warriors viewing parties. It’s one of the few spaces in downtown Oakland where artists, activists and creative types gather.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>A middle-aged man who hasn’t lost his cool-kid look, Bua told the students at SoleSpace his origin story, about how he started as a graffiti bomber in Harlem during hip-hop’s golden era. After his teenage years tagging trains and hopping rooftops in uptown, he eventually matured into an arts scholar, attending ArtCenter College of Design, what he called “the Harvard of arts schools.”\u003c/p>\n\u003cp>His career took off when he started producing exaggerated images of jazz and hip-hop characters. “At one point I was selling more posters than any artist on planet earth,” Bua told the seated students. Since, he’s kept up that commercial momentum with work on video games like \u003cem>NBA Street\u003c/em>, as well as music videos like Slum Village’s “Tainted.” He’s done jewelry, phone cases, skateboards, images for films and TV shows.\u003c/p>\n\u003cp>Having worked as an arts educator, he talked art history through a hip-hop lens, mentioning classical artists, modern artists and graffiti writers in the same sentence. He managed to mix in an S-word here and an MF-bomb there, keeping the young people’s attention.\u003c/p>\n\u003cp>And in the end, Bua had two main points for those in attendance. First, dedicate yourself to art, right now. Secondly, don’t confine yourself to one kind of art.\u003c/p>\n\u003cfigure id=\"attachment_13840717\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840717\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/LRG-DSC9638-800x535.jpg\" alt=\"Some of Justin Bua's work displayed at SoleSpace in downtown Oakland.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9638-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9638-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9638-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9638-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9638-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9638.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9638-1180x789.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9638-960x642.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9638-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9638-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9638-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Some of Justin Bua’s work displayed at SoleSpace in downtown Oakland. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">O\u003c/span>ne of Bua’s more well-known pieces, an \u003ca href=\"https://justinbua.com/products/the-dj\" target=\"_blank\" rel=\"noopener noreferrer\">image of a DJ\u003c/a> on the turntables, looked familiar. It brought me back to my teenage days—did I have it as a binder folder when I was in school?\u003c/p>\n\u003cp>He said it dropped in 2001, around the time I was going through puberty and initially committed myself to writing everyday.\u003c/p>\n\u003cp>Funny, back then, I was like “Casso,” looking to create art that lasts, and going through a pivot—I was growing from a poet to a rapper, and using a “stage name.” All the while, unbeknownst to me, I was sowing the seeds of what would become a career as a journalist: the ability to observe the vibe of my peers, to think on my feet and to ask critical questions that yield fruitful answers. I did in through lyrics then, and to this day, I’m still learning how to move a crowd merely by using words.\u003c/p>\n\u003cp>Crazy to think of how far one person can go with a simple talent: drawing in Bua’s case, storytelling in my case, and hopefully, music making for Lopez.\u003c/p>\n\u003cfigure id=\"attachment_13840716\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840716\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/LRG-DSC9642-800x535.jpg\" alt=\"Justin Bua talks with students at SoleSpace in downtown Oakland.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9642-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9642-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9642-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9642-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9642-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9642.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9642-1180x789.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9642-960x642.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9642-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9642-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9642-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Justin Bua talks with students at SoleSpace in downtown Oakland. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To Bua’s credit, he didn’t get stuck where he initially achieved success. And he had clear understanding of why it worked when it did. He struck gold with his images, he said, because he was at the right place at the right time. “I was painting hip-hop narratives at a time no one thought you could do that,” he said. “No one thought that was marketable.”\u003c/p>\n\u003cp>I couldn’t help but notice the logo for Bua’s company, a silhouette of a man with an afro, complete with an afro pick and a fist on the end of it, painted on the large wall behind where Bua was sitting. Another version of it adorned the pendant dangling from Bua’s necklace. When I asked Bua, who’s Puerto Rican and Jewish, where the logo came from, he said it’s based on an image from his first book, \u003cem>The Beat of Urban Art\u003c/em>, and was inspired by the folks he’d see in his neighborhood as a kid.\u003c/p>\n\u003cp>He got his start by simply drawing what was around him, he said, but lately he’s been exploring more angles, noting his depictions of Anthony Bourdain and even professional golfer Phil Mickelson as examples of expanding his craft.\u003c/p>\n\u003cp>I laughed, even his answer about navigating depictions of race in art stayed true to his message of evolution; it’s like the only that doesn’t change about Bua is his need to constantly change.\u003c/p>\n\u003cfigure id=\"attachment_13840718\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840718\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/LRG-DSC9645-800x535.jpg\" alt=\"Justin Bua talks with students at SoleSpace in downtown Oakland.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9645-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9645-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9645-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9645-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9645-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9645.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9645-1180x789.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9645-960x642.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9645-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9645-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9645-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Justin Bua talks with students at SoleSpace in downtown Oakland. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>hat was further evidenced by his response to a student’s question about the future of his work. Bua said he’s just trying to get better, constantly. “Michelangelo was 81 when he said he was just beginning to learn how to draw,” Bua told the students.\u003c/p>\n\u003cp>When the conversation concluded, the students stepped forward to get free prints of some of Bua’s work. I caught up to Lopez, a.k.a. Casso, who told me he liked the presentation and showed me the print he picked up.\u003c/p>\n\u003cp>I walked out of the event still holding my camera, thinking more about Lopez’s career path than Bua’s. At age 16, Lopez is already doing what Bua had suggested. He’s dedicated himself to being an artist, for the long term. On top of that, he’s already pivoting; or rather, evolving.\u003c/p>\n\u003cp>It kind of makes me question, what’s next for me?\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Pendarvis Harshaw is the author of ‘\u003ca href=\"http://www.latimes.com/local/abcarian/la-me-abcarian-og-harshaw-20170409-story.html\" target=\"_blank\" rel=\"noopener noreferrer\">OG Told Me\u003c/a>,’ a memoir about growing up in Oakland. Find him on Twitter \u003ca href=\"https://twitter.com/ogpenn\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">L\u003c/span>uis Lopez walked into SoleSpace in downtown Oakland last week with his classmates from Oakland School for the Arts for a brief lecture from renowned artist Justin Bua.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>Lopez strolled right past the shoes on the sales racks and the mounted images of Bua’s work and randomly introduced himself to me, an unassuming guy holding a camera in the back of the room. I quickly learned that Lopez is a music producer, and just recently started rapping over his own beats. One of his friends chimed in, calling him by his stage name, “Casso,” inspired by Picasso. Why Picasso?\u003c/p>\n\u003cp>Because, Lopez told me, he wants to make art that lasts.\u003c/p>\n\u003cp>Just then, it was time to hear from Bua, the prolific New York-raised painter, illustrator and entrepreneur. Bua was in town for an annual event, called Art For the People; every year he chooses one city in the world and sets up shop, selling prints of his work at discounted prices and donating a portion of the proceeds to a noble cause—and this time, it was Oakland School for the Arts.\u003c/p>\n\u003cfigure id=\"attachment_13840715\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840715\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/LRG-DSC9659-800x535.jpg\" alt=\"Justin Bua talks with students at SoleSpace in downtown Oakland.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9659-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9659-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9659-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9659-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9659-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9659.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9659-1180x789.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9659-960x642.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9659-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9659-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9659-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Justin Bua talks with students at SoleSpace in downtown Oakland. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It was a fitting event for SoleSpace, a shoe store that doubles as a community space. Run by Jeff Perlstein, it’s located in the heart of where the change is happening in Oakland. The place sells shoes to keep the lights on, but over the years they’ve hosted political rallies, small live performances, movie screenings, and Warriors viewing parties. It’s one of the few spaces in downtown Oakland where artists, activists and creative types gather.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A middle-aged man who hasn’t lost his cool-kid look, Bua told the students at SoleSpace his origin story, about how he started as a graffiti bomber in Harlem during hip-hop’s golden era. After his teenage years tagging trains and hopping rooftops in uptown, he eventually matured into an arts scholar, attending ArtCenter College of Design, what he called “the Harvard of arts schools.”\u003c/p>\n\u003cp>His career took off when he started producing exaggerated images of jazz and hip-hop characters. “At one point I was selling more posters than any artist on planet earth,” Bua told the seated students. Since, he’s kept up that commercial momentum with work on video games like \u003cem>NBA Street\u003c/em>, as well as music videos like Slum Village’s “Tainted.” He’s done jewelry, phone cases, skateboards, images for films and TV shows.\u003c/p>\n\u003cp>Having worked as an arts educator, he talked art history through a hip-hop lens, mentioning classical artists, modern artists and graffiti writers in the same sentence. He managed to mix in an S-word here and an MF-bomb there, keeping the young people’s attention.\u003c/p>\n\u003cp>And in the end, Bua had two main points for those in attendance. First, dedicate yourself to art, right now. Secondly, don’t confine yourself to one kind of art.\u003c/p>\n\u003cfigure id=\"attachment_13840717\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840717\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/LRG-DSC9638-800x535.jpg\" alt=\"Some of Justin Bua's work displayed at SoleSpace in downtown Oakland.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9638-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9638-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9638-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9638-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9638-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9638.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9638-1180x789.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9638-960x642.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9638-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9638-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9638-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Some of Justin Bua’s work displayed at SoleSpace in downtown Oakland. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">O\u003c/span>ne of Bua’s more well-known pieces, an \u003ca href=\"https://justinbua.com/products/the-dj\" target=\"_blank\" rel=\"noopener noreferrer\">image of a DJ\u003c/a> on the turntables, looked familiar. It brought me back to my teenage days—did I have it as a binder folder when I was in school?\u003c/p>\n\u003cp>He said it dropped in 2001, around the time I was going through puberty and initially committed myself to writing everyday.\u003c/p>\n\u003cp>Funny, back then, I was like “Casso,” looking to create art that lasts, and going through a pivot—I was growing from a poet to a rapper, and using a “stage name.” All the while, unbeknownst to me, I was sowing the seeds of what would become a career as a journalist: the ability to observe the vibe of my peers, to think on my feet and to ask critical questions that yield fruitful answers. I did in through lyrics then, and to this day, I’m still learning how to move a crowd merely by using words.\u003c/p>\n\u003cp>Crazy to think of how far one person can go with a simple talent: drawing in Bua’s case, storytelling in my case, and hopefully, music making for Lopez.\u003c/p>\n\u003cfigure id=\"attachment_13840716\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840716\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/LRG-DSC9642-800x535.jpg\" alt=\"Justin Bua talks with students at SoleSpace in downtown Oakland.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9642-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9642-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9642-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9642-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9642-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9642.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9642-1180x789.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9642-960x642.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9642-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9642-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9642-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Justin Bua talks with students at SoleSpace in downtown Oakland. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To Bua’s credit, he didn’t get stuck where he initially achieved success. And he had clear understanding of why it worked when it did. He struck gold with his images, he said, because he was at the right place at the right time. “I was painting hip-hop narratives at a time no one thought you could do that,” he said. “No one thought that was marketable.”\u003c/p>\n\u003cp>I couldn’t help but notice the logo for Bua’s company, a silhouette of a man with an afro, complete with an afro pick and a fist on the end of it, painted on the large wall behind where Bua was sitting. Another version of it adorned the pendant dangling from Bua’s necklace. When I asked Bua, who’s Puerto Rican and Jewish, where the logo came from, he said it’s based on an image from his first book, \u003cem>The Beat of Urban Art\u003c/em>, and was inspired by the folks he’d see in his neighborhood as a kid.\u003c/p>\n\u003cp>He got his start by simply drawing what was around him, he said, but lately he’s been exploring more angles, noting his depictions of Anthony Bourdain and even professional golfer Phil Mickelson as examples of expanding his craft.\u003c/p>\n\u003cp>I laughed, even his answer about navigating depictions of race in art stayed true to his message of evolution; it’s like the only that doesn’t change about Bua is his need to constantly change.\u003c/p>\n\u003cfigure id=\"attachment_13840718\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840718\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/LRG-DSC9645-800x535.jpg\" alt=\"Justin Bua talks with students at SoleSpace in downtown Oakland.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9645-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9645-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9645-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9645-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9645-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9645.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9645-1180x789.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9645-960x642.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9645-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9645-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9645-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Justin Bua talks with students at SoleSpace in downtown Oakland. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>hat was further evidenced by his response to a student’s question about the future of his work. Bua said he’s just trying to get better, constantly. “Michelangelo was 81 when he said he was just beginning to learn how to draw,” Bua told the students.\u003c/p>\n\u003cp>When the conversation concluded, the students stepped forward to get free prints of some of Bua’s work. I caught up to Lopez, a.k.a. Casso, who told me he liked the presentation and showed me the print he picked up.\u003c/p>\n\u003cp>I walked out of the event still holding my camera, thinking more about Lopez’s career path than Bua’s. At age 16, Lopez is already doing what Bua had suggested. He’s dedicated himself to being an artist, for the long term. On top of that, he’s already pivoting; or rather, evolving.\u003c/p>\n\u003cp>It kind of makes me question, what’s next for me?\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Pendarvis Harshaw is the author of ‘\u003ca href=\"http://www.latimes.com/local/abcarian/la-me-abcarian-og-harshaw-20170409-story.html\" target=\"_blank\" rel=\"noopener noreferrer\">OG Told Me\u003c/a>,’ a memoir about growing up in Oakland. Find him on Twitter \u003ca href=\"https://twitter.com/ogpenn\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'Beyond The Streets,' and Far From Vandalism: Street Art Gets a Massive Show",
