‘All The Nights We Got To Dance’ Is a Tribute to Queer Nightlife in SF
500 Capp Street Becomes a Trans Sanctuary in Marcel Pardo Ariza’s ‘Orquídeas’
SECA Brings the Refreshing Art of ‘Here’ and ‘Now’ to SFMOMA
A New SFAC Exhibit Celebrates Juanita MORE!’s Dazzling 30 Years in Drag
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"content": "\u003cp>Human memory can be triggered by certain smells, sounds or even a photo. It’s funny how the mind works; one small symbol can lead to the rehashing of feelings from years ago.\u003c/p>\n\u003cp>The latest work from artist \u003ca href=\"https://www.instagram.com/marcelpardoa/\" target=\"_blank\" rel=\"noopener\">Marcel Pardo Ariza\u003c/a> urges people to take a trip down memory lane by using images of gone-but-not-forgotten bar signs. Pardo Ariza is clear: these bars served more than booze. They were sanctuaries for folks from San Francisco’s queer and trans community, and should be celebrated as such.\u003c/p>\n\u003cfigure id=\"attachment_13960327\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13960327 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Marcel-Pardo-Ariza-by-Pendarvis-Harshaw-2-800x535.jpg\" alt='Marcel Pardo Ariza wears a blue button-up shirt while standing in front of their latest work behind a windowfront, \"All The Nights We Got To Dance.\"' width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Marcel-Pardo-Ariza-by-Pendarvis-Harshaw-2-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Marcel-Pardo-Ariza-by-Pendarvis-Harshaw-2-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Marcel-Pardo-Ariza-by-Pendarvis-Harshaw-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Marcel-Pardo-Ariza-by-Pendarvis-Harshaw-2-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Marcel-Pardo-Ariza-by-Pendarvis-Harshaw-2-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Marcel-Pardo-Ariza-by-Pendarvis-Harshaw-2.jpg 1616w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist Marcel Pardo Ariza and their latest installation, ‘All The Nights We Got To Dance.’ \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13960341\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13960341 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/All-The-Nights-copy-800x583.jpg\" alt=\"On a yellow background, are illustrations of historic Queer and Trans bar signs including Gene Compton’s Cafeteria, Esta Noche, Amelia’s, The Pendulum and more. \" width=\"800\" height=\"583\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/All-The-Nights-copy-800x583.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/All-The-Nights-copy-1020x743.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/All-The-Nights-copy-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/All-The-Nights-copy-768x559.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/All-The-Nights-copy-1536x1119.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/All-The-Nights-copy-2048x1491.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/All-The-Nights-copy-1920x1398.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A mockup of the site specific installation ‘All The Nights We Got To Dance.’ \u003ccite>(courtesy of Marcel Pardo Ariza)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>All The Nights We Got To Dance\u003c/em> is a site-specific installation in the ground-floor window of The Line Hotel in San Francisco’s Transgender Cultural District. A sunset orange backdrop is covered in hand-painted wooden replicas of bar signs, such as The Lexington, Esta Noche and \u003ca href=\"https://www.glbthistory.org/primary-source-set-finocchios#:~:text=Finocchio's%20opened%20in%20the%20late,tourists%20and%20the%20queer%20community.\" target=\"_blank\" rel=\"noopener\">Finocchio’s\u003c/a> — a club credited as one of the earliest incubators of drag shows in the U.S.\u003c/p>\n\u003cp>[aside postID='arts_13936474']Born in Colombia and based in Oakland, Pardo Ariza worked closely with \u003ca href=\"https://www.glbthistory.org/\" target=\"_blank\" rel=\"noopener\">San Francisco’s GLBT Historical Society \u003c/a>for their latest project\u003ca href=\"https://www.glbthistory.org/\" target=\"_blank\" rel=\"noopener\">, \u003c/a>leveraging the center’s rich archives to inform their work.\u003c/p>\n\u003cp>This week on Rightnowish, we catch up with Pardo Ariza to take a look at their latest installation before heading over to the GLBT Historical Society’s \u003ca href=\"https://www.glbthistory.org/archives-about-visitor-info\">archives\u003c/a>. There, we meet up with Issac Fellman, the center’s managing reference archivist, who brings us files full of actual handbills, photos, flyers and ephemera from all the nights people danced.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC7628242492\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"headTitle": "500 Capp Street Becomes a Trans Sanctuary in Marcel Pardo Ariza’s ‘Orquídeas’ | KQED",
"content": "\u003cp>For their residency at the historic David Ireland House, artist \u003ca href=\"https://www.marcelapardo.com/bio\">Marcel Pardo Ariza\u003c/a> decided to roll up the garage door of the ivory tower, and turn the conceptual art space into a sanctuary for the people of San Francisco’s Mission District.\u003c/p>\n\u003cp>The photographer, \u003ca href=\"https://www.kqed.org/arts/13919897/san-francisco-arts-commission-juanita-more-30-years\">curator\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13923804/2022-seca-art-award-exhibition-sfmoma-review\">installation artist\u003c/a> spent the summer inviting trans organizers to \u003ca href=\"https://500cappstreet.org/\">500 Capp Street\u003c/a>. Over meals, guests like performer-activist \u003ca href=\"https://www.kqed.org/arts/13835520/a-new-generation-gathers-strength-from-the-courageous-queens-of-the-comptons-cafeteria-riot\">Donna Personna\u003c/a> and community advocate \u003ca href=\"https://msbilliecooper.org/\">Billie Cooper\u003c/a> shared stories of how trans people survived discriminatory laws and police harassment in the 1960s and ’70s, and took care of each other during the AIDS epidemic in the ’80s.\u003c/p>\n\u003cp>Pardo Ariza took heart in how over the decades, trans people have always come together in chosen families and underground networks of support — no matter how hostile the climate.\u003c/p>\n\u003cp>“I think it’s important for us — as our humanity is being questioned and attacked constantly — to think about, first, how have people in the past organized to combat this same rhetoric?” Pardo Ariza says. “Also to understand that if we all collectively support each other, that there’s going to be less of a sense of self-hate or isolation or fear, too.”\u003c/p>\n\u003cp>Now, Pardo Ariza isn’t just making art with that message. Their new exhibition \u003ci>Orquídeas\u003c/i>, opening Oct. 19 at 500 Capp, sets out to create that sense of solidarity, community and celebration in real time. The goal is to make the gallery not just a hub for activism and organizing, but “a place to gather that’s for the soul,” the artist says.\u003c/p>\n\u003cfigure id=\"attachment_13936480\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936480\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/MAP1.jpg\" alt=\"Ephemera and photographs densely arranged on orange wall \" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/MAP1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/MAP1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/MAP1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/MAP1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/MAP1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/MAP1-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Marcel Pardo Ariza and collaborator Julián Delgado Lopera collected photos, posters and pamphlets that document trans life throughout the 20th century for their installation, ‘Memoria Trans SF,’ at 500 Capp Street. \u003ccite>(Nastia Voynovskaya/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That begins with the colorful, street-facing installation inside the David Ireland House’s garage, \u003ci>Memoria Trans SF\u003c/i>, developed with writer Julián Delgado Lopera in collaboration with the nonprofit \u003ca href=\"https://ellaparatranslatinas.org/\">El/La Para Translatinas\u003c/a>, whose clients shared stories and posed for photos on display in the space. For the installation, Pardo Ariza papered the garage’s walls with large-scale scans from trans history: the 1932 book \u003ci>Women in Men’s Guise\u003c/i>; 1990s photos of drag queens and trans women at the city’s first Latinx gay club, Esta Noche; posters from Finocchio’s, a drag club that opened in 1929.