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"content": "\u003cp>Headlands Center for the Arts \u003ca href=\"https://mailchi.mp/headlands/announcing_mari_robles?e=9d7f9286bf\" target=\"_blank\" rel=\"noopener noreferrer\">has announced\u003c/a> arts leader, educator and organizer Maricelle (Mari) Robles as the nonprofit’s new executive director. She will begin on Dec. 14.\u003c/p>\n\u003cp>Robles was selected after an international search to replace Sharon Maidenberg, who served as Headlands’ executive director for over 11 years. “After speaking with Mari, we quickly realized that we had found the perfect fit,” Board Chair Robin Strawbridge is quoted saying in today’s announcement. “Her career and personal interests in the arts genuinely mirror our mission here at Headlands. She shares our deep value for bringing the arts to everyone in the Bay Area, and for creating a space for artists to grow and thrive.”[aside postID='arts_13887237']\u003c/p>\n\u003cp>Robles, who currently lives in New York, has a background in arts education. Headlands’ announcement emphasizes her interest, “as a Latinx woman of Puerto Rican heritage,” in “making art more accessible and welcoming to all.”\u003c/p>\n\u003cp>Robles served as the educator-in-charge of public programs and engagement at the Metropolitan Museum of Art in New York, the deputy director of education and public programs at the Pérez Art Museum in Miami, and the coordinator of youth and family programs at the Museum of Contemporary Art Chicago.\u003c/p>\n\u003cp>This will be the first time Robles has lived or worked in the Bay Area. Unique to Headlands’ executive director position, the job comes with housing on the arts center’s campus. She looks forward to the more reflective and slow-paced environment of the Marin Headlands, especially after a year like 2020. “I’m ready for the wild turkeys,” she says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Most recently, she was part of a team of cultural producers organizing public programming leading up to the 2020 \u003ca href=\"https://www.prospectneworleans.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Prospect New Orleans\u003c/a> triennial. The entire exhibition has since been pushed back a year due to the pandemic, with a new opening of Oct. 23, 2021.\u003c/p>\n\u003cp>Robles will step into the role with some \u003ca href=\"https://www.kqed.org/arts/13887237/headlands-to-end-affiliate-artist-program-launch-bay-area-fellowships\" target=\"_blank\" rel=\"noopener noreferrer\">major changes\u003c/a> on the horizon, including the end of Headlands’ affiliate artist program and the beginning of two funded fellowships. It’s also, she notes, a time of great upheaval and re-evaluation in the art world, as institutions grapple with their role in upholding white supremacy, and strive to adopt anti-racist practices.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Which is also why I’m excited to be, frankly, coming on to Headlands at this moment—a moment where the entire arts world is having a reckoning, as well as a more global reckoning around justice and race issues,” she says. “Headlands has been doing some of that work already, internally, thinking about racial equity. But really that’s something I value very much and have been working at intersection for some time.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Headlands Center for the Arts \u003ca href=\"https://mailchi.mp/headlands/announcing_mari_robles?e=9d7f9286bf\" target=\"_blank\" rel=\"noopener noreferrer\">has announced\u003c/a> arts leader, educator and organizer Maricelle (Mari) Robles as the nonprofit’s new executive director. She will begin on Dec. 14.\u003c/p>\n\u003cp>Robles was selected after an international search to replace Sharon Maidenberg, who served as Headlands’ executive director for over 11 years. “After speaking with Mari, we quickly realized that we had found the perfect fit,” Board Chair Robin Strawbridge is quoted saying in today’s announcement. “Her career and personal interests in the arts genuinely mirror our mission here at Headlands. She shares our deep value for bringing the arts to everyone in the Bay Area, and for creating a space for artists to grow and thrive.”\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Robles, who currently lives in New York, has a background in arts education. Headlands’ announcement emphasizes her interest, “as a Latinx woman of Puerto Rican heritage,” in “making art more accessible and welcoming to all.”\u003c/p>\n\u003cp>Robles served as the educator-in-charge of public programs and engagement at the Metropolitan Museum of Art in New York, the deputy director of education and public programs at the Pérez Art Museum in Miami, and the coordinator of youth and family programs at the Museum of Contemporary Art Chicago.\u003c/p>\n\u003cp>This will be the first time Robles has lived or worked in the Bay Area. Unique to Headlands’ executive director position, the job comes with housing on the arts center’s campus. She looks forward to the more reflective and slow-paced environment of the Marin Headlands, especially after a year like 2020. “I’m ready for the wild turkeys,” she says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Most recently, she was part of a team of cultural producers organizing public programming leading up to the 2020 \u003ca href=\"https://www.prospectneworleans.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Prospect New Orleans\u003c/a> triennial. The entire exhibition has since been pushed back a year due to the pandemic, with a new opening of Oct. 23, 2021.