"headTitle": "‘Beyond The Streets,’ and Far From Vandalism: Street Art Gets a Massive Show | KQED",
"content": "\u003cp>Outlaws. That’s what they were considered when they spray-painted walls and bombed subway cars with modern-day hieroglyphics. They worked in alleys and train yards, bridges and tunnels. Now, many of them are being celebrated in a massive warehouse near Los Angeles’ Chinatown.\u003c/p>\n\u003cp>The exhibition “\u003ca href=\"https://www.beyondthestreets.com/\">Beyond the Streets\u003c/a>” focuses on the studio work street artists created later in their careers. It has more 40,000-square feet of paintings, murals, photos, installations and even old video games. (NPR gave “Beyond the Streets” a small amount of support as a media partner.)\u003c/p>\n\u003cp>“This is vandalism as contemporary art, or contemporary art as vandalism, depending on how you want to look at it,” says curator Roger Gastman, co-author of \u003cem>The History of American Graffiti\u003c/em>. “Street art has become such a buzzword, and lot of the motivation for doing a show like this was to show who the true artists respected by people inside the culture are.”\u003c/p>\n\u003cfigure id=\"attachment_13834860\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/lee-quin-ones_custom-759750522c6a94f80504482168b9ce2b07050ffb-1-800x533.jpg\" alt='New York artist Lee Quiñones painted a full-size handball court for \"Beyond the Streets.\"' width=\"800\" height=\"533\" class=\"size-medium wp-image-13834860\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/lee-quin-ones_custom-759750522c6a94f80504482168b9ce2b07050ffb-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/lee-quin-ones_custom-759750522c6a94f80504482168b9ce2b07050ffb-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/lee-quin-ones_custom-759750522c6a94f80504482168b9ce2b07050ffb-1-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/lee-quin-ones_custom-759750522c6a94f80504482168b9ce2b07050ffb-1-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/lee-quin-ones_custom-759750522c6a94f80504482168b9ce2b07050ffb-1-1200x799.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/lee-quin-ones_custom-759750522c6a94f80504482168b9ce2b07050ffb-1-1920x1279.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/lee-quin-ones_custom-759750522c6a94f80504482168b9ce2b07050ffb-1-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/lee-quin-ones_custom-759750522c6a94f80504482168b9ce2b07050ffb-1-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/lee-quin-ones_custom-759750522c6a94f80504482168b9ce2b07050ffb-1-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/lee-quin-ones_custom-759750522c6a94f80504482168b9ce2b07050ffb-1-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/lee-quin-ones_custom-759750522c6a94f80504482168b9ce2b07050ffb-1-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/lee-quin-ones_custom-759750522c6a94f80504482168b9ce2b07050ffb-1.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">New York artist Lee Quiñones painted a full-size handball court for ‘Beyond the Streets.’ \u003ccite>(Beau Roulette/Courtesy of Beyond The Streets)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The show includes 100 artists, living and deceased; “risk takers,” Gastman says, whose work connects with and inspires artists today. There are classic works by Keith Haring, TAKI 183, Jenny Holzer, SWOON, Jean-Michel Basquiat and photographers Henry Chalfant and Martha Cooper. There are also newer works by CRASH, FUTURA 2000, LADY PINK and Shepard Fairey.\u003c/p>\n\u003cfigure id=\"attachment_13834861\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/streets-composite-1-3b65e279386cdd3c7f0c097b1c625cb05180fe20-1-800x600.jpg\" alt=\"Left: Artist Ron Finley, aka the Gangsta Gardener, constructed one of his outdoor gardens for the exhibition. Right: Artist Kenny Scharf contributed a Day-Glo, black-lit room.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13834861\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/streets-composite-1-3b65e279386cdd3c7f0c097b1c625cb05180fe20-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/streets-composite-1-3b65e279386cdd3c7f0c097b1c625cb05180fe20-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/streets-composite-1-3b65e279386cdd3c7f0c097b1c625cb05180fe20-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/streets-composite-1-3b65e279386cdd3c7f0c097b1c625cb05180fe20-1-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/streets-composite-1-3b65e279386cdd3c7f0c097b1c625cb05180fe20-1-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/streets-composite-1-3b65e279386cdd3c7f0c097b1c625cb05180fe20-1-1920x1439.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/streets-composite-1-3b65e279386cdd3c7f0c097b1c625cb05180fe20-1-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/streets-composite-1-3b65e279386cdd3c7f0c097b1c625cb05180fe20-1-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/streets-composite-1-3b65e279386cdd3c7f0c097b1c625cb05180fe20-1-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/streets-composite-1-3b65e279386cdd3c7f0c097b1c625cb05180fe20-1-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/streets-composite-1-3b65e279386cdd3c7f0c097b1c625cb05180fe20-1-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/streets-composite-1-3b65e279386cdd3c7f0c097b1c625cb05180fe20-1.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Left: Artist Ron Finley, aka the Gangsta Gardener, constructed one of his outdoor gardens for the exhibition. Right: Artist Kenny Scharf contributed a Day-Glo, black-lit room. \u003ccite>(Beau Roulette/Courtesy of Beyond The Streets)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Artist Kenny Scharf\u003cstrong> \u003c/strong>has decked out a Day-Glo, black-lit room for this show, and Lee Quiñones has painted a full-size handball court. Some of L.A.’s legends are here too: street gardener/activist Ron Finley constructed one of his outdoor gardens, and tattoo and graffiti artist Mister Cartoon created his own chapel.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>“Our art criticizes the art system”\u003c/strong>\u003c/p>\n\u003cp>Then there are the Guerrilla Girls, a collective of artists who hide their faces with gorilla masks. The group formed 33 years ago in New York to protest the lack of women artists in museums and galleries, and the way women are represented in the art world.\u003c/p>\n\u003cfigure id=\"attachment_13834862\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/img_0032_wide-4d88d32904a8d058a02928cee87cda63b367b297-1-800x450.jpg\" alt=\"'Beyond the Streets' boasts one of the Guerrilla Girls' most well-known billboards — in Spanish. It translates to "Do women have to be naked to get into the Met? Less than 4 percent of the artists in the modern art sections are women, but 76 percent of the nudes are female."\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13834862\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/img_0032_wide-4d88d32904a8d058a02928cee87cda63b367b297-1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/img_0032_wide-4d88d32904a8d058a02928cee87cda63b367b297-1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/img_0032_wide-4d88d32904a8d058a02928cee87cda63b367b297-1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/img_0032_wide-4d88d32904a8d058a02928cee87cda63b367b297-1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/img_0032_wide-4d88d32904a8d058a02928cee87cda63b367b297-1-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/img_0032_wide-4d88d32904a8d058a02928cee87cda63b367b297-1-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/img_0032_wide-4d88d32904a8d058a02928cee87cda63b367b297-1-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/img_0032_wide-4d88d32904a8d058a02928cee87cda63b367b297-1-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/img_0032_wide-4d88d32904a8d058a02928cee87cda63b367b297-1-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/img_0032_wide-4d88d32904a8d058a02928cee87cda63b367b297-1-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/img_0032_wide-4d88d32904a8d058a02928cee87cda63b367b297-1-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/img_0032_wide-4d88d32904a8d058a02928cee87cda63b367b297-1.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Beyond the Streets’ boasts one of the Guerrilla Girls’ most well-known billboards — in Spanish. It translates to “Do women have to be naked to get into the Met? Less than 4 percent of the artists in the modern art sections are women, but 76 percent of the nudes are female.” \u003ccite>(Nicole Cohen/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>They plastered the streets with humorous, in-your-face posters, some of which are on display at “Beyond the Streets.” One of their most well-known billboards points out that less than 4 percent of the modern art on display at New York’s Metropolitan Museum of Art was created by women, while 76 percent of the nudes are female. Another huge poster depicts a gorilla head with crazy, spiral zombie eyes. It reads, “If you keep women out, they get resentful.”\u003c/p>\n\u003cfigure id=\"attachment_13834863\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/beauroulette_bts_5_1_18_guerrilla_girls_-img_6120-bea2e20593ffb222dd6813a76f9db0ae60d6e3a4-1-800x600.jpg\" alt='The Guerrilla Girls got the idea to hide their faces with gorilla masks after one of them misspelled \"guerrilla\" in a doodle.' width=\"800\" height=\"600\" class=\"size-medium wp-image-13834863\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/beauroulette_bts_5_1_18_guerrilla_girls_-img_6120-bea2e20593ffb222dd6813a76f9db0ae60d6e3a4-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/beauroulette_bts_5_1_18_guerrilla_girls_-img_6120-bea2e20593ffb222dd6813a76f9db0ae60d6e3a4-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/beauroulette_bts_5_1_18_guerrilla_girls_-img_6120-bea2e20593ffb222dd6813a76f9db0ae60d6e3a4-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/beauroulette_bts_5_1_18_guerrilla_girls_-img_6120-bea2e20593ffb222dd6813a76f9db0ae60d6e3a4-1-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/beauroulette_bts_5_1_18_guerrilla_girls_-img_6120-bea2e20593ffb222dd6813a76f9db0ae60d6e3a4-1-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/beauroulette_bts_5_1_18_guerrilla_girls_-img_6120-bea2e20593ffb222dd6813a76f9db0ae60d6e3a4-1-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/beauroulette_bts_5_1_18_guerrilla_girls_-img_6120-bea2e20593ffb222dd6813a76f9db0ae60d6e3a4-1-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/beauroulette_bts_5_1_18_guerrilla_girls_-img_6120-bea2e20593ffb222dd6813a76f9db0ae60d6e3a4-1-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/beauroulette_bts_5_1_18_guerrilla_girls_-img_6120-bea2e20593ffb222dd6813a76f9db0ae60d6e3a4-1-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/beauroulette_bts_5_1_18_guerrilla_girls_-img_6120-bea2e20593ffb222dd6813a76f9db0ae60d6e3a4-1-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/beauroulette_bts_5_1_18_guerrilla_girls_-img_6120-bea2e20593ffb222dd6813a76f9db0ae60d6e3a4-1-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/beauroulette_bts_5_1_18_guerrilla_girls_-img_6120-bea2e20593ffb222dd6813a76f9db0ae60d6e3a4-1.jpg 1998w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Guerrilla Girls got the idea to hide their faces with gorilla masks after one of them misspelled “guerrilla” in a doodle. \u003ccite>(Beau Roulette/Courtesy of Beyond The Streets)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of the group’s founders goes by the pseudonym Käthe Kollwitz, a name borrowed from a \u003ca href=\"https://www.moma.org/artists/3201\" target>German political artist\u003c/a> born in 1867. She says, “Our art criticizes the art system, and we thought this up in the first place because we loved what we saw on the streets of New York: political posters, graffiti, tagging, art on the streets.”\u003c/p>\n\u003cp>Their criticism has gotten their art into major museums around the world. But Kollwitz notes that, ironically, the number of women artists included in “Beyond the Streets” isn’t great.\u003c/p>\n\u003cp>“There have always been issues with women in graffiti art,” she says.\u003c/p>\n\u003cp>\u003cstrong>Red-light district\u003c/strong>\u003c/p>\n\u003cp>Tokyo-born street artist Aiko Nakagawa, who goes by Lady AIKO and AIKO, combines graffiti art techniques with 18th-century Japanese woodblock printing to make large-scale works. For “Beyond the Streets,” AIKO\u003cstrong> \u003c/strong>created a red-light district room filled with erotic, comic book-like images using layered stencils and spray paint. There are signs and billboards advertising peep shows, hostess dancers and a “rub parlor.”\u003c/p>\n\u003cfigure id=\"attachment_13834864\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/aiko-composite1_custom-d8aad23613f017860a1ef885bcce6bcc19b10284-1-800x473.jpg\" alt=\"Left: AIKO's red-light district room is filled with erotic, comic book-like images. Right: AIKO (pictured) has shown her work in Rome, Shanghai and New York, where she's now based.\" width=\"800\" height=\"473\" class=\"size-medium wp-image-13834864\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/aiko-composite1_custom-d8aad23613f017860a1ef885bcce6bcc19b10284-1-800x473.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/aiko-composite1_custom-d8aad23613f017860a1ef885bcce6bcc19b10284-1-160x95.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/aiko-composite1_custom-d8aad23613f017860a1ef885bcce6bcc19b10284-1-768x454.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/aiko-composite1_custom-d8aad23613f017860a1ef885bcce6bcc19b10284-1-1020x603.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/aiko-composite1_custom-d8aad23613f017860a1ef885bcce6bcc19b10284-1-1200x710.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/aiko-composite1_custom-d8aad23613f017860a1ef885bcce6bcc19b10284-1-1920x1135.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/aiko-composite1_custom-d8aad23613f017860a1ef885bcce6bcc19b10284-1-1180x698.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/aiko-composite1_custom-d8aad23613f017860a1ef885bcce6bcc19b10284-1-960x568.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/aiko-composite1_custom-d8aad23613f017860a1ef885bcce6bcc19b10284-1-240x142.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/aiko-composite1_custom-d8aad23613f017860a1ef885bcce6bcc19b10284-1-375x222.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/aiko-composite1_custom-d8aad23613f017860a1ef885bcce6bcc19b10284-1-520x307.