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The artifacts on display affirm that trans and gender-nonconforming people have always been here, even if mainstream society didn’t always acknowledge them. But because they’ve been pushed to the margins, source materials were hard to come by. “Trans history is so fragile because it has been written on napkins or in bathroom stalls,” says Pardo Ariza, who scoured the GLBT Historical Society and other collections for the installation. [aside postid='arts_13915486']\u003c/p>\n\u003cp>After the exhibition opens with drag performances on \u003ca href=\"https://www.kqed.org/arts/13840309/for-the-one-and-only-rexy-the-best-is-yet-to-come\">The One and Only Rexy\u003c/a> and Dulce de Leche on Oct. 19, 500 Capp will host a number of free events throughout October and November. Grace Towers and Mudd the Two Spirit will teach drag makeup workshops on Oct. 25 and Nov. 8. A number of private dinners, catered by trans chefs, are in the works.\u003c/p>\n\u003cp>Dec. 1 invites the public for a benefit to raise money for street-based sex workers — an occupation some trans people have turned to for survival because of job discrimination. And throughout the show’s run, Pardo Ariza and Delgado Lopera plan to set up scanners for trans elders to submit their photos, posters and ephemera to build on their archival work.\u003c/p>\n\u003cfigure id=\"attachment_13936481\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936481\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Contact-sheet-by-Rick-Gerarhter--scaled.jpg\" alt=\"Six rows of small black-and-white negatives of people in a nightclub\" width=\"2560\" height=\"2146\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Contact-sheet-by-Rick-Gerarhter--scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Contact-sheet-by-Rick-Gerarhter--800x671.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Contact-sheet-by-Rick-Gerarhter--1020x855.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Contact-sheet-by-Rick-Gerarhter--160x134.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Contact-sheet-by-Rick-Gerarhter--768x644.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Contact-sheet-by-Rick-Gerarhter--1536x1288.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Contact-sheet-by-Rick-Gerarhter--2048x1717.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Contact-sheet-by-Rick-Gerarhter--1920x1610.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">A contact sheet of photos from a night out at Latinx gay club Esta Noche in 1995. \u003ccite>(Courtesy of Rick Gerharter and Memoria Trans SF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the garage installation, Esta Noche, a long-running Latinx gay club that shuttered in 2014, is a recurring touchpoint. On the wall is a newspaper photo of Cuban-born San Francisco trans activist Adela Vasquez, whose drag night Las AtreDivas, which she started at Esta Noche in the ’80s, is the inspiration for an upcoming drag performance at 500 Capp on Nov. 17.\u003c/p>\n\u003cp>Vasquez’s story is just one of the many examples of how trans people have used art and culture in service of community healing. After being crowned Miss Gay Latina in 1992, she devoted herself to hospice care for AIDS patients and to safe sex education. Today, she runs an \u003ca href=\"https://sfcommunityhealth.org/onlinecommunitygroups/\">online trans support group\u003c/a> called Fifty and Fabulous through San Francisco Community Health Center.\u003c/p>\n\u003cp>Vasquez says telling trans history is important as trans people face discrimination from all sides — not just from straight people, but from some lesbian, gay and bisexual people as well. “I think it’s important to let them know that we are human, that we have our issues and we take care of our issues, you know what I mean, better than many other communities,” she says.\u003c/p>\n\u003cfigure id=\"attachment_13936482\" class=\"wp-caption aligncenter\" style=\"max-width: 1456px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936482\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Photo-by-Freddie-Niem.png\" alt=\"Flyer with event info, black text on cream paper, photos of three storytellers at top of page\" width=\"1456\" height=\"1928\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Photo-by-Freddie-Niem.png 1456w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Photo-by-Freddie-Niem-800x1059.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Photo-by-Freddie-Niem-1020x1351.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Photo-by-Freddie-Niem-160x212.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Photo-by-Freddie-Niem-768x1017.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Photo-by-Freddie-Niem-1160x1536.png 1160w\" sizes=\"(max-width: 1456px) 100vw, 1456px\">\u003cfigcaption class=\"wp-caption-text\">A 1997 flyer by Laylani Wong (photo by Freddie Niems) for Adela Vasquez, Tamara Ching and Connie Amarathithada’s live storytelling event promoting safe sex behavior. \u003ccite>(Courtesy Adela Vazquez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Pardo Ariza points out that trans rights have come a long way — decades ago, they say, openly trans artists weren’t necessarily exhibiting in major institutions or teaching at California College of the Arts, as Pardo Ariza is doing. But as anti-trans laws and rhetoric continue to put trans people at risk of discrimination and violence, there’s still a long way to go until we achieve true gender equality. In Pardo Ariza’s view, culture can help chart new paths towards collective liberation.\u003c/p>\n\u003cp>“Our joy or celebration is not always prioritized. And we’re put in a situation of precarity and scarcity mentality most of the time,” they say. “I like thinking about possibilities, a space in which we can dream up how it is that we want to live, how it is that we want to relate to one another. And that’s a sort of space that feels very generative and very abundant.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13835025\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/06/Compact_Logo_Break.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-768x75.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-375x37.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-520x51.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Orquídeas’ opens at 500 Capp Street on Oct. 19, 2023 and will be on view through Feb. 17, 2024. \u003ca href=\"https://500cappstreet.org/upcoming-exhibitions/marcel-pardo-arizas-orquideas/\">Event schedule, information and tickets here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"excerpt": "The artist’s street-facing installation celebrates decades of trans history and will play host to a number of events.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For their residency at the historic David Ireland House, artist \u003ca href=\"https://www.marcelapardo.com/bio\">Marcel Pardo Ariza\u003c/a> decided to roll up the garage door of the ivory tower, and turn the conceptual art space into a sanctuary for the people of San Francisco’s Mission District.\u003c/p>\n\u003cp>The photographer, \u003ca href=\"https://www.kqed.org/arts/13919897/san-francisco-arts-commission-juanita-more-30-years\">curator\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13923804/2022-seca-art-award-exhibition-sfmoma-review\">installation artist\u003c/a> spent the summer inviting trans organizers to \u003ca href=\"https://500cappstreet.org/\">500 Capp Street\u003c/a>. Over meals, guests like performer-activist \u003ca href=\"https://www.kqed.org/arts/13835520/a-new-generation-gathers-strength-from-the-courageous-queens-of-the-comptons-cafeteria-riot\">Donna Personna\u003c/a> and community advocate \u003ca href=\"https://msbilliecooper.org/\">Billie Cooper\u003c/a> shared stories of how trans people survived discriminatory laws and police harassment in the 1960s and ’70s, and took care of each other during the AIDS epidemic in the ’80s.\u003c/p>\n\u003cp>Pardo Ariza took heart in how over the decades, trans people have always come together in chosen families and underground networks of support — no matter how hostile the climate.\u003c/p>\n\u003cp>“I think it’s important for us — as our humanity is being questioned and attacked constantly — to think about, first, how have people in the past organized to combat this same rhetoric?” Pardo Ariza says. “Also to understand that if we all collectively support each other, that there’s going to be less of a sense of self-hate or isolation or fear, too.”