\u003c/p>\n\u003cp>Robles will step into the role with some \u003ca href=\"https://www.kqed.org/arts/13887237/headlands-to-end-affiliate-artist-program-launch-bay-area-fellowships\" target=\"_blank\" rel=\"noopener noreferrer\">major changes\u003c/a> on the horizon, including the end of Headlands’ affiliate artist program and the beginning of two funded fellowships. It’s also, she notes, a time of great upheaval and re-evaluation in the art world, as institutions grapple with their role in upholding white supremacy, and strive to adopt anti-racist practices.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Which is also why I’m excited to be, frankly, coming on to Headlands at this moment—a moment where the entire arts world is having a reckoning, as well as a more global reckoning around justice and race issues,” she says. “Headlands has been doing some of that work already, internally, thinking about racial equity. But really that’s something I value very much and have been working at intersection for some time.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Headlands to End Affiliate Artist Program, Launch Bay Area Fellowships",
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"content": "\u003cp>In the middle of a chaotic and universally terrible year, artist \u003ca href=\"https://drsfoto.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Daniel Southard\u003c/a> received the happy news that he had been accepted into Headlands Center for the Arts’ affiliate artist program. It meant at least one more year in Building 960, a former \u003ca href=\"http://www.headlands.org/about/building-commission/the-fort-barry-building/\" rel=\"noopener noreferrer\" target=\"_blank\">U.S. Army Quartermaster building\u003c/a> overlooking the Headlands’ Nike Missile Site, where he enjoyed a studio as a graduate fellow. Or, to be more specific, that he \u003ci>had\u003c/i> enjoyed until mid-March, when the coronavirus pandemic closed not just the studio, but the entire Marin Headlands. \u003c/p>\n\u003cp>“I was thrilled to get accepted in the affiliate program and expand my practice in old and new ways over the coming three years,” Southard wrote in an email. “I was also excited about the stability of knowing, at least partially, what these next three years might bring.”\u003c/p>\n\u003cp>The affiliates, a select group of around 20 artists and writers who pay below-market-rate for studio spaces in Building 960 and 961, have the option to reapply for their positions for up to three years at Headlands. At $1.10 per square foot on top of a $45 base, affiliate spaces are some of the most affordable—and stable—studios in the Bay Area. \u003c/p>\n\u003cp>It was May when Southard got his acceptance, followed by some communication about picking his next studio space, or maybe keeping his current spot. Then the emails petered out. “Oh, it’s the pandemic,” he remembers thinking. On July 15, affiliate artists were told Building 960 and 961 were reopening; they could begin to sign up for time slots to maintain social distancing. \u003c/p>\n\u003cfigure id=\"attachment_13887264\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/10/961_Front-Doors_AndriaLo_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13887264\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/961_Front-Doors_AndriaLo_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/961_Front-Doors_AndriaLo_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/961_Front-Doors_AndriaLo_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/961_Front-Doors_AndriaLo_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/961_Front-Doors_AndriaLo_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Building 961, currently home to some affiliate artist studios. \u003ccite>(Andria Lo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Less than a month later, though, on Aug. 10, all the current and future affiliates received the unexpected news that the entire affiliate program would cease to exist at the end of 2020. The arts center, facing an approximate $1 million budget deficit this year, had decided to accelerate plans to consolidate its campus, returning Building 960 and 961 to the National Park Service and sunsetting the program they housed. The final affiliate cohort, including Southard, would be its last.\u003c/p>\n\u003cp>Collectively, the affiliate artists had a simple statement: “It’s heartbreaking.” \u003c/p>\n\u003cp>The end of the \u003ca href=\"http://www.headlands.org/program/affiliate/\" rel=\"noopener noreferrer\" target=\"_blank\">affiliate program\u003c/a>, which has been part of Headlands in some form since 1988, is just one of several big-picture changes the arts organization plans to adopt beginning in January 2021. These decisions, which affect both the nonprofit’s physical campus and the ways in which it serves artists, were sped along by the pandemic but are rooted, program director Sean Uyehara emphasizes, in a five-year master plan approved in 2018. That plan refocuses the organization on its “core campus,” with new programming, according to \u003ca href=\"http://www.headlands.org/about/a-new-headlands/\" rel=\"noopener noreferrer\" target=\"_blank\">today’s announcement\u003c/a>, which shows Headlands “getting bold by narrowing our focus, going deeper, and, in the process, innovating how we support artists.”