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/aiko-composite1_custom-d8aad23613f017860a1ef885bcce6bcc19b10284-1.jpg 1994w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Left: AIKO’s red-light district room is filled with erotic, comic book-like images. Right: AIKO (pictured) has shown her work in Rome, Shanghai and New York, where she’s now based. \u003ccite>(Beau Roulette/Courtesy of Beyond The Streets)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>AIKO\u003cstrong> \u003c/strong>says her images are reminiscent of the old, X-rated Times Square, and Japanese shunga, or erotic art. “People used to draw really sexy stuff in my country, so I’m making this whole section sexual and pornographic,” she says. “But also it’s more about women. You see [in the work] more sexual energy from women than men. My red-light district is more about how women want to have good time. We also want to enjoy some sexuality.”\u003c/p>\n\u003cp>AIKO says she had a depressing childhood in Tokyo, and began making art as an escape from being misunderstood. In her 20s, she moved to New York without knowing anyone or speaking English. There, she worked as a studio apprentice for artist Takashi Murakami, and began wheat pasting images of herself all over the city. She helped start the artist collective FAILE and collaborated with the anonymous artist Banksy on his 2010 film, \u003cem>Exit Through the Gift Shop\u003c/em>. She even designed for Louis Vuitton.\u003c/p>\n\u003cp>“Don’t get me wrong,” she says. “I’m not always doing sex images. This is for a special occasion.”\u003c/p>\n\u003cp>\u003cstrong>“Writing graffiti is a literal rite of passage”\u003c/strong>\u003c/p>\n\u003cp>Since the early 1990s, Claudia Gold, who goes by CLAW and CLAW MONEY,\u003cstrong> \u003c/strong> has been spray-painting her nickname and her trademark cartoon paw all over New York City.\u003c/p>\n\u003cfigure id=\"attachment_13834865\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/claw-f4d5a0e134085f0f29741f913aa3f645babd9d04-1-800x600.jpg\" alt='CLAW started bombing New York subway cars with her signature paw in the 1990s. \"We knew that they wanted to come after you if you painted the trains,\" she says. \"So to keep myself safer, I would only do a train here and there.\"' width=\"800\" height=\"600\" class=\"size-medium wp-image-13834865\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/claw-f4d5a0e134085f0f29741f913aa3f645babd9d04-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/claw-f4d5a0e134085f0f29741f913aa3f645babd9d04-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/claw-f4d5a0e134085f0f29741f913aa3f645babd9d04-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/claw-f4d5a0e134085f0f29741f913aa3f645babd9d04-1-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/claw-f4d5a0e134085f0f29741f913aa3f645babd9d04-1-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/claw-f4d5a0e134085f0f29741f913aa3f645babd9d04-1-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/claw-f4d5a0e134085f0f29741f913aa3f645babd9d04-1-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/claw-f4d5a0e134085f0f29741f913aa3f645babd9d04-1-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/claw-f4d5a0e134085f0f29741f913aa3f645babd9d04-1-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/claw-f4d5a0e134085f0f29741f913aa3f645babd9d04-1-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/claw-f4d5a0e134085f0f29741f913aa3f645babd9d04-1.jpg 1815w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">CLAW started bombing New York subway cars with her signature paw in the 1990s. “We knew that they wanted to come after you if you painted the trains,” she says. “So to keep myself safer, I would only do a train here and there.” \u003ccite>(Beau Roulette/Courtesy of Beyond The Streets)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She began in her early 20s, at a time when fewer women were doing graffiti and the city was on a mission to eradicate graffiti tags. Bombing subway trains wasn’t considered art, she says. “It was more vandalism, and I’m one of the only sort of grimy, early ’90s women street bombers. We knew that they wanted to come after you if you painted the trains, so to keep myself safer, I would only do a train here and there. Then you’d ultimately paint over it. You’d try to get a picture of it with a disposable camera from CVS or something, and hope it’d come out. Then you’d paint over it so they wouldn’t come knocking on your door.”\u003c/p>\n\u003cp>She says graffiti flourished in that lawless, electric time. Back then, many graffiti writers were black or Puerto Rican and had a hip-hop vibe. But CLAW was white, and she sometimes got grief for that. She says, “I felt very rejected — rejected from hip-hop.” So she adopted a rock persona.\u003c/p>\n\u003cp>Three decades later, her graffiti is still scattered all around New York, but she’s also moved on. Now, she uses hand embroidery, silk screening and enamel to design clothing for her brand, CLAW, and she also runs her own boutique on the Lower East Side.\u003c/p>\n\u003cp>She says, “Writing graffiti is a literal rite of passage of kids growing up in New York City, and the ones that have artistic talents are the ones that shine in the streets; and the ones that shine in the streets are encouraged to continue with their artwork. It blossoms like that.”\u003c/p>\n\u003cp>\u003cstrong>“A Monet going 80 miles an hour”\u003c/strong>\u003c/p>\n\u003cp>In the 1980s, the artist Maripol made some of the most iconic images of New York’s street and club scene. She was an underground club kid who had moved to New York from France in 1977 after becoming fascinated with graffiti art.\u003c/p>\n\u003cfigure id=\"attachment_13834870\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/maripol-composite1_custom-8405e76a20832f22d07972acb724cebbd54d9728-s1300-c85-800x330.jpg\" alt=\"'Beyond the Streets' features blown-up prints of Maripol's Polaroids, some of which she has scratched and marked up to create new works of art. (Pictured, left to right: Boombox with Legs, 1978; DayGlo Splash, 1978; Self Portrait Little Red Riding, 1980)\" width=\"800\" height=\"330\" class=\"size-medium wp-image-13834870\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/maripol-composite1_custom-8405e76a20832f22d07972acb724cebbd54d9728-s1300-c85-800x330.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/maripol-composite1_custom-8405e76a20832f22d07972acb724cebbd54d9728-s1300-c85-160x66.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/maripol-composite1_custom-8405e76a20832f22d07972acb724cebbd54d9728-s1300-c85-768x317.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/maripol-composite1_custom-8405e76a20832f22d07972acb724cebbd54d9728-s1300-c85-1020x421.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/maripol-composite1_custom-8405e76a20832f22d07972acb724cebbd54d9728-s1300-c85-1200x496.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/maripol-composite1_custom-8405e76a20832f22d07972acb724cebbd54d9728-s1300-c85-1180x487.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/maripol-composite1_custom-8405e76a20832f22d07972acb724cebbd54d9728-s1300-c85-960x397.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/maripol-composite1_custom-8405e76a20832f22d07972acb724cebbd54d9728-s1300-c85-240x99.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/maripol-composite1_custom-8405e76a20832f22d07972acb724cebbd54d9728-s1300-c85-375x155.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/maripol-composite1_custom-8405e76a20832f22d07972acb724cebbd54d9728-s1300-c85-520x215.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/maripol-composite1_custom-8405e76a20832f22d07972acb724cebbd54d9728-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Beyond the Streets’ features blown-up prints of Maripol’s Polaroids, some of which she has scratched and marked up to create new works of art. (Pictured, left to right: Boombox with Legs, 1978; DayGlo Splash, 1978; Self Portrait Little Red Riding, 1980) \u003ccite>(Courtesy of Maripol)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I sat in the subway looking at the No. 5\u003cstrong> \u003c/strong>train going by, and it was kind of like looking at an amazing abstract painting,” she recalls. “It could have been a Monet going 80 miles an hour.”\u003c/p>\n\u003cp>When her photographer boyfriend gave her her first Polaroid camera, an SX-70, Maripol began photographing friends and downtown legends: Jean-Michel Basquiat, Madonna, Andy Warhol, Keith Haring, Fab 5 Freddy, Grace Jones, Debbie Harry. They hung out together before, during and after clubbing.\u003c/p>\n\u003cfigure id=\"attachment_13834880\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/maripol-actual-edit-920436dfdf60836d959158c638d0189810554bb9-s500-c85.jpg\" alt=\"Maripol styled Blondie for the Parallel Lines album cover and Madonna for the Like a Virgin album cover. She appears here in front of her photographs at 'Beyond the Streets.'\" width=\"500\" height=\"375\" class=\"size-full wp-image-13834880\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/maripol-actual-edit-920436dfdf60836d959158c638d0189810554bb9-s500-c85.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/maripol-actual-edit-920436dfdf60836d959158c638d0189810554bb9-s500-c85-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/maripol-actual-edit-920436dfdf60836d959158c638d0189810554bb9-s500-c85-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/maripol-actual-edit-920436dfdf60836d959158c638d0189810554bb9-s500-c85-375x281.jpg 375w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">Maripol styled Blondie for the Parallel Lines album cover and Madonna for the Like a Virgin album cover. She appears here in front of her photographs at ‘Beyond the Streets.’ \u003ccite>(Mandalit Del Barco/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I had a big downtown loft and it was easy for me to make a party or dinner because I was French and always cooking,” she recalls. “New York was bankrupt. And it was dangerous. You couldn’t even go to Washington Square Park. Madonna came to me because she wanted somebody to do her style, and then Jean-Michel Basquiat was staying with us. He lived with us, and I co-produced and art directed a movie called \u003cem>Downtown 81 \u003c/em>with him. He was 19 when I met him. A lot of time these kids’ parents either kicked them out, or, in Madonna’s case, her parents were in Michigan. I was kind of like a mother hen.”\u003c/p>\n\u003cp>“Beyond the Streets” features blown-up prints of Maripol’s 1980s Polaroids, some of which she has scratched and marked up to create new works of art.\u003c/p>\n\u003cp>\u003cstrong>“The new guard”\u003c/strong>\u003c/p>\n\u003cp>“Museums don’t often embrace this work, or they’ll embrace bits and pieces of it,” says curator Roger Gastman. He says “Beyond the Streets” was an experiment to see far they could get without a museum’s backing.\u003c/p>\n\u003cp>“We really said, ‘You know what? Let’s do this outside of a museum. Let’s do this on our own. Let’s make it work … and not have to follow the museum rules and create kind of the new guard.’ ”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“Beyond the Streets” is open through July 6. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Beyond+The+Streets%2C%27+And+Far+From+Vandalism%3A+Street+Art+Gets+A+Massive+Show&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "Outlaws. That's what they were called when they plastered their art on buildings and subway cars. Now, a Los Angeles exhibition looks at the studio work these artists created later in their careers. ",
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"description": "Outlaws. That's what they were called when they plastered their art on buildings and subway cars. Now, a Los Angeles exhibition looks at the studio work these artists created later in their careers. ",
"title": "'Beyond The Streets,' and Far From Vandalism: Street Art Gets a Massive Show | KQED",
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"headline": "'Beyond The Streets,' and Far From Vandalism: Street Art Gets a Massive Show",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Outlaws. That’s what they were considered when they spray-painted walls and bombed subway cars with modern-day hieroglyphics. They worked in alleys and train yards, bridges and tunnels. Now, many of them are being celebrated in a massive warehouse near Los Angeles’ Chinatown.\u003c/p>\n\u003cp>The exhibition “\u003ca href=\"https://www.beyondthestreets.com/\">Beyond the Streets\u003c/a>” focuses on the studio work street artists created later in their careers. It has more 40,000-square feet of paintings, murals, photos, installations and even old video games. (NPR gave “Beyond the Streets” a small amount of support as a media partner.)\u003c/p>\n\u003cp>“This is vandalism as contemporary art, or contemporary art as vandalism, depending on how you want to look at it,” says curator Roger Gastman, co-author of \u003cem>The History of American Graffiti\u003c/em>. “Street art has become such a buzzword, and lot of the motivation for doing a show like this was to show who the true artists respected by people inside the culture are.”\u003c/p>\n\u003cfigure id=\"attachment_13834860\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/lee-quin-ones_custom-759750522c6a94f80504482168b9ce2b07050ffb-1-800x533.jpg\" alt='New York artist Lee Quiñones painted a full-size handball court for \"Beyond the Streets.\"' width=\"800\" height=\"533\" class=\"size-medium wp-image-13834860\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/lee-quin-ones_custom-759750522c6a94f80504482168b9ce2b07050ffb-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/lee-quin-ones_custom-759750522c6a94f80504482168b9ce2b07050ffb-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/lee-quin-ones_custom-759750522c6a94f80504482168b9ce2b07050ffb-1-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/lee-quin-ones_custom-759750522c6a94f80504482168b9ce2b07050ffb-1-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/lee-quin-ones_custom-759750522c6a94f80504482168b9ce2b07050ffb-1-1200x799.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/lee-quin-ones_custom-759750522c6a94f80504482168b9ce2b07050ffb-1-1920x1279.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/lee-quin-ones_custom-759750522c6a94f80504482168b9ce2b07050ffb-1-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/lee-quin-ones_custom-759750522c6a94f80504482168b9ce2b07050ffb-1-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/lee-quin-ones_custom-759750522c6a94f80504482168b9ce2b07050ffb-1-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/lee-quin-ones_custom-759750522c6a94f80504482168b9ce2b07050ffb-1-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/lee-quin-ones_custom-759750522c6a94f80504482168b9ce2b07050ffb-1-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/lee-quin-ones_custom-759750522c6a94f80504482168b9ce2b07050ffb-1.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">New York artist Lee Quiñones painted a full-size handball court for ‘Beyond the Streets.’ \u003ccite>(Beau Roulette/Courtesy of Beyond The Streets)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The show includes 100 artists, living and deceased; “risk takers,” Gastman says, whose work connects with and inspires artists today. There are classic works by Keith Haring, TAKI 183, Jenny Holzer, SWOON, Jean-Michel Basquiat and photographers Henry Chalfant and Martha Cooper. There are also newer works by CRASH, FUTURA 2000, LADY PINK and Shepard Fairey.\u003c/p>\n\u003cfigure id=\"attachment_13834861\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/streets-composite-1-3b65e279386cdd3c7f0c097b1c625cb05180fe20-1-800x600.jpg\" alt=\"Left: Artist Ron Finley, aka the Gangsta Gardener, constructed one of his outdoor gardens for the exhibition. Right: Artist Kenny Scharf contributed a Day-Glo, black-lit room.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13834861\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/streets-composite-1-3b65e279386cdd3c7f0c097b1c625cb05180fe20-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/streets-composite-1-3b65e279386cdd3c7f0c097b1c625cb05180fe20-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/streets-composite-1-3b65e279386cdd3c7f0c097b1c625cb05180fe20-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/streets-composite-1-3b65e279386cdd3c7f0c097b1c625cb05180fe20-1-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/streets-composite-1-3b65e279386cdd3c7f0c097b1c625cb05180fe20-1-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/streets-composite-1-3b65e279386cdd3c7f0c097b1c625cb05180fe20-1-1920x1439.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/streets-composite-1-3b65e279386cdd3c7f0c097b1c625cb05180fe20-1-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/streets-composite-1-3b65e279386cdd3c7f0c097b1c625cb05180fe20-1-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/streets-composite-1-3b65e279386cdd3c7f0c097b1c625cb05180fe20-1-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/streets-composite-1-3b65e279386cdd3c7f0c097b1c625cb05180fe20-1-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/streets-composite-1-3b65e279386cdd3c7f0c097b1c625cb05180fe20-1-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/streets-composite-1-3b65e279386cdd3c7f0c097b1c625cb05180fe20-1.