\u003c/p>\n\u003cp>Now, Pardo Ariza isn’t just making art with that message. Their new exhibition \u003ci>Orquídeas\u003c/i>, opening Oct. 19 at 500 Capp, sets out to create that sense of solidarity, community and celebration in real time. The goal is to make the gallery not just a hub for activism and organizing, but “a place to gather that’s for the soul,” the artist says.\u003c/p>\n\u003cfigure id=\"attachment_13936480\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936480\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/MAP1.jpg\" alt=\"Ephemera and photographs densely arranged on orange wall \" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/MAP1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/MAP1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/MAP1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/MAP1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/MAP1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/MAP1-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Marcel Pardo Ariza and collaborator Julián Delgado Lopera collected photos, posters and pamphlets that document trans life throughout the 20th century for their installation, ‘Memoria Trans SF,’ at 500 Capp Street. \u003ccite>(Nastia Voynovskaya/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That begins with the colorful, street-facing installation inside the David Ireland House’s garage, \u003ci>Memoria Trans SF\u003c/i>, developed with writer Julián Delgado Lopera in collaboration with the nonprofit \u003ca href=\"https://ellaparatranslatinas.org/\">El/La Para Translatinas\u003c/a>, whose clients shared stories and posed for photos on display in the space. For the installation, Pardo Ariza papered the garage’s walls with large-scale scans from trans history: the 1932 book \u003ci>Women in Men’s Guise\u003c/i>; 1990s photos of drag queens and trans women at the city’s first Latinx gay club, Esta Noche; posters from Finocchio’s, a drag club that opened in 1929.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The artifacts on display affirm that trans and gender-nonconforming people have always been here, even if mainstream society didn’t always acknowledge them. But because they’ve been pushed to the margins, source materials were hard to come by. “Trans history is so fragile because it has been written on napkins or in bathroom stalls,” says Pardo Ariza, who scoured the GLBT Historical Society and other collections for the installation. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After the exhibition opens with drag performances on \u003ca href=\"https://www.kqed.org/arts/13840309/for-the-one-and-only-rexy-the-best-is-yet-to-come\">The One and Only Rexy\u003c/a> and Dulce de Leche on Oct. 19, 500 Capp will host a number of free events throughout October and November. Grace Towers and Mudd the Two Spirit will teach drag makeup workshops on Oct. 25 and Nov. 8. A number of private dinners, catered by trans chefs, are in the works.\u003c/p>\n\u003cp>Dec. 1 invites the public for a benefit to raise money for street-based sex workers — an occupation some trans people have turned to for survival because of job discrimination. And throughout the show’s run, Pardo Ariza and Delgado Lopera plan to set up scanners for trans elders to submit their photos, posters and ephemera to build on their archival work.\u003c/p>\n\u003cfigure id=\"attachment_13936481\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936481\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Contact-sheet-by-Rick-Gerarhter--scaled.jpg\" alt=\"Six rows of small black-and-white negatives of people in a nightclub\" width=\"2560\" height=\"2146\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Contact-sheet-by-Rick-Gerarhter--scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Contact-sheet-by-Rick-Gerarhter--800x671.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Contact-sheet-by-Rick-Gerarhter--1020x855.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Contact-sheet-by-Rick-Gerarhter--160x134.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Contact-sheet-by-Rick-Gerarhter--768x644.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Contact-sheet-by-Rick-Gerarhter--1536x1288.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Contact-sheet-by-Rick-Gerarhter--2048x1717.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Contact-sheet-by-Rick-Gerarhter--1920x1610.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">A contact sheet of photos from a night out at Latinx gay club Esta Noche in 1995. \u003ccite>(Courtesy of Rick Gerharter and Memoria Trans SF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the garage installation, Esta Noche, a long-running Latinx gay club that shuttered in 2014, is a recurring touchpoint. On the wall is a newspaper photo of Cuban-born San Francisco trans activist Adela Vasquez, whose drag night Las AtreDivas, which she started at Esta Noche in the ’80s, is the inspiration for an upcoming drag performance at 500 Capp on Nov. 17.\u003c/p>\n\u003cp>Vasquez’s story is just one of the many examples of how trans people have used art and culture in service of community healing. After being crowned Miss Gay Latina in 1992, she devoted herself to hospice care for AIDS patients and to safe sex education. Today, she runs an \u003ca href=\"https://sfcommunityhealth.org/onlinecommunitygroups/\">online trans support group\u003c/a> called Fifty and Fabulous through San Francisco Community Health Center.\u003c/p>\n\u003cp>Vasquez says telling trans history is important as trans people face discrimination from all sides — not just from straight people, but from some lesbian, gay and bisexual people as well. “I think it’s important to let them know that we are human, that we have our issues and we take care of our issues, you know what I mean, better than many other communities,” she says.\u003c/p>\n\u003cfigure id=\"attachment_13936482\" class=\"wp-caption aligncenter\" style=\"max-width: 1456px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936482\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Photo-by-Freddie-Niem.png\" alt=\"Flyer with event info, black text on cream paper, photos of three storytellers at top of page\" width=\"1456\" height=\"1928\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Photo-by-Freddie-Niem.png 1456w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Photo-by-Freddie-Niem-800x1059.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Photo-by-Freddie-Niem-1020x1351.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Photo-by-Freddie-Niem-160x212.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Photo-by-Freddie-Niem-768x1017.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Photo-by-Freddie-Niem-1160x1536.png 1160w\" sizes=\"(max-width: 1456px) 100vw, 1456px\">\u003cfigcaption class=\"wp-caption-text\">A 1997 flyer by Laylani Wong (photo by Freddie Niems) for Adela Vasquez, Tamara Ching and Connie Amarathithada’s live storytelling event promoting safe sex behavior. \u003ccite>(Courtesy Adela Vazquez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Pardo Ariza points out that trans rights have come a long way — decades ago, they say, openly trans artists weren’t necessarily exhibiting in major institutions or teaching at California College of the Arts, as Pardo Ariza is doing. But as anti-trans laws and rhetoric continue to put trans people at risk of discrimination and violence, there’s still a long way to go until we achieve true gender equality. In Pardo Ariza’s view, culture can help chart new paths towards collective liberation.\u003c/p>\n\u003cp>“Our joy or celebration is not always prioritized. And we’re put in a situation of precarity and scarcity mentality most of the time,” they say. “I like thinking about possibilities, a space in which we can dream up how it is that we want to live, how it is that we want to relate to one another. And that’s a sort of space that feels very generative and very abundant.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13835025\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/06/Compact_Logo_Break.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-768x75.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-375x37.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-520x51.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Orquídeas’ opens at 500 Capp Street on Oct. 19, 2023 and will be on view through Feb. 17, 2024. \u003ca href=\"https://500cappstreet.org/upcoming-exhibitions/marcel-pardo-arizas-orquideas/\">Event schedule, information and tickets here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "SECA Brings the Refreshing Art of ‘Here’ and ‘Now’ to SFMOMA",