\u003c/p>\n\u003ch2>‘Rethinking everything we’re doing’\u003c/h2>\n\u003cp>The coronavirus pandemic has stripped arts nonprofits of earned income opportunities, threatened future funding, led to layoffs and furloughs, halted programming and pretty much turned everything upside down. Headlands Center for the Arts, despite a strong history of fundraising and a growing staff in recent years, is no exception.[aside postID='arts_13878509']\u003c/p>\n\u003cp>Immediate financial losses came in the form of canceled event rentals, which in 2019 had amounted to $260,077, or 5% of the arts center’s earned income and revenue. Suddenly, the calendar was wiped clean, reimbursements needed to be issued, and weddings or corporate retreats were out of the question for the foreseeable future. \u003c/p>\n\u003cp>2020 was already set to be a transitional year for the 38-year-old organization, best known outside the region for its highly competitive international residency program. In February, Sharon Maidenberg, Headlands’ executive director, \u003ca href=\"https://datebook.sfchronicle.com/art-exhibits/headlands-center-for-the-arts-director-leaving-to-lead-texas-museum\" rel=\"noopener noreferrer\" target=\"_blank\">announced\u003c/a> she would leave the nonprofit in June, after 10 years in her position. An executive search \u003ca href=\"https://koyapartners.com/search/headlands-executive-director/\" rel=\"noopener noreferrer\" target=\"_blank\">launched in March\u003c/a>, and Andrew Niklaus came on in May as an interim leader.\u003c/p>\n\u003cfigure id=\"attachment_13887265\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/10/HCA_Campus_Tom-Ide_1_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13887265\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/HCA_Campus_Tom-Ide_1_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/HCA_Campus_Tom-Ide_1_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/HCA_Campus_Tom-Ide_1_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/HCA_Campus_Tom-Ide_1_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/HCA_Campus_Tom-Ide_1_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A view of Headlands Center for the Arts’ lower campus buildings. \u003ccite>(Tom Ide)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In a normal year, the 20 affiliate artists and 14 graduate fellows would rub elbows with over 40 visiting artists and collectives at Mess Hall dinners, an exchange the affiliate artists describe as mutually beneficial. (Residents are often well-established in their careers, but affiliates have the advantage of local know-how, information they’re happy to share with visitors.)\u003c/p>\n\u003cp>Spring residents were scheduled to show up in March from as far away as Botswana; Headlands staff made the call to cancel their arrival just days before the Bay Area entered shelter in place. Board member and former affiliate artist Tucker Nichols says it was immediately apparent the organization needed to act quickly to address both near-future budget shortfalls and the long-term economic fallout the pandemic would surely bring about. \u003c/p>\n\u003cp>Headlands’ annual rent costs are around $174,00 per year; Buildings 960 and 961 represent roughly 21% of that amount. The organization estimates it would cost Headlands a minimum of $462,000—including rent, associated staff time, maintenance and “leasehold improvements”—to operate these buildings, as planned, through 2023.\u003c/p>\n\u003cp>“I don’t know if I would have done what they did,” Uyehara says of the Headlands’ 25-person board, several of whom are artists. “They gave so much time to us for free and we really needed it.” Together with remaining staff—two full-time employees were laid off, one in July and one in August—the board worked to figure out the organization’s available options. “The pandemic suggested the possibility that Headlands would have to close,” Uyehara says. “We worked for about three months really intensely on just reformulating, and rethinking everything we’re doing.” \u003c/p>\n\u003cp>Guiding them throughout, he says, was the existing master plan.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003ch2>‘We don’t want to go anywhere else’\u003c/h2>\n\u003cp>Part of Headlands’ 2018 master plan specified this exact consolidation of the campus, returning Building 960 and 961 to the Park Service and concentrating on maintaining the “lower” campus: the residences and Buildings 944 and 945. But the master plan outlined that this would happen by 2023, when the affiliate artist program would sunset. Incoming affiliates would be advised about the end of the program one, maybe even two years in advance—so they could know what they were getting into, and when it would all come to a close.\u003c/p>\n\u003cp>Moving everything up to the end of 2020 means no such gentle transition. “I won’t make this sound like we’re so happy and thrilled about everything,” Nichols says. He speaks wistfully of his own former studio in Building 960. “As an artist on the board, this was extremely painful … to have to end this program and give up those buildings is painful.” \u003c/p>\n\u003cp>Nichols adds: “If I had a studio there, I would feel really disappointed. The thing you need most is a place to make your work and a place to retreat to for your sanity.” \u003c/p>\n\u003cp>The current affiliates agree. To them, today’s announcement reads like a decision made in 2018 that they’re just now hearing about, a decision made without consulting them then—or now. Collectively, the affiliates say their studios are a key part of what enables many of them to stay in the Bay Area, a region so many artists have fled over the years because it’s simply “so much easier to be somewhere else,” they say. \u003c/p>\n\u003cp>Especially during the pandemic, Headlands has become a place where they can still be together, albeit in more distant ways, going for walks and maintaining a sense of community rooted in place. “Losing this space that allows for us to be here and to work here is really hurtful,” they say. “We don’t want to go away, we don’t want to go anywhere else.”