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Left: Artist Ron Finley, aka the Gangsta Gardener, constructed one of his outdoor gardens for the exhibition. Right: Artist Kenny Scharf contributed a Day-Glo, black-lit room. \u003ccite>(Beau Roulette/Courtesy of Beyond The Streets)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Artist Kenny Scharf\u003cstrong> \u003c/strong>has decked out a Day-Glo, black-lit room for this show, and Lee Quiñones has painted a full-size handball court. Some of L.A.’s legends are here too: street gardener/activist Ron Finley constructed one of his outdoor gardens, and tattoo and graffiti artist Mister Cartoon created his own chapel.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>“Our art criticizes the art system”\u003c/strong>\u003c/p>\n\u003cp>Then there are the Guerrilla Girls, a collective of artists who hide their faces with gorilla masks. The group formed 33 years ago in New York to protest the lack of women artists in museums and galleries, and the way women are represented in the art world.\u003c/p>\n\u003cfigure id=\"attachment_13834862\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/img_0032_wide-4d88d32904a8d058a02928cee87cda63b367b297-1-800x450.jpg\" alt=\"'Beyond the Streets' boasts one of the Guerrilla Girls' most well-known billboards — in Spanish. It translates to "Do women have to be naked to get into the Met? Less than 4 percent of the artists in the modern art sections are women, but 76 percent of the nudes are female."\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13834862\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/img_0032_wide-4d88d32904a8d058a02928cee87cda63b367b297-1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/img_0032_wide-4d88d32904a8d058a02928cee87cda63b367b297-1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/img_0032_wide-4d88d32904a8d058a02928cee87cda63b367b297-1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/img_0032_wide-4d88d32904a8d058a02928cee87cda63b367b297-1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/img_0032_wide-4d88d32904a8d058a02928cee87cda63b367b297-1-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/img_0032_wide-4d88d32904a8d058a02928cee87cda63b367b297-1-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/img_0032_wide-4d88d32904a8d058a02928cee87cda63b367b297-1-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/img_0032_wide-4d88d32904a8d058a02928cee87cda63b367b297-1-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/img_0032_wide-4d88d32904a8d058a02928cee87cda63b367b297-1-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/img_0032_wide-4d88d32904a8d058a02928cee87cda63b367b297-1-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/img_0032_wide-4d88d32904a8d058a02928cee87cda63b367b297-1-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/img_0032_wide-4d88d32904a8d058a02928cee87cda63b367b297-1.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Beyond the Streets’ boasts one of the Guerrilla Girls’ most well-known billboards — in Spanish. It translates to “Do women have to be naked to get into the Met? Less than 4 percent of the artists in the modern art sections are women, but 76 percent of the nudes are female.” \u003ccite>(Nicole Cohen/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>They plastered the streets with humorous, in-your-face posters, some of which are on display at “Beyond the Streets.” One of their most well-known billboards points out that less than 4 percent of the modern art on display at New York’s Metropolitan Museum of Art was created by women, while 76 percent of the nudes are female. Another huge poster depicts a gorilla head with crazy, spiral zombie eyes. It reads, “If you keep women out, they get resentful.”\u003c/p>\n\u003cfigure id=\"attachment_13834863\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/beauroulette_bts_5_1_18_guerrilla_girls_-img_6120-bea2e20593ffb222dd6813a76f9db0ae60d6e3a4-1-800x600.jpg\" alt='The Guerrilla Girls got the idea to hide their faces with gorilla masks after one of them misspelled \"guerrilla\" in a doodle.' width=\"800\" height=\"600\" class=\"size-medium wp-image-13834863\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/beauroulette_bts_5_1_18_guerrilla_girls_-img_6120-bea2e20593ffb222dd6813a76f9db0ae60d6e3a4-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/beauroulette_bts_5_1_18_guerrilla_girls_-img_6120-bea2e20593ffb222dd6813a76f9db0ae60d6e3a4-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/beauroulette_bts_5_1_18_guerrilla_girls_-img_6120-bea2e20593ffb222dd6813a76f9db0ae60d6e3a4-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/beauroulette_bts_5_1_18_guerrilla_girls_-img_6120-bea2e20593ffb222dd6813a76f9db0ae60d6e3a4-1-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/beauroulette_bts_5_1_18_guerrilla_girls_-img_6120-bea2e20593ffb222dd6813a76f9db0ae60d6e3a4-1-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/beauroulette_bts_5_1_18_guerrilla_girls_-img_6120-bea2e20593ffb222dd6813a76f9db0ae60d6e3a4-1-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/beauroulette_bts_5_1_18_guerrilla_girls_-img_6120-bea2e20593ffb222dd6813a76f9db0ae60d6e3a4-1-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/beauroulette_bts_5_1_18_guerrilla_girls_-img_6120-bea2e20593ffb222dd6813a76f9db0ae60d6e3a4-1-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/beauroulette_bts_5_1_18_guerrilla_girls_-img_6120-bea2e20593ffb222dd6813a76f9db0ae60d6e3a4-1-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/beauroulette_bts_5_1_18_guerrilla_girls_-img_6120-bea2e20593ffb222dd6813a76f9db0ae60d6e3a4-1-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/beauroulette_bts_5_1_18_guerrilla_girls_-img_6120-bea2e20593ffb222dd6813a76f9db0ae60d6e3a4-1-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/beauroulette_bts_5_1_18_guerrilla_girls_-img_6120-bea2e20593ffb222dd6813a76f9db0ae60d6e3a4-1.jpg 1998w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Guerrilla Girls got the idea to hide their faces with gorilla masks after one of them misspelled “guerrilla” in a doodle. \u003ccite>(Beau Roulette/Courtesy of Beyond The Streets)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of the group’s founders goes by the pseudonym Käthe Kollwitz, a name borrowed from a \u003ca href=\"https://www.moma.org/artists/3201\" target>German political artist\u003c/a> born in 1867. She says, “Our art criticizes the art system, and we thought this up in the first place because we loved what we saw on the streets of New York: political posters, graffiti, tagging, art on the streets.”\u003c/p>\n\u003cp>Their criticism has gotten their art into major museums around the world. But Kollwitz notes that, ironically, the number of women artists included in “Beyond the Streets” isn’t great.\u003c/p>\n\u003cp>“There have always been issues with women in graffiti art,” she says.\u003c/p>\n\u003cp>\u003cstrong>Red-light district\u003c/strong>\u003c/p>\n\u003cp>Tokyo-born street artist Aiko Nakagawa, who goes by Lady AIKO and AIKO, combines graffiti art techniques with 18th-century Japanese woodblock printing to make large-scale works. For “Beyond the Streets,” AIKO\u003cstrong> \u003c/strong>created a red-light district room filled with erotic, comic book-like images using layered stencils and spray paint. There are signs and billboards advertising peep shows, hostess dancers and a “rub parlor.”\u003c/p>\n\u003cfigure id=\"attachment_13834864\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/aiko-composite1_custom-d8aad23613f017860a1ef885bcce6bcc19b10284-1-800x473.jpg\" alt=\"Left: AIKO's red-light district room is filled with erotic, comic book-like images. Right: AIKO (pictured) has shown her work in Rome, Shanghai and New York, where she's now based.\" width=\"800\" height=\"473\" class=\"size-medium wp-image-13834864\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/aiko-composite1_custom-d8aad23613f017860a1ef885bcce6bcc19b10284-1-800x473.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/aiko-composite1_custom-d8aad23613f017860a1ef885bcce6bcc19b10284-1-160x95.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/aiko-composite1_custom-d8aad23613f017860a1ef885bcce6bcc19b10284-1-768x454.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/aiko-composite1_custom-d8aad23613f017860a1ef885bcce6bcc19b10284-1-1020x603.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/aiko-composite1_custom-d8aad23613f017860a1ef885bcce6bcc19b10284-1-1200x710.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/aiko-composite1_custom-d8aad23613f017860a1ef885bcce6bcc19b10284-1-1920x1135.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/aiko-composite1_custom-d8aad23613f017860a1ef885bcce6bcc19b10284-1-1180x698.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/aiko-composite1_custom-d8aad23613f017860a1ef885bcce6bcc19b10284-1-960x568.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/aiko-composite1_custom-d8aad23613f017860a1ef885bcce6bcc19b10284-1-240x142.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/aiko-composite1_custom-d8aad23613f017860a1ef885bcce6bcc19b10284-1-375x222.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/aiko-composite1_custom-d8aad23613f017860a1ef885bcce6bcc19b10284-1-520x307.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/aiko-composite1_custom-d8aad23613f017860a1ef885bcce6bcc19b10284-1.jpg 1994w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Left: AIKO’s red-light district room is filled with erotic, comic book-like images. Right: AIKO (pictured) has shown her work in Rome, Shanghai and New York, where she’s now based. \u003ccite>(Beau Roulette/Courtesy of Beyond The Streets)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>AIKO\u003cstrong> \u003c/strong>says her images are reminiscent of the old, X-rated Times Square, and Japanese shunga, or erotic art. “People used to draw really sexy stuff in my country, so I’m making this whole section sexual and pornographic,” she says. “But also it’s more about women. You see [in the work] more sexual energy from women than men. My red-light district is more about how women want to have good time. We also want to enjoy some sexuality.”\u003c/p>\n\u003cp>AIKO says she had a depressing childhood in Tokyo, and began making art as an escape from being misunderstood. In her 20s, she moved to New York without knowing anyone or speaking English. There, she worked as a studio apprentice for artist Takashi Murakami, and began wheat pasting images of herself all over the city. She helped start the artist collective FAILE and collaborated with the anonymous artist Banksy on his 2010 film, \u003cem>Exit Through the Gift Shop\u003c/em>. She even designed for Louis Vuitton.\u003c/p>\n\u003cp>“Don’t get me wrong,” she says. “I’m not always doing sex images. This is for a special occasion.”\u003c/p>\n\u003cp>\u003cstrong>“Writing graffiti is a literal rite of passage”\u003c/strong>\u003c/p>\n\u003cp>Since the early 1990s, Claudia Gold, who goes by CLAW and CLAW MONEY,\u003cstrong> \u003c/strong> has been spray-painting her nickname and her trademark cartoon paw all over New York City.\u003c/p>\n\u003cfigure id=\"attachment_13834865\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/claw-f4d5a0e134085f0f29741f913aa3f645babd9d04-1-800x600.jpg\" alt='CLAW started bombing New York subway cars with her signature paw in the 1990s. \"We knew that they wanted to come after you if you painted the trains,\" she says. \"So to keep myself safer, I would only do a train here and there.\"' width=\"800\" height=\"600\" class=\"size-medium wp-image-13834865\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/claw-f4d5a0e134085f0f29741f913aa3f645babd9d04-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/claw-f4d5a0e134085f0f29741f913aa3f645babd9d04-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/claw-f4d5a0e134085f0f29741f913aa3f645babd9d04-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/claw-f4d5a0e134085f0f29741f913aa3f645babd9d04-1-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/claw-f4d5a0e134085f0f29741f913aa3f645babd9d04-1-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/claw-f4d5a0e134085f0f29741f913aa3f645babd9d04-1-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/claw-f4d5a0e134085f0f29741f913aa3f645babd9d04-1-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/claw-f4d5a0e134085f0f29741f913aa3f645babd9d04-1-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/claw-f4d5a0e134085f0f29741f913aa3f645babd9d04-1-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/claw-f4d5a0e134085f0f29741f913aa3f645babd9d04-1-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/claw-f4d5a0e134085f0f29741f913aa3f645babd9d04-1.jpg 1815w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">CLAW started bombing New York subway cars with her signature paw in the 1990s. “We knew that they wanted to come after you if you painted the trains,” she says. “So to keep myself safer, I would only do a train here and there.” \u003ccite>(Beau Roulette/Courtesy of Beyond The Streets)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She began in her early 20s, at a time when fewer women were doing graffiti and the city was on a mission to eradicate graffiti tags. Bombing subway trains wasn’t considered art, she says. “It was more vandalism, and I’m one of the only sort of grimy, early ’90s women street bombers. We knew that they wanted to come after you if you painted the trains, so to keep myself safer, I would only do a train here and there. Then you’d ultimately paint over it. You’d try to get a picture of it with a disposable camera from CVS or something, and hope it’d come out. Then you’d paint over it so they wouldn’t come knocking on your door.”\u003c/p>\n\u003cp>She says graffiti flourished in that lawless, electric time. Back then, many graffiti writers were black or Puerto Rican and had a hip-hop vibe. But CLAW was white, and she sometimes got grief for that. She says, “I felt very rejected — rejected from hip-hop.” So she adopted a rock persona.\u003c/p>\n\u003cp>Three decades later, her graffiti is still scattered all around New York, but she’s also moved on. Now, she uses hand embroidery, silk screening and enamel to design clothing for her brand, CLAW, and she also runs her own boutique on the Lower East Side.\u003c/p>\n\u003cp>She says, “Writing graffiti is a literal rite of passage of kids growing up in New York City, and the ones that have artistic talents are the ones that shine in the streets; and the ones that shine in the streets are encouraged to continue with their artwork. It blossoms like that.”\u003c/p>\n\u003cp>\u003cstrong>“A Monet going 80 miles an hour”\u003c/strong>\u003c/p>\n\u003cp>In the 1980s, the artist Maripol made some of the most iconic images of New York’s street and club scene. She was an underground club kid who had moved to New York from France in 1977 after becoming fascinated with graffiti art.\u003c/p>\n\u003cfigure id=\"attachment_13834870\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/maripol-composite1_custom-8405e76a20832f22d07972acb724cebbd54d9728-s1300-c85-800x330.jpg\" alt=\"'Beyond the Streets' features blown-up prints of Maripol's Polaroids, some of which she has scratched and marked up to create new works of art. (Pictured, left to right: Boombox with Legs, 1978; DayGlo Splash, 1978; Self Portrait Little Red Riding, 1980)\" width=\"800\" height=\"330\" class=\"size-medium wp-image-13834870\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/maripol-composite1_custom-8405e76a20832f22d07972acb724cebbd54d9728-s1300-c85-800x330.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/maripol-composite1_custom-8405e76a20832f22d07972acb724cebbd54d9728-s1300-c85-160x66.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/maripol-composite1_custom-8405e76a20832f22d07972acb724cebbd54d9728-s1300-c85-768x317.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/maripol-composite1_custom-8405e76a20832f22d07972acb724cebbd54d9728-s1300-c85-1020x421.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/maripol-composite1_custom-8405e76a20832f22d07972acb724cebbd54d9728-s1300-c85-1200x496.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/maripol-composite1_custom-8405e76a20832f22d07972acb724cebbd54d9728-s1300-c85-1180x487.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/maripol-composite1_custom-8405e76a20832f22d07972acb724cebbd54d9728-s1300-c85-960x397.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/maripol-composite1_custom-8405e76a20832f22d07972acb724cebbd54d9728-s1300-c85-240x99.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/maripol-composite1_custom-8405e76a20832f22d07972acb724cebbd54d9728-s1300-c85-375x155.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/maripol-composite1_custom-8405e76a20832f22d07972acb724cebbd54d9728-s1300-c85-520x215.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/maripol-composite1_custom-8405e76a20832f22d07972acb724cebbd54d9728-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Beyond the Streets’ features blown-up prints of Maripol’s Polaroids, some of which she has scratched and marked up to create new works of art. (Pictured, left to right: Boombox with Legs, 1978; DayGlo Splash, 1978; Self Portrait Little Red Riding, 1980) \u003ccite>(Courtesy of Maripol)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I sat in the subway looking at the No. 5\u003cstrong> \u003c/strong>train going by, and it was kind of like looking at an amazing abstract painting,” she recalls. “It could have been a Monet going 80 miles an hour.”