"headTitle": "SECA Brings the Refreshing Art of ‘Here’ and ‘Now’ to SFMOMA | KQED",
"content": "\u003cp>One of the smartest moves the San Francisco Museum of Art has made in recent years coincides with its \u003ca href=\"https://www.sfmoma.org/exhibition/2022-seca-art-award-exhibition/\">2022 SECA Art Award Exhibition\u003c/a>, on view through May 29. For the duration of that five-person show of local contemporary artists, the museum’s entire second floor is open to the public for free.\u003c/p>\n\u003cp>It’s a simple, refreshing premise: Local museum showing local artists (not always a given!) is open to locals. I also choose to view this as an encouraging step towards wider accessibility and affordability (current general admission tickets cost adults $25 each, while special entry to Ragnar Kjartansson’s \u003ci>\u003ca href=\"https://www.sfmoma.org/exhibition/ragnar-kjartansson-the-visitors/\">The Visitors\u003c/a>\u003c/i> bumps it up to $30).[aside postID='arts_13923241']\u003c/p>\n\u003cp>If my visit on an ordinary Thursday was any indication, free admission has been a wild success. In the five galleries showing work by Binta Ayofemi, Maria A. Guzmán Capron, Cathy Lu, Marcel Pardo Ariza and Gregory Rick, visitors were swirling about with mouths agape, posing for pictures with the work and genuinely enjoying themselves, en masse.\u003c/p>\n\u003cp>But let me back up a bit. What is this SECA thing? Every two or three years, the museum puts out a call for Bay Area-wide nominations of local artists who have “not received substantial recognition from a major institution.” That large pool is shortened to a finalist list, studio visits follow and the curators — this year, Andrea Nitsche-Krupp, assistant curator of media arts, and Jovanna Venegas, assistant curator of contemporary art — make the final selections.\u003c/p>\n\u003cfigure id=\"attachment_13923809\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13923809\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/2022-SECA-Art-Award-Exhibition_Install-View_03_1200.jpg\" alt=\"Light peach walls and arrangement of large multicolored textile works with giant foot and smiling head\" width=\"1200\" height=\"1216\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/2022-SECA-Art-Award-Exhibition_Install-View_03_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/2022-SECA-Art-Award-Exhibition_Install-View_03_1200-800x811.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/2022-SECA-Art-Award-Exhibition_Install-View_03_1200-1020x1034.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/2022-SECA-Art-Award-Exhibition_Install-View_03_1200-160x162.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/2022-SECA-Art-Award-Exhibition_Install-View_03_1200-768x778.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Maria A. Guzmán Capron, ‘Mucho Mas’ (foreground), ‘Eros’ (background), and ‘Luna’ (background) from the installation ‘Respira Hondo,’ 2022 at SFMOMA. \u003ccite>(Katherine Du Tiel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This SECA show opens with work by \u003ca href=\"https://www.instagram.com/bintaayofemi/?hl=en\">Binta Ayofemi\u003c/a>, her space demarcated by navy-painted walls that blend down into bands of sherbet hues. A video installation plays a mixture of found and shot footage in triplicate, with Alice Coltrane’s “Journey In Satchidananda” soundtracking the space. Ayofemi blends urban materials (tinted mirrors, a corrugated metal wall) with huge, transplanted pieces of nature (giant blocks of wood, including a cross-cut stump that unfurls like a ribbon from its core). It’s a contemplative space, but it’s also a passageway, befitting its title: \u003ci>Continuum\u003c/i>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In the neighboring gallery, \u003ca href=\"https://cathyclu.com/\">Cathy Lu\u003c/a>’s vibrant orange walls play backdrop to \u003ci>Resurgence\u003c/i>, an ornate garlanded installation of suspended ceramics. Combining cast fruit with curling, long-nailed hands, Lu’s installation references Nüwa, a Chinese creation goddess who molded humans out of clay (a particularly apropos reference point for a ceramicist). This creation story juxtaposes another, more omnipresent story told in the United States — about the creation of this country, and the opportunities supposedly available to those who seek to shape themselves into an “American Dream.”\u003c/p>\n\u003cp>Around the corner, \u003ca href=\"https://www.instagram.com/mariaguzmancapron/?hl=en\">Maria A. Guzmán Capron\u003c/a>’s gallery creates a similarly dreamy atmosphere with the help of light peach walls. Her hand-sewn textiles, made with wild combinations of patterns, fabrics and touches of paint, often feature bodies entwined so completely they can no longer be separated from each other. In \u003ci>Luna\u003c/i>, one face becomes three, with a stream of starry hair flowing behind. And while none of her work is truly two-dimensional, elements of Capron’s pieces bulge into impressive 3-D, with a gigantic soft sculpture of a giantess’ foot — like something out of a fairy tale — taking up the center of the gallery.\u003c/p>\n\u003cfigure id=\"attachment_13923808\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13923808\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/2022-SECA-Art-Award-Exhibition_Install-View_01_1200.jpg\" alt=\"Gallery view of colorful wall covered in portraits\" width=\"1200\" height=\"837\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/2022-SECA-Art-Award-Exhibition_Install-View_01_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/2022-SECA-Art-Award-Exhibition_Install-View_01_1200-800x558.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/2022-SECA-Art-Award-Exhibition_Install-View_01_1200-1020x711.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/2022-SECA-Art-Award-Exhibition_Install-View_01_1200-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/2022-SECA-Art-Award-Exhibition_Install-View_01_1200-768x536.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Marcel Pardo Ariza, Installation view of ‘I am Very Lucky, Very Lucky to be Trans,’ 2022. \u003ccite>(Katherine Du Tiel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The expansiveness of SFMOMA’s space (particularly the gallery’s high ceilings) definitely contributes to some of the scale seen in this year’s SECA exhibition, and \u003ca href=\"https://www.marcelapardo.com/\">Marcel Pardo Ariza\u003c/a>’s \u003ci>I Am Very Lucky, Very Lucky to Be Trans\u003c/i> takes advantage of that vertical height to arrange a series of photographic portraits across one vertiginous wall. Made in collaboration with 33 Bay Area trans, intersex and gender-nonconforming activists and cultural leaders, the display is part altarpiece, part visual family tree, creating space for visitors to sit and gaze while listening to a compilation of raw and very personal audio histories.\u003c/p>\n\u003cp>Last, but definitely not least, is \u003ca href=\"https://www.gregrick.com/\">Gregory Rick\u003c/a>’s contribution to the award show. In two rooms, his large-scale paintings exert a gravitational pull on the viewer. There are no mood-setting colored walls here; Rick focuses all his attention on the activity packed into each canvas and work on paper. With a variety of media (acrylic, wax pastel, enamel, oil stick, felt-tip pen, the list goes on!), he creates images of community and conflict, layering figures, buildings and vehicles into dense arrangements that all seem to happen on the same plane. People raise their arms in surrender, in joyous dance, in powerful gestures that seem to question how all of this came to be.\u003c/p>\n\u003cfigure id=\"attachment_13923806\" class=\"wp-caption aligncenter\" style=\"max-width: 1597px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13923806\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/5_Gregory-Rick_Trap_2022.jpg\" alt=\"Painting with figures against blocky buildings\" width=\"1597\" height=\"1286\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/5_Gregory-Rick_Trap_2022.jpg 1597w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/5_Gregory-Rick_Trap_2022-800x644.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/5_Gregory-Rick_Trap_2022-1020x821.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/5_Gregory-Rick_Trap_2022-160x129.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/5_Gregory-Rick_Trap_2022-768x618.