\u003c/p>\n\u003cfigure id=\"attachment_13887266\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/10/Thematic_Palliative-Care_photo_by_TomIde_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13887266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Thematic_Palliative-Care_photo_by_TomIde_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Thematic_Palliative-Care_photo_by_TomIde_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Thematic_Palliative-Care_photo_by_TomIde_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Thematic_Palliative-Care_photo_by_TomIde_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Thematic_Palliative-Care_photo_by_TomIde_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Headlands Center for the Arts Program Director Sean Uyehara speaking with participants of the Thematic Residency on Palliative Care Futures and Psychedelic Medicines, in January, 2020. \u003ccite>(Tom Ide)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Adding to the sense of abandonment are other parts of Headlands’ reformulated plan for 2021: two newly created and generously funded fellowships, \u003ca href=\"http://www.headlands.org/program/bay-area-fellowship-program/\" rel=\"noopener noreferrer\" target=\"_blank\">one for Bay Area artists\u003c/a>, the other for \u003ca href=\"http://www.headlands.org/program/threshold-fellowship/\" rel=\"noopener noreferrer\" target=\"_blank\">multidisciplinary cohorts\u003c/a>. With these new programs, Headlands will work with less artists (Uyehara envisions the Bay Area Fellowship will launch with three artists, but aims to expand it for 8–10), but more deeply and responsively.\u003c/p>\n\u003cp>Each Bay Area fellow will receive a $15,000 honorarium per year over two years, along with the option for health insurance and an “$8,000 pot” to use towards their material and immaterial fellowship needs, Uyehara says. Applications open January 2021.\u003c/p>\n\u003cp>The Threshold Fellowship will gather artists and experts to “explore critical issues” in the vein of Headlands’ previous thematic residencies. Three fellows will receive $10,000 each, time and space at Headlands and additional monetary and administrative support to develop programs and activities over the course of a year. \u003c/p>\n\u003cp>Uyehara describes both fellowships as providing deeper support to artists than past residencies. Instead of a one-size-fits-all approach, working with fewer people will allow Headlands staff to be more responsive to individual fellows’ needs, to help them craft a program that serves their particular practice in that moment.[aside postID='arts_13808504']\u003c/p>\n\u003cp>Uyehara is aware it’s going to be hard to separate the end of the affiliate program from the launch of the Bay Area fellowship, but stresses they’re two very separate decisions. “It’s really intended to vest and fully express the organization’s intention to become a more equitable institution,” he says of the fellowship. “It’s not intended that that equity would come at the price of the local artists. I don’t think that there’s a way to unhinge those things, but it’s never intended that the new programs would replace the old ones.”\u003c/p>\n\u003cp>Affiliates point out their current cohort is possibly the most diverse group of artists the program has accepted in recent years—and if equity is the goal, they question why Headlands would dissolve a program that is already successful.\u003c/p>\n\u003cp>But the real problem, Uyehara says with a sigh, is timing—the affiliates were supposed to have much more lead time to know their program was ending.\u003c/p>\n\u003ch2>Ensuring Futures\u003c/h2>\n\u003cp>In an attempt to cushion the blow of losing their studios, affiliates will be offered six to nine months of free studio space in Headlands’ lower campus buildings over the course of the next few years. The affiliates appreciate this gesture, but they believe their needs are once again not taking priority: their understanding is that their studio time is to be slotted around rescheduled residencies of Bay Area and California artists from the 2020 cohort, which will now take place only in the summer months. \u003c/p>\n\u003cp>“It’s not the affiliate program,” they say. “There’s no kind of support, programs, or explanation of how we will be presented. It’s just studio space.” \u003c/p>\n\u003cp>Meanwhile, Headlands is still negotiating with the Park Service to secure a long-term lease on the lower campus buildings. Buildings 960 and 961 may facilitate that process. “Part of what makes dealing with the Park easier is the return of the buildings,” Uyehara says.\u003c/p>\n\u003cp>And while it seems there is little time or room to alter the outcome of today’s announcement, the affiliate artists are committed to doing everything they can to ensure the future of their program. To that end, they’ve over gathered 50 emails of support from former affiliates who credit the program with substantially influencing their professional lives. \u003c/p>\n\u003cp>For now, the affiliate artists, 13 graduate fellows and two Tournesol awardees are the only artists at Headlands. The affiliate artists find this fact particularly poignant.