\u003c/p>\n\u003cp>When her photographer boyfriend gave her her first Polaroid camera, an SX-70, Maripol began photographing friends and downtown legends: Jean-Michel Basquiat, Madonna, Andy Warhol, Keith Haring, Fab 5 Freddy, Grace Jones, Debbie Harry. They hung out together before, during and after clubbing.\u003c/p>\n\u003cfigure id=\"attachment_13834880\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/maripol-actual-edit-920436dfdf60836d959158c638d0189810554bb9-s500-c85.jpg\" alt=\"Maripol styled Blondie for the Parallel Lines album cover and Madonna for the Like a Virgin album cover. She appears here in front of her photographs at 'Beyond the Streets.'\" width=\"500\" height=\"375\" class=\"size-full wp-image-13834880\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/maripol-actual-edit-920436dfdf60836d959158c638d0189810554bb9-s500-c85.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/maripol-actual-edit-920436dfdf60836d959158c638d0189810554bb9-s500-c85-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/maripol-actual-edit-920436dfdf60836d959158c638d0189810554bb9-s500-c85-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/maripol-actual-edit-920436dfdf60836d959158c638d0189810554bb9-s500-c85-375x281.jpg 375w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">Maripol styled Blondie for the Parallel Lines album cover and Madonna for the Like a Virgin album cover. She appears here in front of her photographs at ‘Beyond the Streets.’ \u003ccite>(Mandalit Del Barco/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I had a big downtown loft and it was easy for me to make a party or dinner because I was French and always cooking,” she recalls. “New York was bankrupt. And it was dangerous. You couldn’t even go to Washington Square Park. Madonna came to me because she wanted somebody to do her style, and then Jean-Michel Basquiat was staying with us. He lived with us, and I co-produced and art directed a movie called \u003cem>Downtown 81 \u003c/em>with him. He was 19 when I met him. A lot of time these kids’ parents either kicked them out, or, in Madonna’s case, her parents were in Michigan. I was kind of like a mother hen.”\u003c/p>\n\u003cp>“Beyond the Streets” features blown-up prints of Maripol’s 1980s Polaroids, some of which she has scratched and marked up to create new works of art.\u003c/p>\n\u003cp>\u003cstrong>“The new guard”\u003c/strong>\u003c/p>\n\u003cp>“Museums don’t often embrace this work, or they’ll embrace bits and pieces of it,” says curator Roger Gastman. He says “Beyond the Streets” was an experiment to see far they could get without a museum’s backing.\u003c/p>\n\u003cp>“We really said, ‘You know what? Let’s do this outside of a museum. Let’s do this on our own. Let’s make it work … and not have to follow the museum rules and create kind of the new guard.’ ”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Beyond the Streets” is open through July 6. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Beyond+The+Streets%2C%27+And+Far+From+Vandalism%3A+Street+Art+Gets+A+Massive+Show&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"slug": "nine-new-murals-to-see-in-oakland-this-summer",
"title": "Nine New Murals To See in Oakland This Summer",
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"headTitle": "Nine New Murals To See in Oakland This Summer | KQED",
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"content": "\u003cp>After last month’s \u003ca href=\"http://bamfestival.boomity.com/home\" target=\"_blank\" rel=\"noopener\">Oakland Mural Festival\u003c/a>, Oakland’s already-rich street art scene gained nine more stunning surfaces coated with public art. KQED Arts takes you on a tour to find out more about the artists and inspirations behind the murals.\u003c/p>\n\u003cfigure id=\"attachment_13834332\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13834332 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/OakMural-7-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-7-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-7-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-7-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-7-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-7-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-7-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-7-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-7-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-7.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Turfin” mural featuring the likeness of turf dancer No Noiz aka Noh Justice by Lower Bottoms Collective as part of Oakland Mural Festival 2018. \u003ccite>(Lina Blanco / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Turfin”\u003c/h2>\n\u003cp>\u003cb>Martin Luther King Jr Way and Embarcadero West\u003cbr>\n\u003ca href=\"http://www.creativeshields.com/\" target=\"_blank\" rel=\"noopener\">Creative Shields\u003c/a> a.k.a. Lower Bottoms Collective\u003c/b>\u003c/p>\n\u003cp>High above the train tracks on MLK and Embarcadero West, a turf dancer moves across a glowing Oakland skyline. Rocks quake under the weight of his steps and as he slides his way over massive concrete slabs and takes his first step right out of the frame.\u003c/p>\n\u003cp>“The mission of this was to represent authentic Oakland culture. We saw that possibility through turf dancing and showing that movement on the canvas,” explains James Shields, founder of Creative Shields and creator of the \u003ci>Hip Hop Coloring Book\u003c/i>. But why this mural, and why now?\u003c/p>\n\u003cp>“I feel like we have been losing the true authenticity in Oakland by having so many people come in and take over our equity out here—our space,” says Timothy B., an artist born and raised in Oakland.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The muse behind the mural is turf dancer Noh Justice (a.k.a. Nonoiz). When talking about his dance style, Noh Justice sums it up simply with what he calls “a hood ballet.” With turf dance, the creative process starts with anything around him: “Mainly our stories and our lives and things we don’t like to talk about.” It’s not the first mural he’s found himself starring in; he routinely (and proudly) points out another three Oakland walls to his kids.\u003c/p>\n\u003cp>The rocks floating around the dancer capture the force of his moves. “It shows he’s making an impact,” says Timothy, referencing the Hindu god Shiva, who destroys and recreates the world around him. “To me, he’s dancing for change. He’s making an impact and destroying his surroundings to create change for a new way of being.”\u003c/p>\n\u003cp>\u003cem>Follow their work on Instagram: \u003ca href=\"https://www.instagram.com/creativeshields/\" target=\"_blank\" rel=\"noopener\">@creativeshields\u003c/a>, \u003ca href=\"https://www.instagram.com/timothyb_art/\">@timothyb_art\u003c/a>, \u003ca href=\"https://www.instagram.com/chuckinglights/\" target=\"_blank\" rel=\"noopener\">@chuckinglights\u003c/a> and \u003ca href=\"https://www.instagram.com/berj.j.berj/\">@berj.j.berj\u003c/a>.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13834333\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13834333\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/OakMural-4-800x464.jpg\" alt=\"\" width=\"800\" height=\"464\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-4-800x464.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-4-160x93.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-4-768x445.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-4-1020x591.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-4-960x556.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-4-240x139.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-4-375x217.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-4-520x301.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-4.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artists Jack and Alise Eastgate review their completed work ‘Warmer Waters’ on the final day of Oakland Mural Festival 2018. \u003ccite>(Lina Blanco / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Warmer Waters’\u003c/h2>\n\u003cp>\u003cb>Martin Luther King Jr Way and 2nd\u003cbr>\n\u003ca href=\"http://www.aliseeastgate.com\" target=\"_blank\" rel=\"noopener\">Alise\u003c/a> and\u003ca href=\"http://www.jackeastgate.com\"> Jack\u003c/a> Eastgate\u003c/b>\u003c/p>\n\u003cp>Just blocks from the Jack London Inner Harbor, a little girl valiantly rides a whale moving westward. In \u003ci>Warmer Waters\u003c/i> (also known fondly as “Whale Rider”), artists Alise and Jack Eastgate play with movement across time and space. The whale reflects the presence of ancestors, while the little girl, adorned with symbols native to Fiji, stands between the present and future.\u003c/p>\n\u003cp>And their work is timely. Just days before completion, news broke of a beached whale found in the Jack London estuary. The industrialization of the oceans and the waning rights of people to freely move across borders inspire the Oakland-based muralists.\u003c/p>\n\u003cp>“A lot of things felt right about this wall,” says Alise. Located at 679 2nd Street, the two noted the serendipity of the address. 679 is the area code for Fiji, Jack’s birthplace, while the blooming magnolia tree just overhead brings a sense of nostalgia to Louisiana-born Alise.\u003c/p>\n\u003cp>\u003cem>Follow Alise & Jack Eastgate’s work on Instagram at \u003ca href=\"https://www.instagram.com/eastrandstudios/\">@eastrandstudios\u003c/a>.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13834334\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13834334\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/OakMural-6-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-6-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-6-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-6-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-6-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-6-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-6-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-6-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-6-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-6.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Know Your Ancestors’ by Mike “Bam” Tyau and Jesus Rodriguez overlooks Martin Luther King Way and 2nd Street near the Port of Oakland. \u003ccite>(Lina Blanco / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Know Your Ancestors’\u003c/h2>\n\u003cp>\u003cb>Martin Luther King Jr Way and Embarcadero West\u003cbr>\n\u003ca href=\"http://miketyau.com\" target=\"_blank\" rel=\"noopener\">Mike “Bam” Tyau\u003c/a> and \u003ca href=\"https://www.josedejesusrodriguez.com\" target=\"_blank\" rel=\"noopener\">Jesus Rodriguez\u003c/a>\u003c/b>\u003c/p>\n\u003cp>In their latest collaboration, Mike “Bam” Tyau and Jesus Rodriguez pay vibrant homage to their roots. “Besides the Olmec and Chinese motifs as ancestral guardian totems, we painted these to remind people to go to their pillars of support during these trying times,” Mike wrote in an Instagram post at the end of the seven-day-long Oakland Mural Festival.\u003c/p>\n\u003cp>Foliage and mountains encompass two figures, references to the artists’ ancestral homelands. For Tyau, the leaves of the plants ground the composition with symbols pointing back to Mother Earth.\u003c/p>\n\u003cp>\u003cem>Follow Mike “Bam” Tyau and Jesus Rodriguez on Instagram at \u003ca href=\"https://www.instagram.com/miketyau/\" target=\"_blank\" rel=\"noopener\">@miketyau\u003c/a> and \u003ca href=\"https://www.instagram.com/ease_us/\" target=\"_blank\" rel=\"noopener\">@ease_us\u003c/a>.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13834338\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13834338 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/OakMural-10-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-10-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-10-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-10-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-10-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-10-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-10-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-10-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-10-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-10.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">New work ‘Embassy of the Refugee’ by Caleb Duarte coming soon to Broadway and 2nd Street. \u003ccite>(Lina Blanco / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Embassy Of The Refugee’\u003c/h2>\n\u003cp>\u003cb>2nd and Broadway\u003cbr>\n\u003ca href=\"http://www.calebduarte.org/\" target=\"_blank\" rel=\"noopener\">Caleb Duarte\u003c/a> and Youth from Embassy of the Refugee Project\u003c/b>\u003c/p>\n\u003cp>“Our ability to create myth in order to understand certain realities; is what we do,” Duarte wrote on Instagram, under the image of his latest work. “Those of us with no political or economic power, exiles or displaced working people, turn to the creation of the ‘embassy of the refugee’… as a form of exercising a magical realism in order to thrive.”\u003c/p>\n\u003cp>Straddling a busy street that connects some of Oakland’s homeless encampments with million-dollar condos, Duarte’s silhouette of a figure pushing a shopping cart posits a powerful statement on the pursuit of finding “home.”\u003c/p>\n\u003cp>\u003cem>Follow Caleb Duarte on Instagram at \u003ca href=\"https://www.instagram.com/caleb_arte_/\" target=\"_blank\" rel=\"noopener\">@caleb_arte_\u003c/a>.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13834339\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13834339\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/OakMural-5-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-5-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-5-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-5-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-5-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-5-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-5-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-5-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-5-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-5.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Trust Your Struggle collective unveiled their newest collaboration ‘Oakland Dreams’ as part of Oakland Mural Festival 2018. \u003ccite>(Lina Blanco / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Oakland Dreams’\u003c/h2>\n\u003cp>\u003cb>4th and Webster\u003cbr>\n\u003ca href=\"http://trustyourstruggle.com\" target=\"_blank\" rel=\"noopener\">Trust Your Struggle Collective\u003c/a>\u003c/b>\u003c/p>\n\u003cp>Two hands rise, palms open, up a wall. For the artists of Trust Your Struggle Collective, they simultaneously signify the power to hold on to, and reach for, your dreams.\u003c/p>\n\u003cp>Perhaps the most visually striking element of the collective’s mural are the two large words spanning the sun-soaked wall: “Oakland Dreams.” The second word pays homage to one of the founding members of the TDK (Those Damn Kids) aerosol collective, Mike “Dream” Francisco, who lost his life to gun violence in a senseless street robbery in 2000.\u003c/p>\n\u003cp>Images of flora and fauna run subtly throughout the mural. A lotus—a symbol often associated with transcendence—blooms from the sidewalk while a yellow hummingbird emerges from a red triangle glistening in the sun. Some interpretations of the hummingbird link back to the Aztec god Huitzilopochtli, a deity associated with the resurrection of a fallen warrior.\u003c/p>\n\u003cp>\u003cem>Follow Trust Your Struggle Collective on Instagram at \u003ca href=\"https://www.instagram.com/trustyourstrugglecollective/\" target=\"_blank\" rel=\"noopener\">@TrustYourStruggleCollective\u003c/a>, \u003ca href=\"https://www.instagram.com/erinyoshi/\" target=\"_blank\" rel=\"noopener\">@erinyoshi\u003c/a>, \u003ca href=\"https://www.instagram.com/nisha.k.sethi/\" target=\"_blank\" rel=\"noopener\">@Nisha.k.Sethi\u003c/a> and \u003ca href=\"https://www.instagram.com/misterbouncer/\" target=\"_blank\" rel=\"noopener\">@misterbouncer\u003c/a>.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13834340\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13834340 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/OakMural-2-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-2-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-2-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-2-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-2-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-2.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">This mural of a giant rooster and the symbol ‘Han’ by Dave Young Kim and Erik T Burke is imbued with the symbolism of resistance. \u003ccite>(Lina Blanco / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Han’\u003c/h2>\n\u003cp>\u003cb>3rd and Webster\u003cbr>\n\u003ca href=\"https://www.daveyoungkim.com/\" target=\"_blank\" rel=\"noopener\">Dave Young Kim\u003c/a> and \u003ca href=\"http://eriktburke.com\" target=\"_blank\" rel=\"noopener\">Erik Burke\u003c/a>\u003c/b>\u003c/p>\n\u003cp>Even though this mural revolves around just three core elements—a way-larger-than-life rooster, a Chinese character and a “rising sun”—Dave Young Kim and Erik Burke’s newest work is anything but simple.