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/5_Gregory-Rick_Trap_2022-1536x1237.jpg 1536w\" sizes=\"(max-width: 1597px) 100vw, 1597px\">\u003cfigcaption class=\"wp-caption-text\">Gregory Rick, ‘Trap,’ 2022. \u003ccite>(Courtesy San Francisco Museum of Modern Art; Photo: Glen Cheriton, Impart Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Rarely do we get to see work of here and now (that is, the Bay Area and our present moment) in our region’s largest museum. The \u003ca href=\"https://www.kqed.org/arts/13921767/joan-brown-retrospective-sfmoma-review\">Joan Brown retrospective\u003c/a> on SFMOMA’s top floor encapsulates this perfectly — it’s a show that speaks deeply to this place and the life Brown lived here — but it comes, as many retrospectives do, over three decades after her death. Meanwhile, examples of “now” often come from far away, like New York artist Toyin Ojih Odutola’s current \u003ci>\u003ca href=\"https://www.sfmoma.org/exhibition/new-work-toyin-ojih-odutola/\">New Work\u003c/a>\u003c/i> show at the museum (though Odutola did get her MFA from CCA in 2012).\u003c/p>\n\u003cp>SECA’s a strange outlier from this status quo, and it’s a wholly welcome one: a reminder that artists exist here and now, making work that absolutely deserves packed parties, high ceilings, colorful catalogs and no barriers to entry.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘2022 SECA Art Award Exhibition’ is on view at the San Francisco Museum of Modern Art through May 29, 2023. \u003ca href=\"https://www.sfmoma.org/exhibition/2022-seca-art-award-exhibition/\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>One of the smartest moves the San Francisco Museum of Art has made in recent years coincides with its \u003ca href=\"https://www.sfmoma.org/exhibition/2022-seca-art-award-exhibition/\">2022 SECA Art Award Exhibition\u003c/a>, on view through May 29. For the duration of that five-person show of local contemporary artists, the museum’s entire second floor is open to the public for free.\u003c/p>\n\u003cp>It’s a simple, refreshing premise: Local museum showing local artists (not always a given!) is open to locals. I also choose to view this as an encouraging step towards wider accessibility and affordability (current general admission tickets cost adults $25 each, while special entry to Ragnar Kjartansson’s \u003ci>\u003ca href=\"https://www.sfmoma.org/exhibition/ragnar-kjartansson-the-visitors/\">The Visitors\u003c/a>\u003c/i> bumps it up to $30).\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>If my visit on an ordinary Thursday was any indication, free admission has been a wild success. In the five galleries showing work by Binta Ayofemi, Maria A. Guzmán Capron, Cathy Lu, Marcel Pardo Ariza and Gregory Rick, visitors were swirling about with mouths agape, posing for pictures with the work and genuinely enjoying themselves, en masse.\u003c/p>\n\u003cp>But let me back up a bit. What is this SECA thing? Every two or three years, the museum puts out a call for Bay Area-wide nominations of local artists who have “not received substantial recognition from a major institution.” That large pool is shortened to a finalist list, studio visits follow and the curators — this year, Andrea Nitsche-Krupp, assistant curator of media arts, and Jovanna Venegas, assistant curator of contemporary art — make the final selections.\u003c/p>\n\u003cfigure id=\"attachment_13923809\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13923809\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/2022-SECA-Art-Award-Exhibition_Install-View_03_1200.jpg\" alt=\"Light peach walls and arrangement of large multicolored textile works with giant foot and smiling head\" width=\"1200\" height=\"1216\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/2022-SECA-Art-Award-Exhibition_Install-View_03_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/2022-SECA-Art-Award-Exhibition_Install-View_03_1200-800x811.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/2022-SECA-Art-Award-Exhibition_Install-View_03_1200-1020x1034.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/2022-SECA-Art-Award-Exhibition_Install-View_03_1200-160x162.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/2022-SECA-Art-Award-Exhibition_Install-View_03_1200-768x778.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Maria A. Guzmán Capron, ‘Mucho Mas’ (foreground), ‘Eros’ (background), and ‘Luna’ (background) from the installation ‘Respira Hondo,’ 2022 at SFMOMA. \u003ccite>(Katherine Du Tiel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This SECA show opens with work by \u003ca href=\"https://www.instagram.com/bintaayofemi/?hl=en\">Binta Ayofemi\u003c/a>, her space demarcated by navy-painted walls that blend down into bands of sherbet hues. A video installation plays a mixture of found and shot footage in triplicate, with Alice Coltrane’s “Journey In Satchidananda” soundtracking the space. Ayofemi blends urban materials (tinted mirrors, a corrugated metal wall) with huge, transplanted pieces of nature (giant blocks of wood, including a cross-cut stump that unfurls like a ribbon from its core). It’s a contemplative space, but it’s also a passageway, befitting its title: \u003ci>Continuum\u003c/i>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the neighboring gallery, \u003ca href=\"https://cathyclu.com/\">Cathy Lu\u003c/a>’s vibrant orange walls play backdrop to \u003ci>Resurgence\u003c/i>, an ornate garlanded installation of suspended ceramics. Combining cast fruit with curling, long-nailed hands, Lu’s installation references Nüwa, a Chinese creation goddess who molded humans out of clay (a particularly apropos reference point for a ceramicist). This creation story juxtaposes another, more omnipresent story told in the United States — about the creation of this country, and the opportunities supposedly available to those who seek to shape themselves into an “American Dream.”\u003c/p>\n\u003cp>Around the corner, \u003ca href=\"https://www.instagram.com/mariaguzmancapron/?hl=en\">Maria A. Guzmán Capron\u003c/a>’s gallery creates a similarly dreamy atmosphere with the help of light peach walls. Her hand-sewn textiles, made with wild combinations of patterns, fabrics and touches of paint, often feature bodies entwined so completely they can no longer be separated from each other. In \u003ci>Luna\u003c/i>, one face becomes three, with a stream of starry hair flowing behind. And while none of her work is truly two-dimensional, elements of Capron’s pieces bulge into impressive 3-D, with a gigantic soft sculpture of a giantess’ foot — like something out of a fairy tale — taking up the center of the gallery.\u003c/p>\n\u003cfigure id=\"attachment_13923808\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13923808\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/2022-SECA-Art-Award-Exhibition_Install-View_01_1200.jpg\" alt=\"Gallery view of colorful wall covered in portraits\" width=\"1200\" height=\"837\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/2022-SECA-Art-Award-Exhibition_Install-View_01_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/2022-SECA-Art-Award-Exhibition_Install-View_01_1200-800x558.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/2022-SECA-Art-Award-Exhibition_Install-View_01_1200-1020x711.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/2022-SECA-Art-Award-Exhibition_Install-View_01_1200-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/2022-SECA-Art-Award-Exhibition_Install-View_01_1200-768x536.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Marcel Pardo Ariza, Installation view of ‘I am Very Lucky, Very Lucky to be Trans,’ 2022. \u003ccite>(Katherine Du Tiel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The expansiveness of SFMOMA’s space (particularly the gallery’s high ceilings) definitely contributes to some of the scale seen in this year’s SECA exhibition, and \u003ca href=\"https://www.marcelapardo.com/\">Marcel Pardo Ariza\u003c/a>’s \u003ci>I Am Very Lucky, Very Lucky to Be Trans\u003c/i> takes advantage of that vertical height to arrange a series of photographic portraits across one vertiginous wall. Made in collaboration with 33 Bay Area trans, intersex and gender-nonconforming activists and cultural leaders, the display is part altarpiece, part visual family tree, creating space for visitors to sit and gaze while listening to a compilation of raw and very personal audio histories.\u003c/p>\n\u003cp>Last, but definitely not least, is \u003ca href=\"https://www.gregrick.com/\">Gregory Rick\u003c/a>’s contribution to the award show. In two rooms, his large-scale paintings exert a gravitational pull on the viewer. There are no mood-setting colored walls here; Rick focuses all his attention on the activity packed into each canvas and work on paper. With a variety of media (acrylic, wax pastel, enamel, oil stick, felt-tip pen, the list goes on!), he creates images of community and conflict, layering figures, buildings and vehicles into dense arrangements that all seem to happen on the same plane. People raise their arms in surrender, in joyous dance, in powerful gestures that seem to question how all of this came to be.\u003c/p>\n\u003cfigure id=\"attachment_13923806\" class=\"wp-caption aligncenter\" style=\"max-width: 1597px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13923806\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/5_Gregory-Rick_Trap_2022.jpg\" alt=\"Painting with figures against blocky buildings\" width=\"1597\" height=\"1286\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/5_Gregory-Rick_Trap_2022.jpg 1597w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/5_Gregory-Rick_Trap_2022-800x644.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/5_Gregory-Rick_Trap_2022-1020x821.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/5_Gregory-Rick_Trap_2022-160x129.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/5_Gregory-Rick_Trap_2022-768x618.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/5_Gregory-Rick_Trap_2022-1536x1237.jpg 1536w\" sizes=\"(max-width: 1597px) 100vw, 1597px\">\u003cfigcaption class=\"wp-caption-text\">Gregory Rick, ‘Trap,’ 2022. \u003ccite>(Courtesy San Francisco Museum of Modern Art; Photo: Glen Cheriton, Impart Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Rarely do we get to see work of here and now (that is, the Bay Area and our present moment) in our region’s largest museum. The \u003ca href=\"https://www.kqed.org/arts/13921767/joan-brown-retrospective-sfmoma-review\">Joan Brown retrospective\u003c/a> on SFMOMA’s top floor encapsulates this perfectly — it’s a show that speaks deeply to this place and the life Brown lived here — but it comes, as many retrospectives do, over three decades after her death. Meanwhile, examples of “now” often come from far away, like New York artist Toyin Ojih Odutola’s current \u003ci>\u003ca href=\"https://www.sfmoma.org/exhibition/new-work-toyin-ojih-odutola/\">New Work\u003c/a>\u003c/i> show at the museum (though Odutola did get her MFA from CCA in 2012).\u003c/p>\n\u003cp>SECA’s a strange outlier from this status quo, and it’s a wholly welcome one: a reminder that artists exist here and now, making work that absolutely deserves packed parties, high ceilings, colorful catalogs and no barriers to entry.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘2022 SECA Art Award Exhibition’ is on view at the San Francisco Museum of Modern Art through May 29, 2023. \u003ca href=\"https://www.sfmoma.org/exhibition/2022-seca-art-award-exhibition/\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "A New SFAC Exhibit Celebrates Juanita MORE!’s Dazzling 30 Years in Drag",
"headTitle": "A New SFAC Exhibit Celebrates Juanita MORE!’s Dazzling 30 Years in Drag | KQED",
"content": "\u003cp>There are fashion queens, sex-positive entertainers and political provocateurs, but few drag performers embody all the dimensions of the artform as seamlessly and with as much panache as \u003ca href=\"https://juanitamore.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Juanita MORE!\u003c/a>.\u003c/p>\n\u003cp>A true San Francisco icon, she’s been practicing the art of drag for 30 years, and her impact extends far beyond her glamor. Over the past three decades, she’s raised over $1 million for queer housing and healthcare, campaigned for political causes and thrown too many parties to count. To celebrate, the San Francisco Arts Commission (SFAC) Main Gallery has a new exhibition dedicated to her life and work called \u003ca href=\"https://www.sfartscommission.org/our-role-impact/press-room/press-release/juanita-30-years-more-new-exhibition-celebrating-30th\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>Juanita: 30 Years of MORE!\u003c/i>\u003c/a>, on view Sept. 30-Nov. 12.\u003c/p>\n\u003cp>“Often we don’t see a lot of exhibitions about key figures in the queer and trans communities while they’re still alive, while they’re still doing the work,” says curator Marcel Pardo Ariza. “It’s important that we find the space to highlight folks who are gathering people together through art, though dancing, through meals together in a way that we find incredibly nurturing.” [aside postid='food_1337260']\u003c/p>\n\u003cp>For the exhibition, MORE! opened her treasure troves of gowns, her personal archives and her art collection, and worked with Pardo Ariza to tell a story—her autobiography, but also a story of queer San Francisco.\u003c/p>\n\u003cp>That story begins on Halloween 1992, when MORE!’s drag mother, Glamamore, dressed her in leopard print and sent her out on the town. That first night in drag, MORE! had such a ball that she wanted to do it again. “I ran around and partied my ass off that first year and just had fun,” she says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>She could lip sync and entertain on par with the top divas in the city, and soon, her impact grew beyond the bar and club scene. “Something clicked and I said, ‘Oh, I need to use this energy that’s coming at me and give back for something good,” MORE! says.\u003c/p>\n\u003cp>The AIDS epidemic had ravaged the LGBTQ+ community in the ’80s, and although treatment became available in the ’90s, the deadly crisis persisted. MORE! threw her first benefit for TARC, the \u003ca href=\"https://www.poz.com/article/Tenderloin-HIV-Closes-21753-2492\" target=\"_blank\" rel=\"noopener noreferrer\">Tenderloin AIDS Resource Center\u003c/a>. And in the 30 years since, she has thrown dozens of events that raised funds for organizations such as the \u003ca href=\"https://theqfoundation.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Q Foundation\u003c/a>, which provides housing support for people living with HIV/AIDS; the \u003ca href=\"https://transgenderlawcenter.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Transgender Law Center\u003c/a>, a trans-led legal organization; and \u003ca href=\"https://www.queerlifespace.org/our-mission\" target=\"_blank\" rel=\"noopener noreferrer\">Queer LifeSpace\u003c/a>, an affordable mental health counseling center.\u003c/p>\n\u003cfigure id=\"attachment_13919913\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13919913\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/juanitamore3-800x533.jpg\" alt=\"Juanita MORE! wears a leopard gown with big shoulders and a blond wig in front of a large, colorful poster with tropical designs and a multicolored, layered silk gown.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/juanitamore3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/juanitamore3-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/juanitamore3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/juanitamore3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/juanitamore3-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/juanitamore3.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Juanita MORE! poses with her San Francisco Pride 2022 poster and Mr. David Couture gown, on display at the SFAC Main Gallery. \u003ccite>(Nastia Voynovskaya/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Glitzy parties—like her annual Pride celebration—are often how MORE! inspires people to give to good causes, but her activism doesn’t stop there. She can be seen rallying for political issues (recently, she spoke out against the recall of progressive District Attorney Chesa Boudin). And her personal website has basically become a one-stop shop for Bay Area residents who want to become more civically engaged. She authors her own \u003ca href=\"https://juanitamore.com/vote\" target=\"_blank\" rel=\"noopener noreferrer\">voter guides\u003c/a> (the 2022 midterm edition is coming soon), rounds up \u003ca href=\"https://juanitamore.com/events\" target=\"_blank\" rel=\"noopener noreferrer\">queer events\u003c/a> and publishes lists of \u003ca href=\"https://juanitamore.com/mentalhealthresources\" target=\"_blank\" rel=\"noopener noreferrer\">LGBTQ+ mental health resources\u003c/a> and \u003ca href=\"https://juanitamore.com/queer-bizness\" target=\"_blank\" rel=\"noopener noreferrer\">small businesses\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13919916\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13919916\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/juanitamore6-800x507.jpg\" alt=\"\" width=\"800\" height=\"507\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/juanitamore6-800x507.