\u003c/p>\n\u003cp>“The rooster traditionally symbolizes tenaciousness, never giving up,” Kim shared in an Instagram post. And in the composition, the rooster reigns supreme in spite of the Chinese symbol “恨,” pronounced “han” in Korean, that towers over its head.\u003c/p>\n\u003cp>To Kim, the symbol represents a feeling that being downtrodden could be both a burden and a source of empowerment. “It could crush you, or you could rise up and fight til the end,” he says.\u003c/p>\n\u003cp>Fittingly, the mural also gives a nod to Jack London, the prolific author who spent most of his childhood frequenting the waterfront district that now bears his name. Instead of a sun, a circular frame depicts a lone figure in a snowy landscape, facing a radiant fire for warmth. It’s painted after a photograph Burke fixated on for a long time, inspired by a scene in London’s short story “To Build A Fire.”\u003c/p>\n\u003cp>Reflecting on \u003ci>Han\u003c/i>, Kim says he found his “mural soulmate” when working with Burke. They had plenty of time to bond in the two-and-a-half days of long working hours.\u003c/p>\n\u003cp>\u003cem>Follow Dave Young Kim and Erik Burke on Instagram at \u003ca href=\"https://www.instagram.com/daveyoungkim/\" target=\"_blank\" rel=\"noopener\">@daveyoungkim\u003c/a> and \u003ca href=\"https://www.instagram.com/ou35/\" target=\"_blank\" rel=\"noopener\">@ou35\u003c/a>.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13834341\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13834341\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/OakMural-3-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-3-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-3-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-3-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-3-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-3-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-3.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A collaborative work between Los Pobres Artistas muralist collective and students of Oakland International High School present two words ‘Earth’ and ‘Sanctuary.’ \u003ccite>(Lina Blanco / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Sanctuary Earth’\u003c/h2>\n\u003cp>\u003cb>4th and Webster\u003cbr>\n\u003ca href=\"http://lospobresartistas.com\" target=\"_blank\" rel=\"noopener\">Los Pobres Artists\u003c/a> and students from Oakland International High School\u003c/b>\u003c/p>\n\u003cp>Seven students and members of Los Pobres Artistas focused their creative energies on distilling images from the global refugee crisis. Sprawled across the right and the left sides of the mural are two words in all caps “EARTH” and “SANCTUARY.” At the center, giant hands support a raft filled with female refugees. In the foreground, schools of orange fish rise and fall as if to guide the raft safely to shore.\u003c/p>\n\u003cp>According to Los Pobres co-founder Thomas Jones, the mural stands for the idea that Earth can be a sanctuary for everybody.\u003c/p>\n\u003cp>\u003cem>Follow their work on Instagram \u003ca href=\"https://www.instagram.com/lospobresartistas/\" target=\"_blank\" rel=\"noopener\">@lospobresartistsas\u003c/a>, \u003ca href=\"https://www.instagram.com/hooperarts/\" target=\"_blank\" rel=\"noopener\">@hooperart\u003c/a>, \u003ca href=\"https://www.instagram.com/kilimunoz/\" target=\"_blank\" rel=\"noopener\">@kilimunoz\u003c/a>, \u003ca href=\"https://www.instagram.com/frederickoalvarado/\" target=\"_blank\" rel=\"noopener\">@frederickoalvarado\u003c/a> and \u003ca href=\"https://www.instagram.com/thomasjones_m/\" target=\"_blank\" rel=\"noopener\">@thomasjones_m\u003c/a>.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13834342\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13834342\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/OakMural-15-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-15-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-15-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-15-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-15-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-15-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-15-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-15-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-15-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-15.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The unnamed work by Susan Green and Art Forces spans the back wall of SeaWolf Public House. \u003ccite>(Lina Blanco / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Unnamed\u003c/h2>\n\u003cp>\u003cb>4th and Webster\u003cbr>\n\u003ca href=\"http://susangreene.org/art-forces/\" target=\"_blank\" rel=\"noopener\">Susan Greene and Art Forces\u003c/a>\u003c/b>\u003c/p>\n\u003cp>Spanning the rear wall of Seawolf Public House, catch a golden-hued scene in which Cheemah, the “Mother of the Spirit-Fire” descends onto the Port of Oakland atop a giant eagle. Locals might instantly recognize the figure from a bronze statue placed in Jack London Square. Originally sculpted by Osprey Orielle Lake, the mythic being stands for “cultural diversity, world unity and care for the earth.”\u003c/p>\n\u003cp>And while the moment might look idyllic, a somewhat menacing clue stands out in the foreground. Two ships, halfway to shore, allude to the terrible reality of a colonized past.\u003c/p>\n\u003cp>\u003cem>Follow them on Instagram at \u003ca href=\"https://www.instagram.com/artforces/\" target=\"_blank\" rel=\"noopener\">@artforces\u003c/a>, \u003ca href=\"https://www.instagram.com/_attril/\" target=\"_blank\" rel=\"noopener\">@_attril\u003c/a>, \u003ca href=\"https://www.instagram.com/maxallbee/\" target=\"_blank\" rel=\"noopener\">@maxallbee\u003c/a>, \u003ca href=\"https://www.instagram.com/francolafresh/\" target=\"_blank\" rel=\"noopener\">@francolafresh\u003c/a>.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13834343\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13834343\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/OakMural-13-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-13-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-13-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-13-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-13-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-13-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-13-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-13-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-13-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-13.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A tribute to Oakland’s elders and youth in one sprawling work by David Burke and friends.\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Love Letter To Oakland’\u003c/h2>\n\u003cp>\u003cb>4th and Oak\u003cbr>\n\u003ca href=\"http://www.dburke.org/\">David Burke\u003c/a>\u003c/b>\u003c/p>\n\u003cp>In the photo-realistic \u003ci>A Love Letter to Oakland\u003c/i>, Burke and his collaborators bridge two generations. On the left, two Oakland artists, Tureeda Mikell and James Gayles, reach out across the downtown Oakland skyline toward two emerging local heroes — well-known muralist DJ Agana and youth activist Samuel Getachew. Between them, a glow lights their faces.\u003c/p>\n\u003cp>A satellite view of Oakland streets extends across the concrete canvas like roots—an enduring symbol of the city. In an interview with the \u003cem>East Bay Express\u003c/em>, Burke calls out the importance of the festival that allowed for his most recent collaboration: “[The mural] becomes part of their collective experience,” Burke said, “and must reflect the stories, the diversity, the values and the histories of that community.”\u003c/p>\n\u003cp>\u003cem>Follow David Burke and his collaborators on Instagram at \u003ca href=\"https://www.instagram.com/davidburke_studio/\" target=\"_blank\" rel=\"noopener\">@DavidBurke_Studio\u003c/a>, \u003ca href=\"https://www.instagram.com/joevicyeban/\" target=\"_blank\" rel=\"noopener\">@joevicyeban\u003c/a>, \u003ca href=\"https://www.instagram.com/dorias_brannon/\" target=\"_blank\" rel=\"noopener\">@dorias_brannon\u003c/a>, \u003ca href=\"https://www.instagram.com/blacksphinxofquartz/\" target=\"_blank\" rel=\"noopener\">@blacksphinxofquartz\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cb>To make seeing these beautiful works easier, here’s a map to all the locations:\u003c/b>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.google.com/maps/d/embed?mid=1RyJwtH-ua5rYKrDET0kKYSXgdfhyMUZ1\" width=\"640\" height=\"480\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\n",
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"excerpt": "Thanks to the Oakland Mural Fest, the Town now has even more public art to purview.",
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"title": "Nine New Murals To See in Oakland This Summer | KQED",
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"headline": "Nine New Murals To See in Oakland This Summer",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>After last month’s \u003ca href=\"http://bamfestival.boomity.com/home\" target=\"_blank\" rel=\"noopener\">Oakland Mural Festival\u003c/a>, Oakland’s already-rich street art scene gained nine more stunning surfaces coated with public art. KQED Arts takes you on a tour to find out more about the artists and inspirations behind the murals.\u003c/p>\n\u003cfigure id=\"attachment_13834332\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13834332 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/OakMural-7-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-7-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-7-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-7-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-7-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-7-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-7-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-7-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-7-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-7.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Turfin” mural featuring the likeness of turf dancer No Noiz aka Noh Justice by Lower Bottoms Collective as part of Oakland Mural Festival 2018. \u003ccite>(Lina Blanco / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Turfin”\u003c/h2>\n\u003cp>\u003cb>Martin Luther King Jr Way and Embarcadero West\u003cbr>\n\u003ca href=\"http://www.creativeshields.com/\" target=\"_blank\" rel=\"noopener\">Creative Shields\u003c/a> a.k.a. Lower Bottoms Collective\u003c/b>\u003c/p>\n\u003cp>High above the train tracks on MLK and Embarcadero West, a turf dancer moves across a glowing Oakland skyline. Rocks quake under the weight of his steps and as he slides his way over massive concrete slabs and takes his first step right out of the frame.\u003c/p>\n\u003cp>“The mission of this was to represent authentic Oakland culture. We saw that possibility through turf dancing and showing that movement on the canvas,” explains James Shields, founder of Creative Shields and creator of the \u003ci>Hip Hop Coloring Book\u003c/i>. But why this mural, and why now?\u003c/p>\n\u003cp>“I feel like we have been losing the true authenticity in Oakland by having so many people come in and take over our equity out here—our space,” says Timothy B., an artist born and raised in Oakland.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The muse behind the mural is turf dancer Noh Justice (a.k.a. Nonoiz). When talking about his dance style, Noh Justice sums it up simply with what he calls “a hood ballet.” With turf dance, the creative process starts with anything around him: “Mainly our stories and our lives and things we don’t like to talk about.” It’s not the first mural he’s found himself starring in; he routinely (and proudly) points out another three Oakland walls to his kids.\u003c/p>\n\u003cp>The rocks floating around the dancer capture the force of his moves. “It shows he’s making an impact,” says Timothy, referencing the Hindu god Shiva, who destroys and recreates the world around him. “To me, he’s dancing for change. He’s making an impact and destroying his surroundings to create change for a new way of being.”\u003c/p>\n\u003cp>\u003cem>Follow their work on Instagram: \u003ca href=\"https://www.instagram.com/creativeshields/\" target=\"_blank\" rel=\"noopener\">@creativeshields\u003c/a>, \u003ca href=\"https://www.instagram.com/timothyb_art/\">@timothyb_art\u003c/a>, \u003ca href=\"https://www.instagram.com/chuckinglights/\" target=\"_blank\" rel=\"noopener\">@chuckinglights\u003c/a> and \u003ca href=\"https://www.instagram.com/berj.j.berj/\">@berj.j.berj\u003c/a>.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13834333\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13834333\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/OakMural-4-800x464.jpg\" alt=\"\" width=\"800\" height=\"464\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-4-800x464.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-4-160x93.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-4-768x445.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-4-1020x591.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-4-960x556.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-4-240x139.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-4-375x217.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-4-520x301.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-4.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artists Jack and Alise Eastgate review their completed work ‘Warmer Waters’ on the final day of Oakland Mural Festival 2018. \u003ccite>(Lina Blanco / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Warmer Waters’\u003c/h2>\n\u003cp>\u003cb>Martin Luther King Jr Way and 2nd\u003cbr>\n\u003ca href=\"http://www.aliseeastgate.com\" target=\"_blank\" rel=\"noopener\">Alise\u003c/a> and\u003ca href=\"http://www.jackeastgate.com\"> Jack\u003c/a> Eastgate\u003c/b>\u003c/p>\n\u003cp>Just blocks from the Jack London Inner Harbor, a little girl valiantly rides a whale moving westward. In \u003ci>Warmer Waters\u003c/i> (also known fondly as “Whale Rider”), artists Alise and Jack Eastgate play with movement across time and space. The whale reflects the presence of ancestors, while the little girl, adorned with symbols native to Fiji, stands between the present and future.\u003c/p>\n\u003cp>And their work is timely. Just days before completion, news broke of a beached whale found in the Jack London estuary. The industrialization of the oceans and the waning rights of people to freely move across borders inspire the Oakland-based muralists.\u003c/p>\n\u003cp>“A lot of things felt right about this wall,” says Alise. Located at 679 2nd Street, the two noted the serendipity of the address. 679 is the area code for Fiji, Jack’s birthplace, while the blooming magnolia tree just overhead brings a sense of nostalgia to Louisiana-born Alise.\u003c/p>\n\u003cp>\u003cem>Follow Alise & Jack Eastgate’s work on Instagram at \u003ca href=\"https://www.instagram.com/eastrandstudios/\">@eastrandstudios\u003c/a>.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13834334\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13834334\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/OakMural-6-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-6-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-6-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-6-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-6-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-6-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-6-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-6-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-6-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-6.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Know Your Ancestors’ by Mike “Bam” Tyau and Jesus Rodriguez overlooks Martin Luther King Way and 2nd Street near the Port of Oakland. \u003ccite>(Lina Blanco / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Know Your Ancestors’\u003c/h2>\n\u003cp>\u003cb>Martin Luther King Jr Way and Embarcadero West\u003cbr>\n\u003ca href=\"http://miketyau.com\" target=\"_blank\" rel=\"noopener\">Mike “Bam” Tyau\u003c/a> and \u003ca href=\"https://www.josedejesusrodriguez.com\" target=\"_blank\" rel=\"noopener\">Jesus Rodriguez\u003c/a>\u003c/b>\u003c/p>\n\u003cp>In their latest collaboration, Mike “Bam” Tyau and Jesus Rodriguez pay vibrant homage to their roots. “Besides the Olmec and Chinese motifs as ancestral guardian totems, we painted these to remind people to go to their pillars of support during these trying times,” Mike wrote in an Instagram post at the end of the seven-day-long Oakland Mural Festival.\u003c/p>\n\u003cp>Foliage and mountains encompass two figures, references to the artists’ ancestral homelands. For Tyau, the leaves of the plants ground the composition with symbols pointing back to Mother Earth.