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/juanitamore6-1020x646.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/juanitamore6-160x101.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/juanitamore6-768x486.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/juanitamore6-1536x973.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/juanitamore6.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The entryway of ‘Juanita: 30 Years of MORE!’ features dozens of portraits of MORE! from various eras and by different artists. \u003ccite>(Nastia Voynovskaya/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even with MORE!’s hectic schedule of campaigning and entertaining, impeccable attention to detail—from the coif of her wig to the last rhinestone on her heel—has been a defining feature of her brand. Glamamore, known as \u003ca href=\"https://www.instagram.com/mr.davidglamamore/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Mr. David\u003c/a> when not in drag, has been MORE!’s \u003ca href=\"https://48hills.org/2016/05/mr-david-gives-us-definitive-sf-style/\" target=\"_blank\" rel=\"noopener noreferrer\">principal fashion designer\u003c/a> for her entire career. She’s never worn anything other than custom garments made specially for her.\u003c/p>\n\u003cp>The sumptuous couture Mr. David created for MORE! over the past 30 years—sometimes on a tight budget, but always with Paris Fashion Week-worthy skill—makes for a mesmerizing display inside the SFAC gallery, which also features event posters, awards, portraits of MORE! and her own original (and often erotic) photography.\u003c/p>\n\u003cfigure id=\"attachment_13919914\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13919914\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/juanitamore5-800x549.jpg\" alt=\"Colorful hats feature silk bunny ears, turquoise feathers, translucent veils and more.\" width=\"800\" height=\"549\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/juanitamore5-800x549.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/juanitamore5-1020x700.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/juanitamore5-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/juanitamore5-768x527.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/juanitamore5-1536x1054.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/juanitamore5.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A display of Juanita MORE!’s many hats, designed by Mr. David Couture. \u003ccite>(Nastia Voynovskaya/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“What I really enjoy is we can do anything—she can wear anything, she can pull off any look,” Mr. David says at the exhibition preview, standing next to the regal, balloon-sleeved gown, cape and headdress he made for MORE! for SF Pride 2019. He’s made clothing for stars like Cher and Deee-Lite’s Lady Miss Kier, but it’s his collaboration with MORE! that’s been the most rewarding. “It’s this constant challenge. ‘We have $30, let’s make a ball gown.’ It’s not expensive things, but how do we make what we have look very extravagant? It’s enticing, our whole dynamic. I inspire her, she inspires me. We’re on this spiral together.”\u003c/p>\n\u003cp>That collaborative spirit extended to how MORE! approached the exhibition at SFAC. For her and curator Pardo Ariza, preserving history is part of a higher purpose to leave a legacy for the next generation of queer and trans youth, and to pay homage to the intergenerational community of artists who’ve made Juanita MORE! so original.\u003c/p>\n\u003cp>“I think the thing that I love the most is that I’ve never claimed to be the one who created Juanita by myself,” MORE! says. “I was the vehicle that brought it to life. But there were a lot of people collaborating to make this thing that we created as fun or crazy or pretty as possible. … I’m a big champion of artists and have collaborated with so many artists, and that’s just always brought me so much joy.”\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13835025\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/06/Compact_Logo_Break-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-768x75.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-375x37.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-520x51.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.sfartscommission.org/our-role-impact/press-room/press-release/juanita-30-years-more-new-exhibition-celebrating-30th\" target=\"_blank\" rel=\"noopener noreferrer\">Juanita: 30 Years of MORE!\u003c/a> \u003cem>is on view in the SFAC Main Gallery in the War Memorial Veterans Building Sept. 30-Nov. 12, with an opening reception on Sept. 30 at 6pm. Events will continue throughout the run of the show, with a \u003ca href=\"https://sfartscommission.org/calendar/more-imposters\" target=\"_blank\" rel=\"noopener noreferrer\">drag performance on Oct. 6\u003c/a>, a \u003ca href=\"https://sfartscommission.org/calendar/naked-dinner-life-drawing-class\" target=\"_blank\" rel=\"noopener noreferrer\">nude figure drawing class on Oct. 12\u003c/a> and \u003ca href=\"https://sfartscommission.org/calendar/juanita-more-birthday-bash\" target=\"_blank\" rel=\"noopener noreferrer\">Juanita MORE!’s birthday bash on Oct. 28\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There are fashion queens, sex-positive entertainers and political provocateurs, but few drag performers embody all the dimensions of the artform as seamlessly and with as much panache as \u003ca href=\"https://juanitamore.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Juanita MORE!\u003c/a>.\u003c/p>\n\u003cp>A true San Francisco icon, she’s been practicing the art of drag for 30 years, and her impact extends far beyond her glamor. Over the past three decades, she’s raised over $1 million for queer housing and healthcare, campaigned for political causes and thrown too many parties to count. To celebrate, the San Francisco Arts Commission (SFAC) Main Gallery has a new exhibition dedicated to her life and work called \u003ca href=\"https://www.sfartscommission.org/our-role-impact/press-room/press-release/juanita-30-years-more-new-exhibition-celebrating-30th\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>Juanita: 30 Years of MORE!\u003c/i>\u003c/a>, on view Sept. 30-Nov. 12.\u003c/p>\n\u003cp>“Often we don’t see a lot of exhibitions about key figures in the queer and trans communities while they’re still alive, while they’re still doing the work,” says curator Marcel Pardo Ariza. “It’s important that we find the space to highlight folks who are gathering people together through art, though dancing, through meals together in a way that we find incredibly nurturing.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For the exhibition, MORE! opened her treasure troves of gowns, her personal archives and her art collection, and worked with Pardo Ariza to tell a story—her autobiography, but also a story of queer San Francisco.\u003c/p>\n\u003cp>That story begins on Halloween 1992, when MORE!’s drag mother, Glamamore, dressed her in leopard print and sent her out on the town. That first night in drag, MORE! had such a ball that she wanted to do it again. “I ran around and partied my ass off that first year and just had fun,” she says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>She could lip sync and entertain on par with the top divas in the city, and soon, her impact grew beyond the bar and club scene. “Something clicked and I said, ‘Oh, I need to use this energy that’s coming at me and give back for something good,” MORE! says.\u003c/p>\n\u003cp>The AIDS epidemic had ravaged the LGBTQ+ community in the ’80s, and although treatment became available in the ’90s, the deadly crisis persisted. MORE! threw her first benefit for TARC, the \u003ca href=\"https://www.poz.com/article/Tenderloin-HIV-Closes-21753-2492\" target=\"_blank\" rel=\"noopener noreferrer\">Tenderloin AIDS Resource Center\u003c/a>. And in the 30 years since, she has thrown dozens of events that raised funds for organizations such as the \u003ca href=\"https://theqfoundation.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Q Foundation\u003c/a>, which provides housing support for people living with HIV/AIDS; the \u003ca href=\"https://transgenderlawcenter.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Transgender Law Center\u003c/a>, a trans-led legal organization; and \u003ca href=\"https://www.queerlifespace.org/our-mission\" target=\"_blank\" rel=\"noopener noreferrer\">Queer LifeSpace\u003c/a>, an affordable mental health counseling center.