\u003c/p>\n\u003cp>\u003cem>Follow Mike “Bam” Tyau and Jesus Rodriguez on Instagram at \u003ca href=\"https://www.instagram.com/miketyau/\" target=\"_blank\" rel=\"noopener\">@miketyau\u003c/a> and \u003ca href=\"https://www.instagram.com/ease_us/\" target=\"_blank\" rel=\"noopener\">@ease_us\u003c/a>.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13834338\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13834338 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/OakMural-10-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-10-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-10-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-10-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-10-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-10-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-10-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-10-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-10-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-10.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">New work ‘Embassy of the Refugee’ by Caleb Duarte coming soon to Broadway and 2nd Street. \u003ccite>(Lina Blanco / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Embassy Of The Refugee’\u003c/h2>\n\u003cp>\u003cb>2nd and Broadway\u003cbr>\n\u003ca href=\"http://www.calebduarte.org/\" target=\"_blank\" rel=\"noopener\">Caleb Duarte\u003c/a> and Youth from Embassy of the Refugee Project\u003c/b>\u003c/p>\n\u003cp>“Our ability to create myth in order to understand certain realities; is what we do,” Duarte wrote on Instagram, under the image of his latest work. “Those of us with no political or economic power, exiles or displaced working people, turn to the creation of the ‘embassy of the refugee’… as a form of exercising a magical realism in order to thrive.”\u003c/p>\n\u003cp>Straddling a busy street that connects some of Oakland’s homeless encampments with million-dollar condos, Duarte’s silhouette of a figure pushing a shopping cart posits a powerful statement on the pursuit of finding “home.”\u003c/p>\n\u003cp>\u003cem>Follow Caleb Duarte on Instagram at \u003ca href=\"https://www.instagram.com/caleb_arte_/\" target=\"_blank\" rel=\"noopener\">@caleb_arte_\u003c/a>.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13834339\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13834339\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/OakMural-5-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-5-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-5-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-5-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-5-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-5-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-5-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-5-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-5-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-5.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Trust Your Struggle collective unveiled their newest collaboration ‘Oakland Dreams’ as part of Oakland Mural Festival 2018. \u003ccite>(Lina Blanco / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Oakland Dreams’\u003c/h2>\n\u003cp>\u003cb>4th and Webster\u003cbr>\n\u003ca href=\"http://trustyourstruggle.com\" target=\"_blank\" rel=\"noopener\">Trust Your Struggle Collective\u003c/a>\u003c/b>\u003c/p>\n\u003cp>Two hands rise, palms open, up a wall. For the artists of Trust Your Struggle Collective, they simultaneously signify the power to hold on to, and reach for, your dreams.\u003c/p>\n\u003cp>Perhaps the most visually striking element of the collective’s mural are the two large words spanning the sun-soaked wall: “Oakland Dreams.” The second word pays homage to one of the founding members of the TDK (Those Damn Kids) aerosol collective, Mike “Dream” Francisco, who lost his life to gun violence in a senseless street robbery in 2000.\u003c/p>\n\u003cp>Images of flora and fauna run subtly throughout the mural. A lotus—a symbol often associated with transcendence—blooms from the sidewalk while a yellow hummingbird emerges from a red triangle glistening in the sun. Some interpretations of the hummingbird link back to the Aztec god Huitzilopochtli, a deity associated with the resurrection of a fallen warrior.\u003c/p>\n\u003cp>\u003cem>Follow Trust Your Struggle Collective on Instagram at \u003ca href=\"https://www.instagram.com/trustyourstrugglecollective/\" target=\"_blank\" rel=\"noopener\">@TrustYourStruggleCollective\u003c/a>, \u003ca href=\"https://www.instagram.com/erinyoshi/\" target=\"_blank\" rel=\"noopener\">@erinyoshi\u003c/a>, \u003ca href=\"https://www.instagram.com/nisha.k.sethi/\" target=\"_blank\" rel=\"noopener\">@Nisha.k.Sethi\u003c/a> and \u003ca href=\"https://www.instagram.com/misterbouncer/\" target=\"_blank\" rel=\"noopener\">@misterbouncer\u003c/a>.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13834340\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13834340 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/OakMural-2-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-2-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-2-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-2-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-2-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-2.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">This mural of a giant rooster and the symbol ‘Han’ by Dave Young Kim and Erik T Burke is imbued with the symbolism of resistance. \u003ccite>(Lina Blanco / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Han’\u003c/h2>\n\u003cp>\u003cb>3rd and Webster\u003cbr>\n\u003ca href=\"https://www.daveyoungkim.com/\" target=\"_blank\" rel=\"noopener\">Dave Young Kim\u003c/a> and \u003ca href=\"http://eriktburke.com\" target=\"_blank\" rel=\"noopener\">Erik Burke\u003c/a>\u003c/b>\u003c/p>\n\u003cp>Even though this mural revolves around just three core elements—a way-larger-than-life rooster, a Chinese character and a “rising sun”—Dave Young Kim and Erik Burke’s newest work is anything but simple.\u003c/p>\n\u003cp>“The rooster traditionally symbolizes tenaciousness, never giving up,” Kim shared in an Instagram post. And in the composition, the rooster reigns supreme in spite of the Chinese symbol “恨,” pronounced “han” in Korean, that towers over its head.\u003c/p>\n\u003cp>To Kim, the symbol represents a feeling that being downtrodden could be both a burden and a source of empowerment. “It could crush you, or you could rise up and fight til the end,” he says.\u003c/p>\n\u003cp>Fittingly, the mural also gives a nod to Jack London, the prolific author who spent most of his childhood frequenting the waterfront district that now bears his name. Instead of a sun, a circular frame depicts a lone figure in a snowy landscape, facing a radiant fire for warmth. It’s painted after a photograph Burke fixated on for a long time, inspired by a scene in London’s short story “To Build A Fire.”\u003c/p>\n\u003cp>Reflecting on \u003ci>Han\u003c/i>, Kim says he found his “mural soulmate” when working with Burke. They had plenty of time to bond in the two-and-a-half days of long working hours.\u003c/p>\n\u003cp>\u003cem>Follow Dave Young Kim and Erik Burke on Instagram at \u003ca href=\"https://www.instagram.com/daveyoungkim/\" target=\"_blank\" rel=\"noopener\">@daveyoungkim\u003c/a> and \u003ca href=\"https://www.instagram.com/ou35/\" target=\"_blank\" rel=\"noopener\">@ou35\u003c/a>.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13834341\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13834341\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/OakMural-3-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-3-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-3-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-3-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-3-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-3-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-3.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A collaborative work between Los Pobres Artistas muralist collective and students of Oakland International High School present two words ‘Earth’ and ‘Sanctuary.’ \u003ccite>(Lina Blanco / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Sanctuary Earth’\u003c/h2>\n\u003cp>\u003cb>4th and Webster\u003cbr>\n\u003ca href=\"http://lospobresartistas.com\" target=\"_blank\" rel=\"noopener\">Los Pobres Artists\u003c/a> and students from Oakland International High School\u003c/b>\u003c/p>\n\u003cp>Seven students and members of Los Pobres Artistas focused their creative energies on distilling images from the global refugee crisis. Sprawled across the right and the left sides of the mural are two words in all caps “EARTH” and “SANCTUARY.” At the center, giant hands support a raft filled with female refugees. In the foreground, schools of orange fish rise and fall as if to guide the raft safely to shore.\u003c/p>\n\u003cp>According to Los Pobres co-founder Thomas Jones, the mural stands for the idea that Earth can be a sanctuary for everybody.\u003c/p>\n\u003cp>\u003cem>Follow their work on Instagram \u003ca href=\"https://www.instagram.com/lospobresartistas/\" target=\"_blank\" rel=\"noopener\">@lospobresartistsas\u003c/a>, \u003ca href=\"https://www.instagram.com/hooperarts/\" target=\"_blank\" rel=\"noopener\">@hooperart\u003c/a>, \u003ca href=\"https://www.instagram.com/kilimunoz/\" target=\"_blank\" rel=\"noopener\">@kilimunoz\u003c/a>, \u003ca href=\"https://www.instagram.com/frederickoalvarado/\" target=\"_blank\" rel=\"noopener\">@frederickoalvarado\u003c/a> and \u003ca href=\"https://www.instagram.com/thomasjones_m/\" target=\"_blank\" rel=\"noopener\">@thomasjones_m\u003c/a>.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13834342\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13834342\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/OakMural-15-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-15-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-15-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-15-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-15-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-15-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-15-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-15-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-15-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-15.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The unnamed work by Susan Green and Art Forces spans the back wall of SeaWolf Public House. \u003ccite>(Lina Blanco / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Unnamed\u003c/h2>\n\u003cp>\u003cb>4th and Webster\u003cbr>\n\u003ca href=\"http://susangreene.org/art-forces/\" target=\"_blank\" rel=\"noopener\">Susan Greene and Art Forces\u003c/a>\u003c/b>\u003c/p>\n\u003cp>Spanning the rear wall of Seawolf Public House, catch a golden-hued scene in which Cheemah, the “Mother of the Spirit-Fire” descends onto the Port of Oakland atop a giant eagle. Locals might instantly recognize the figure from a bronze statue placed in Jack London Square. Originally sculpted by Osprey Orielle Lake, the mythic being stands for “cultural diversity, world unity and care for the earth.”\u003c/p>\n\u003cp>And while the moment might look idyllic, a somewhat menacing clue stands out in the foreground. Two ships, halfway to shore, allude to the terrible reality of a colonized past.\u003c/p>\n\u003cp>\u003cem>Follow them on Instagram at \u003ca href=\"https://www.instagram.com/artforces/\" target=\"_blank\" rel=\"noopener\">@artforces\u003c/a>, \u003ca href=\"https://www.instagram.com/_attril/\" target=\"_blank\" rel=\"noopener\">@_attril\u003c/a>, \u003ca href=\"https://www.instagram.com/maxallbee/\" target=\"_blank\" rel=\"noopener\">@maxallbee\u003c/a>, \u003ca href=\"https://www.instagram.com/francolafresh/\" target=\"_blank\" rel=\"noopener\">@francolafresh\u003c/a>.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13834343\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13834343\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/OakMural-13-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-13-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-13-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-13-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-13-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-13-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-13-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-13-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-13-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-13.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A tribute to Oakland’s elders and youth in one sprawling work by David Burke and friends.\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Love Letter To Oakland’\u003c/h2>\n\u003cp>\u003cb>4th and Oak\u003cbr>\n\u003ca href=\"http://www.dburke.org/\">David Burke\u003c/a>\u003c/b>\u003c/p>\n\u003cp>In the photo-realistic \u003ci>A Love Letter to Oakland\u003c/i>, Burke and his collaborators bridge two generations. On the left, two Oakland artists, Tureeda Mikell and James Gayles, reach out across the downtown Oakland skyline toward two emerging local heroes — well-known muralist DJ Agana and youth activist Samuel Getachew. Between them, a glow lights their faces.\u003c/p>\n\u003cp>A satellite view of Oakland streets extends across the concrete canvas like roots—an enduring symbol of the city. In an interview with the \u003cem>East Bay Express\u003c/em>, Burke calls out the importance of the festival that allowed for his most recent collaboration: “[The mural] becomes part of their collective experience,” Burke said, “and must reflect the stories, the diversity, the values and the histories of that community.”\u003c/p>\n\u003cp>\u003cem>Follow David Burke and his collaborators on Instagram at \u003ca href=\"https://www.instagram.com/davidburke_studio/\" target=\"_blank\" rel=\"noopener\">@DavidBurke_Studio\u003c/a>, \u003ca href=\"https://www.instagram.com/joevicyeban/\" target=\"_blank\" rel=\"noopener\">@joevicyeban\u003c/a>, \u003ca href=\"https://www.instagram.com/dorias_brannon/\" target=\"_blank\" rel=\"noopener\">@dorias_brannon\u003c/a>, \u003ca href=\"https://www.instagram.com/blacksphinxofquartz/\" target=\"_blank\" rel=\"noopener\">@blacksphinxofquartz\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cb>To make seeing these beautiful works easier, here’s a map to all the locations:\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>In the Bay Area, art is all around you; it’s simply a matter of knowing where to look. While galleries and museums rightfully boast about their \u003ca href=\"https://www.kqed.org/arts/13857445/andy-warhol-sfmoma-see-what-we-did-there\" target=\"_blank\" rel=\"noopener\">summer shows\u003c/a>, you don’t necessarily have to step foot in a gallery in order to see (and shoot) some impressive art.\u003c/p>\n\u003cp>From the iconic masterworks to hidden gems, here’s your guide to snapping the best public art in the Bay Area.\u003c/p>\n\u003chr>\n\u003ch3>Calle 24 Latino Cultural District\u003c/h3>\n\u003ch4>\u003ca href=\"http://www.sfmuralarts.com/neighborhood/mission/2.html\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h4>\n\u003cp>https://www.instagram.com/p/BY3zCMuDZ9r/\u003c/p>\n\u003cp>We’d be remiss if we didn’t start in the heart of San Francisco’s longstanding \u003cem>muralista\u003c/em> community for our public art round-up. The Mission District murals—particularly along 24th Street and the Latino Cultural District—serve as San Francisco’s cultural archivists. As recent threats attempt to censor, destroy and literally \u003ca href=\"https://missionlocal.org/2017/06/missions-culture-not-for-sale-but-it-can-be-painted-over/\" target=\"_blank\" rel=\"noopener\">whitewash\u003c/a> some of the Mission’s iconic murals, exciting new movements within the community resist with paintbrushes, spray cans and creativity. Keep your eyes peeled for the work of \u003ca href=\"http://www.sfmuralarts.com/artist/precita-eyes/17.html\" target=\"_blank\" rel=\"noopener\">Precita Eyes Muralists\u003c/a>, \u003ca href=\"http://www.sfmuralarts.com/artist/mel-waters/388.html\" target=\"_blank\" rel=\"noopener\">Mel Waters\u003c/a>, \u003ca href=\"http://www.sfmuralarts.com/artist/laura-campos/8.html\" target=\"_blank\" rel=\"noopener\">Laura Campos\u003c/a>, \u003ca href=\"http://www.sfmuralarts.com/artist/eli-lippert/415.html\" target=\"_blank\" rel=\"noopener\">Eli Lippert\u003c/a> and \u003ca href=\"http://www.sfmuralarts.com/artist/marina-perez-wong/95.html\" target=\"_blank\" rel=\"noopener\">Marina Perez-Wong\u003c/a>.\u003c/p>\n\u003cp>Photo of “Once Upon A Time in The Mission” by \u003ca href=\"https://www.instagram.com/precitaeyes/\" target=\"_blank\" rel=\"noopener\">Precita Eyes, \u003c/a>\u003ca href=\"https://www.instagram.com/_attril/\" target=\"_blank\" rel=\"noopener\">@_attril\u003c/a>,\u003ca href=\"https://www.instagram.com/fouronefever/\" target=\"_blank\" rel=\"noopener\"> @fouronefever\u003c/a>, \u003ca href=\"https://www.instagram.com/cheph415/\" target=\"_blank\" rel=\"noopener\">@cheph415\u003c/a>, \u003ca href=\"https://www.instagram.com/dref415/\" target=\"_blank\" rel=\"noopener\">@dref415\u003c/a>, and \u003ca href=\"https://www.instagram.com/frederickoalvarado/\" target=\"_blank\" rel=\"noopener\">@frederickoalvarado. \u003c/a>\u003c/p>\n\u003chr>\n\u003ch3>San Jose’s Japantown Art Walk\u003c/h3>\n\u003ch3>\u003ca href=\"http://www.codeforsanjose.com/heartofthevalley\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h3>\n\u003cp>https://www.instagram.com/p/BqxugAhHGmU/\u003c/p>\n\u003cp>Spend any time in San Jose’s Japantown, and you’ll find yourself transported to a world of massive murals painted by the\u003ca href=\"https://www.kqed.org/arts/12899918/brightening-san-joses-japantown-one-mural-at-a-time\" target=\"_blank\" rel=\"noopener\"> Empire Seven\u003c/a> muralist crew. Founded in 2008 by Juan Carlos Araujo and Jennifer Ahn, Empire Seven and its gallery Empire Seven Studios take art into public places, creating new murals inspired by the city’s past, present and future. For them, community revitalization and beautification happens from the ground up, working with shop owners block-by-block throughout the neighborhood. Though their work is beloved by the public, street artists and muralists are no strangers to having their work defaced. Recently, Bay Area artist Jose Meza Velazquez \u003ca href=\"https://www.kqed.org/arts/13845793/walkabout-san-joses-chicano-murals\" target=\"_blank\" rel=\"noopener\">filed a lawsuit\u003c/a> against a real estate developer who painted over his iconic \u003cem>Mural de la Raza.\u003c/em> Now is a critical time to document San Jose’s murals and support the next generation of mural-makers.\u003c/p>\n\u003cp>You can follow a map of the Japantown murals with \u003ca href=\"https://www.codeforsanjose.com/heartofthevalley/\" target=\"_blank\" rel=\"noopener\">this interactive map\u003c/a> made possible by\u003ca href=\"https://www.yanyinchoy.com/\" target=\"_blank\" rel=\"noopener\"> Yan-Yin Choy\u003c/a> of \u003ca href=\"https://www.codeforsanjose.com/\" target=\"_blank\" rel=\"noopener\">Code for San Jose\u003c/a>.\u003c/p>\n\u003chr>\n\u003ch3>SoMa Street Art\u003c/h3>\n\u003cp>https://www.instagram.com/p/BbfsUhTBoMZ/\u003c/p>\n\u003cp>Ground zero for much of the city’s tech chaos, SoMa maintains its creative energy with new work from both local and international artists. Keep your eyes peeled for jaw-dropping blooms by\u003ca href=\"https://www.instagram.com/jetmar1/\" target=\"_blank\" rel=\"noopener\"> Jet Martinez\u003c/a>, vivid sheroes by \u003ca href=\"https://www.instagram.com/dj_agana/\" target=\"_blank\" rel=\"noopener\">Agana\u003c/a>, monochromatic musings of \u003ca href=\"https://www.instagram.com/zioziegler/\" target=\"_blank\" rel=\"noopener\">Zio Ziegler\u003c/a>, and portraits of resistance by \u003ca href=\"https://www.instagram.com/jessicasabogal/\" target=\"_blank\" rel=\"noopener\">Jess Sabogal\u003c/a>.\u003c/p>\n\u003chr>\n\u003ch3>‘Free To See’ at San Francisco Museum of Modern Art\u003c/h3>\n\u003ch4>\u003ca href=\"https://www.sfmoma.org/visit/free-to-see/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h4>\n\u003cp>https://www.instagram.com/p/Bx3FnWOIh3A/\u003c/p>\n\u003cp>The secret’s out. From coral red bathrooms to five floors of rotating exhibitions, SFMOMA has solidified its reputation as an Instagrammer’s paradise. But while many patrons breeze by the first two floors in a rush up to the \u003ca href=\"https://www.kqed.org/arts/13832153/choose-your-own-adventure-the-summer-art-show-edition\" target=\"_blank\" rel=\"noopener\">hottest new shows\u003c/a>, they miss an art-filled playground for a photographer with a keen eye. High above the grand staircase at the museum’s third street entrance, you can stand face-to-face with the \u003ca href=\"http://sfist.com/2017/08/24/video_sfmoma_installs_largest_paint.php\" target=\"_blank\" rel=\"noopener\">first-largest painting\u003c/a> ever installed since the museum re-opened: an 80-foot-long, 20-foot-high, \u003ca href=\"https://www.sfmoma.org/exhibition/julie-mehretu-HOWL-eon-I-II\" target=\"_blank\" rel=\"noopener\">two-panel mural\u003c/a> by Julie Mehretu. Then meet a thousand—1,206 to be exact—San Franciscans and hear their stories in JR’s interactive video mural \u003cem>The Chronicles of San Francisco.\u003c/em> And on your way out, don’t overlook the vibrant \u003cem>Play Sculpture\u003c/em> by Isamu Noguchi.\u003c/p>\n\u003chr>\n\u003ch3>Diego Rivera’s Hidden San Francisco Murals\u003c/h3>\n\u003cp>https://www.instagram.com/p/ti30yuwa0J/\u003c/p>\n\u003cp>There’s no need to jet-set off to an international destination to get a slice of art history because San Francisco houses three hidden murals painted by the iconic Mexican muralist Diego Rivera. Tucked away in the Diego Rivera Theatre lobby at City College of San Francisco stands the massive \u003cem>Pan American Unity Mural\u003c/em> — the largest mural Rivera ever created. By 2020, \u003ca href=\"https://www.sfchronicle.com/entertainment/article/Diego-Rivera-mural-masterpiece-to-be-exhibited-in-12443281.php\" target=\"_blank\" rel=\"noopener\">SFMOMA\u003c/a> will move the 10-panel work into a free streetside gallery as the centerpiece of an exhibition dedicated to the legendary artist. The sheer scale and history of all three works are bound to satiate any art-hungry photographer.\u003c/p>\n\u003cp>\u003cem>Visit Rivera’s ‘The Making of a Fresco Showing the Building of a City’ at the \u003ca href=\"http://sfai.edu/about-sfai/diego-rivera-mural\" target=\"_blank\" rel=\"noopener\">San Francisco Art Institute\u003c/a> and ‘Allegory of California’ at \u003ca href=\"https://cityclubsf.com/\">City Club of San Francisco\u003c/a>.\u003c/em>\u003c/p>\n\u003chr>\n\u003ch3>Murals of Oakland: Downtown and Jack London District\u003c/h3>\n\u003ch4>\u003ca href=\"http://bamfest.org/oakland-mural-festival-map\">More Information\u003c/a>\u003c/h4>\n\u003cp>https://www.instagram.com/p/Bi52uVQH198/\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13824746/young-oakland-superheroes-fight-for-their-mural\">Oakland heroes\u003c/a> and \u003ca href=\"https://localwiki.org/oakland/Girl_Mobb_Super_Wall\" target=\"_blank\" rel=\"noopener\">heroines\u003c/a> emerge from under overpasses and brighten concrete corners of The Town. Themes of representation, resistance and beauty can be found spanning across sidewalks all over Oakland, providing momentary respite from the realities of its \u003ca href=\"http://www.governing.com/gov-data/oakland-gentrification-maps-demographic-data.html\" target=\"_blank\" rel=\"noopener\">ongoing gentrification\u003c/a>. Spend an afternoon perusing the (arguably) \u003ca href=\"https://localwiki.org/oakland/Murals\">largest list of Oakland’s street art\u003c/a> maintained by Oakland Wiki, or take a walking tour of some of Oakland’s newest murals by featuring the work of \u003ca href=\"http://lospobresartistas.com/\" target=\"_blank\" rel=\"noopener\">Los Pobres Artistas\u003c/a>, \u003ca href=\"http://www.trustyourstruggle.com/a/\" target=\"_blank\" rel=\"noopener\">Trust Your Struggle\u003c/a>, \u003ca href=\"http://www.creativeshields.com/\" target=\"_blank\" rel=\"noopener\">Creative Shields\u003c/a> Creators Gone Create and \u003ca href=\"http://bamfest.org/home#fundraiser\" target=\"_blank\" rel=\"noopener\">others\u003c/a>.\u003c/p>\n\u003chr>\n\u003ch3>di Rosa’s Sculpture Garden\u003c/h3>\n\u003ch4>\u003ca href=\"http://www.dirosaart.org/outdoor-sculpture-tour/\">More Information\u003c/a>\u003c/h4>\n\u003cp>https://www.instagram.com/p/BZZUbJuneyA/\u003c/p>\n\u003cp>With over dozens of objects along a long trail on the rolling hills of wine country, \u003ca href=\"http://www.dirosaart.org/outdoor-sculpture-tour/\" target=\"_blank\" rel=\"noopener\">di Rosa’s Outdoor Sculpture Tour \u003c/a>surprises the eager photographer at every turn. Mark di Suvero’s \u003ca href=\"https://www.sculpture.org/documents/parksdir/p&g/dirosa/dirosa6.shtml\" target=\"_blank\" rel=\"noopener\">\u003cem>For Veroniva\u003c/em>\u003c/a> rises like a rubescent monument, while Gordon Huether’s aluminum \u003ca href=\"https://www.gordonhuether.com/aluminum-yucca\" target=\"_blank\" rel=\"noopener\">\u003cem>Yucca\u003c/em>\u003c/a> cuts through the soil like an offering to supernatural beings. And full disclosure, the di Rosa Outdoor Sculpture Tour isn’t quite “free, public art,” but supporting an arts organization that \u003ca href=\"https://www.kqed.org/arts/13815773/the-di-rosa-embraces-community-after-a-brush-with-disaster\" target=\"_blank\" rel=\"noopener\">served as a refuge\u003c/a> for the community after the North Bay fires should be considered $18 well spent.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the Bay Area, art is all around you; it’s simply a matter of knowing where to look. While galleries and museums rightfully boast about their \u003ca href=\"https://www.kqed.org/arts/13857445/andy-warhol-sfmoma-see-what-we-did-there\" target=\"_blank\" rel=\"noopener\">summer shows\u003c/a>, you don’t necessarily have to step foot in a gallery in order to see (and shoot) some impressive art.\u003c/p>\n\u003cp>From the iconic masterworks to hidden gems, here’s your guide to snapping the best public art in the Bay Area.\u003c/p>\n\u003chr>\n\u003ch3>Calle 24 Latino Cultural District\u003c/h3>\n\u003ch4>\u003ca href=\"http://www.sfmuralarts.com/neighborhood/mission/2.html\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h4>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>We’d be remiss if we didn’t start in the heart of San Francisco’s longstanding \u003cem>muralista\u003c/em> community for our public art round-up. The Mission District murals—particularly along 24th Street and the Latino Cultural District—serve as San Francisco’s cultural archivists. As recent threats attempt to censor, destroy and literally \u003ca href=\"https://missionlocal.org/2017/06/missions-culture-not-for-sale-but-it-can-be-painted-over/\" target=\"_blank\" rel=\"noopener\">whitewash\u003c/a> some of the Mission’s iconic murals, exciting new movements within the community resist with paintbrushes, spray cans and creativity. Keep your eyes peeled for the work of \u003ca href=\"http://www.sfmuralarts.com/artist/precita-eyes/17.html\" target=\"_blank\" rel=\"noopener\">Precita Eyes Muralists\u003c/a>, \u003ca href=\"http://www.sfmuralarts.com/artist/mel-waters/388.html\" target=\"_blank\" rel=\"noopener\">Mel Waters\u003c/a>, \u003ca href=\"http://www.sfmuralarts.com/artist/laura-campos/8.html\" target=\"_blank\" rel=\"noopener\">Laura Campos\u003c/a>, \u003ca href=\"http://www.sfmuralarts.com/artist/eli-lippert/415.html\" target=\"_blank\" rel=\"noopener\">Eli Lippert\u003c/a> and \u003ca href=\"http://www.sfmuralarts.com/artist/marina-perez-wong/95.html\" target=\"_blank\" rel=\"noopener\">Marina Perez-Wong\u003c/a>.\u003c/p>\n\u003cp>Photo of “Once Upon A Time in The Mission” by \u003ca href=\"https://www.instagram.com/precitaeyes/\" target=\"_blank\" rel=\"noopener\">Precita Eyes, \u003c/a>\u003ca href=\"https://www.instagram.com/_attril/\" target=\"_blank\" rel=\"noopener\">@_attril\u003c/a>,\u003ca href=\"https://www.instagram.com/fouronefever/\" target=\"_blank\" rel=\"noopener\"> @fouronefever\u003c/a>, \u003ca href=\"https://www.instagram.com/cheph415/\" target=\"_blank\" rel=\"noopener\">@cheph415\u003c/a>, \u003ca href=\"https://www.instagram.com/dref415/\" target=\"_blank\" rel=\"noopener\">@dref415\u003c/a>, and \u003ca href=\"https://www.instagram.com/frederickoalvarado/\" target=\"_blank\" rel=\"noopener\">@frederickoalvarado. \u003c/a>\u003c/p>\n\u003chr>\n\u003ch3>San Jose’s Japantown Art Walk\u003c/h3>\n\u003ch3>\u003ca href=\"http://www.codeforsanjose.com/heartofthevalley\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h3>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Spend any time in San Jose’s Japantown, and you’ll find yourself transported to a world of massive murals painted by the\u003ca href=\"https://www.kqed.org/arts/12899918/brightening-san-joses-japantown-one-mural-at-a-time\" target=\"_blank\" rel=\"noopener\"> Empire Seven\u003c/a> muralist crew. Founded in 2008 by Juan Carlos Araujo and Jennifer Ahn, Empire Seven and its gallery Empire Seven Studios take art into public places, creating new murals inspired by the city’s past, present and future. For them, community revitalization and beautification happens from the ground up, working with shop owners block-by-block throughout the neighborhood. Though their work is beloved by the public, street artists and muralists are no strangers to having their work defaced. Recently, Bay Area artist Jose Meza Velazquez \u003ca href=\"https://www.kqed.org/arts/13845793/walkabout-san-joses-chicano-murals\" target=\"_blank\" rel=\"noopener\">filed a lawsuit\u003c/a> against a real estate developer who painted over his iconic \u003cem>Mural de la Raza.\u003c/em> Now is a critical time to document San Jose’s murals and support the next generation of mural-makers.\u003c/p>\n\u003cp>You can follow a map of the Japantown murals with \u003ca href=\"https://www.codeforsanjose.com/heartofthevalley/\" target=\"_blank\" rel=\"noopener\">this interactive map\u003c/a> made possible by\u003ca href=\"https://www.yanyinchoy.com/\" target=\"_blank\" rel=\"noopener\"> Yan-Yin Choy\u003c/a> of \u003ca href=\"https://www.codeforsanjose.com/\" target=\"_blank\" rel=\"noopener\">Code for San Jose\u003c/a>.\u003c/p>\n\u003chr>\n\u003ch3>SoMa Street Art\u003c/h3>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ground zero for much of the city’s tech chaos, SoMa maintains its creative energy with new work from both local and international artists. Keep your eyes peeled for jaw-dropping blooms by\u003ca href=\"https://www.instagram.com/jetmar1/\" target=\"_blank\" rel=\"noopener\"> Jet Martinez\u003c/a>, vivid sheroes by \u003ca href=\"https://www.instagram.com/dj_agana/\" target=\"_blank\" rel=\"noopener\">Agana\u003c/a>, monochromatic musings of \u003ca href=\"https://www.instagram.com/zioziegler/\" target=\"_blank\" rel=\"noopener\">Zio Ziegler\u003c/a>, and portraits of resistance by \u003ca href=\"https://www.instagram.com/jessicasabogal/\" target=\"_blank\" rel=\"noopener\">Jess Sabogal\u003c/a>.\u003c/p>\n\u003chr>\n\u003ch3>‘Free To See’ at San Francisco Museum of Modern Art\u003c/h3>\n\u003ch4>\u003ca href=\"https://www.sfmoma.org/visit/free-to-see/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h4>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The secret’s out. From coral red bathrooms to five floors of rotating exhibitions, SFMOMA has solidified its reputation as an Instagrammer’s paradise. But while many patrons breeze by the first two floors in a rush up to the \u003ca href=\"https://www.kqed.org/arts/13832153/choose-your-own-adventure-the-summer-art-show-edition\" target=\"_blank\" rel=\"noopener\">hottest new shows\u003c/a>, they miss an art-filled playground for a photographer with a keen eye. High above the grand staircase at the museum’s third street entrance, you can stand face-to-face with the \u003ca href=\"http://sfist.com/2017/08/24/video_sfmoma_installs_largest_paint.php\" target=\"_blank\" rel=\"noopener\">first-largest painting\u003c/a> ever installed since the museum re-opened: an 80-foot-long, 20-foot-high, \u003ca href=\"https://www.sfmoma.org/exhibition/julie-mehretu-HOWL-eon-I-II\" target=\"_blank\" rel=\"noopener\">two-panel mural\u003c/a> by Julie Mehretu. Then meet a thousand—1,206 to be exact—San Franciscans and hear their stories in JR’s interactive video mural \u003cem>The Chronicles of San Francisco.\u003c/em> And on your way out, don’t overlook the vibrant \u003cem>Play Sculpture\u003c/em> by Isamu Noguchi.\u003c/p>\n\u003chr>\n\u003ch3>Diego Rivera’s Hidden San Francisco Murals\u003c/h3>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There’s no need to jet-set off to an international destination to get a slice of art history because San Francisco houses three hidden murals painted by the iconic Mexican muralist Diego Rivera. Tucked away in the Diego Rivera Theatre lobby at City College of San Francisco stands the massive \u003cem>Pan American Unity Mural\u003c/em> — the largest mural Rivera ever created. By 2020, \u003ca href=\"https://www.sfchronicle.com/entertainment/article/Diego-Rivera-mural-masterpiece-to-be-exhibited-in-12443281.php\" target=\"_blank\" rel=\"noopener\">SFMOMA\u003c/a> will move the 10-panel work into a free streetside gallery as the centerpiece of an exhibition dedicated to the legendary artist. The sheer scale and history of all three works are bound to satiate any art-hungry photographer.\u003c/p>\n\u003cp>\u003cem>Visit Rivera’s ‘The Making of a Fresco Showing the Building of a City’ at the \u003ca href=\"http://sfai.edu/about-sfai/diego-rivera-mural\" target=\"_blank\" rel=\"noopener\">San Francisco Art Institute\u003c/a> and ‘Allegory of California’ at \u003ca href=\"https://cityclubsf.com/\">City Club of San Francisco\u003c/a>.\u003c/em>\u003c/p>\n\u003chr>\n\u003ch3>Murals of Oakland: Downtown and Jack London District\u003c/h3>\n\u003ch4>\u003ca href=\"http://bamfest.org/oakland-mural-festival-map\">More Information\u003c/a>\u003c/h4>\u003c/p>\u003c/div>",
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