\u003c/p>\n\u003cfigure id=\"attachment_13919913\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13919913\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/juanitamore3-800x533.jpg\" alt=\"Juanita MORE! wears a leopard gown with big shoulders and a blond wig in front of a large, colorful poster with tropical designs and a multicolored, layered silk gown.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/juanitamore3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/juanitamore3-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/juanitamore3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/juanitamore3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/juanitamore3-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/juanitamore3.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Juanita MORE! poses with her San Francisco Pride 2022 poster and Mr. David Couture gown, on display at the SFAC Main Gallery. \u003ccite>(Nastia Voynovskaya/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Glitzy parties—like her annual Pride celebration—are often how MORE! inspires people to give to good causes, but her activism doesn’t stop there. She can be seen rallying for political issues (recently, she spoke out against the recall of progressive District Attorney Chesa Boudin). And her personal website has basically become a one-stop shop for Bay Area residents who want to become more civically engaged. She authors her own \u003ca href=\"https://juanitamore.com/vote\" target=\"_blank\" rel=\"noopener noreferrer\">voter guides\u003c/a> (the 2022 midterm edition is coming soon), rounds up \u003ca href=\"https://juanitamore.com/events\" target=\"_blank\" rel=\"noopener noreferrer\">queer events\u003c/a> and publishes lists of \u003ca href=\"https://juanitamore.com/mentalhealthresources\" target=\"_blank\" rel=\"noopener noreferrer\">LGBTQ+ mental health resources\u003c/a> and \u003ca href=\"https://juanitamore.com/queer-bizness\" target=\"_blank\" rel=\"noopener noreferrer\">small businesses\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13919916\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13919916\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/juanitamore6-800x507.jpg\" alt=\"\" width=\"800\" height=\"507\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/juanitamore6-800x507.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/juanitamore6-1020x646.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/juanitamore6-160x101.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/juanitamore6-768x486.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/juanitamore6-1536x973.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/juanitamore6.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The entryway of ‘Juanita: 30 Years of MORE!’ features dozens of portraits of MORE! from various eras and by different artists. \u003ccite>(Nastia Voynovskaya/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even with MORE!’s hectic schedule of campaigning and entertaining, impeccable attention to detail—from the coif of her wig to the last rhinestone on her heel—has been a defining feature of her brand. Glamamore, known as \u003ca href=\"https://www.instagram.com/mr.davidglamamore/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Mr. David\u003c/a> when not in drag, has been MORE!’s \u003ca href=\"https://48hills.org/2016/05/mr-david-gives-us-definitive-sf-style/\" target=\"_blank\" rel=\"noopener noreferrer\">principal fashion designer\u003c/a> for her entire career. She’s never worn anything other than custom garments made specially for her.\u003c/p>\n\u003cp>The sumptuous couture Mr. David created for MORE! over the past 30 years—sometimes on a tight budget, but always with Paris Fashion Week-worthy skill—makes for a mesmerizing display inside the SFAC gallery, which also features event posters, awards, portraits of MORE! and her own original (and often erotic) photography.\u003c/p>\n\u003cfigure id=\"attachment_13919914\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13919914\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/juanitamore5-800x549.jpg\" alt=\"Colorful hats feature silk bunny ears, turquoise feathers, translucent veils and more.\" width=\"800\" height=\"549\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/juanitamore5-800x549.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/juanitamore5-1020x700.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/juanitamore5-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/juanitamore5-768x527.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/juanitamore5-1536x1054.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/juanitamore5.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A display of Juanita MORE!’s many hats, designed by Mr. David Couture. \u003ccite>(Nastia Voynovskaya/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“What I really enjoy is we can do anything—she can wear anything, she can pull off any look,” Mr. David says at the exhibition preview, standing next to the regal, balloon-sleeved gown, cape and headdress he made for MORE! for SF Pride 2019. He’s made clothing for stars like Cher and Deee-Lite’s Lady Miss Kier, but it’s his collaboration with MORE! that’s been the most rewarding. “It’s this constant challenge. ‘We have $30, let’s make a ball gown.’ It’s not expensive things, but how do we make what we have look very extravagant? It’s enticing, our whole dynamic. I inspire her, she inspires me. We’re on this spiral together.”\u003c/p>\n\u003cp>That collaborative spirit extended to how MORE! approached the exhibition at SFAC. For her and curator Pardo Ariza, preserving history is part of a higher purpose to leave a legacy for the next generation of queer and trans youth, and to pay homage to the intergenerational community of artists who’ve made Juanita MORE! so original.\u003c/p>\n\u003cp>“I think the thing that I love the most is that I’ve never claimed to be the one who created Juanita by myself,” MORE! says. “I was the vehicle that brought it to life. But there were a lot of people collaborating to make this thing that we created as fun or crazy or pretty as possible. … I’m a big champion of artists and have collaborated with so many artists, and that’s just always brought me so much joy.”\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13835025\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/06/Compact_Logo_Break-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-768x75.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-375x37.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-520x51.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.sfartscommission.org/our-role-impact/press-room/press-release/juanita-30-years-more-new-exhibition-celebrating-30th\" target=\"_blank\" rel=\"noopener noreferrer\">Juanita: 30 Years of MORE!\u003c/a> \u003cem>is on view in the SFAC Main Gallery in the War Memorial Veterans Building Sept. 30-Nov. 12, with an opening reception on Sept. 30 at 6pm. Events will continue throughout the run of the show, with a \u003ca href=\"https://sfartscommission.org/calendar/more-imposters\" target=\"_blank\" rel=\"noopener noreferrer\">drag performance on Oct. 6\u003c/a>, a \u003ca href=\"https://sfartscommission.org/calendar/naked-dinner-life-drawing-class\" target=\"_blank\" rel=\"noopener noreferrer\">nude figure drawing class on Oct. 12\u003c/a> and \u003ca href=\"https://sfartscommission.org/calendar/juanita-more-birthday-bash\" target=\"_blank\" rel=\"noopener noreferrer\">Juanita MORE!’s birthday bash on Oct. 28\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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},
"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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},
"perspectives": {
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"order": 14
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"politicalbreakdown": {
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"order": 5
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
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"source": "Possible"
},
"link": "/radio/program/possible",
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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"tuneIn": "https://tunein.com/podcasts/News--Politics-Podcasts/PRIs-The-World-p24/",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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{
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}