\u003c/p>\n\u003cp>“I wish they valued us as much as they say they will value artists of the future,” say the affiliates.\u003c/p>\n\u003cp>\u003ci>This story has been updated to reflect the fact that 15 artists in addition to the affiliates are also currently working at Headlands.\u003c/i>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the middle of a chaotic and universally terrible year, artist \u003ca href=\"https://drsfoto.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Daniel Southard\u003c/a> received the happy news that he had been accepted into Headlands Center for the Arts’ affiliate artist program. It meant at least one more year in Building 960, a former \u003ca href=\"http://www.headlands.org/about/building-commission/the-fort-barry-building/\" rel=\"noopener noreferrer\" target=\"_blank\">U.S. Army Quartermaster building\u003c/a> overlooking the Headlands’ Nike Missile Site, where he enjoyed a studio as a graduate fellow. Or, to be more specific, that he \u003ci>had\u003c/i> enjoyed until mid-March, when the coronavirus pandemic closed not just the studio, but the entire Marin Headlands. \u003c/p>\n\u003cp>“I was thrilled to get accepted in the affiliate program and expand my practice in old and new ways over the coming three years,” Southard wrote in an email. “I was also excited about the stability of knowing, at least partially, what these next three years might bring.”\u003c/p>\n\u003cp>The affiliates, a select group of around 20 artists and writers who pay below-market-rate for studio spaces in Building 960 and 961, have the option to reapply for their positions for up to three years at Headlands. At $1.10 per square foot on top of a $45 base, affiliate spaces are some of the most affordable—and stable—studios in the Bay Area. \u003c/p>\n\u003cp>It was May when Southard got his acceptance, followed by some communication about picking his next studio space, or maybe keeping his current spot. Then the emails petered out. “Oh, it’s the pandemic,” he remembers thinking. On July 15, affiliate artists were told Building 960 and 961 were reopening; they could begin to sign up for time slots to maintain social distancing. \u003c/p>\n\u003cfigure id=\"attachment_13887264\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/10/961_Front-Doors_AndriaLo_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13887264\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/961_Front-Doors_AndriaLo_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/961_Front-Doors_AndriaLo_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/961_Front-Doors_AndriaLo_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/961_Front-Doors_AndriaLo_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/961_Front-Doors_AndriaLo_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Building 961, currently home to some affiliate artist studios. \u003ccite>(Andria Lo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Less than a month later, though, on Aug. 10, all the current and future affiliates received the unexpected news that the entire affiliate program would cease to exist at the end of 2020. The arts center, facing an approximate $1 million budget deficit this year, had decided to accelerate plans to consolidate its campus, returning Building 960 and 961 to the National Park Service and sunsetting the program they housed. The final affiliate cohort, including Southard, would be its last.\u003c/p>\n\u003cp>Collectively, the affiliate artists had a simple statement: “It’s heartbreaking.” \u003c/p>\n\u003cp>The end of the \u003ca href=\"http://www.headlands.org/program/affiliate/\" rel=\"noopener noreferrer\" target=\"_blank\">affiliate program\u003c/a>, which has been part of Headlands in some form since 1988, is just one of several big-picture changes the arts organization plans to adopt beginning in January 2021. These decisions, which affect both the nonprofit’s physical campus and the ways in which it serves artists, were sped along by the pandemic but are rooted, program director Sean Uyehara emphasizes, in a five-year master plan approved in 2018. That plan refocuses the organization on its “core campus,” with new programming, according to \u003ca href=\"http://www.headlands.org/about/a-new-headlands/\" rel=\"noopener noreferrer\" target=\"_blank\">today’s announcement\u003c/a>, which shows Headlands “getting bold by narrowing our focus, going deeper, and, in the process, innovating how we support artists.”\u003c/p>\n\u003ch2>‘Rethinking everything we’re doing’\u003c/h2>\n\u003cp>The coronavirus pandemic has stripped arts nonprofits of earned income opportunities, threatened future funding, led to layoffs and furloughs, halted programming and pretty much turned everything upside down. Headlands Center for the Arts, despite a strong history of fundraising and a growing staff in recent years, is no exception.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Immediate financial losses came in the form of canceled event rentals, which in 2019 had amounted to $260,077, or 5% of the arts center’s earned income and revenue. Suddenly, the calendar was wiped clean, reimbursements needed to be issued, and weddings or corporate retreats were out of the question for the foreseeable future. \u003c/p>\n\u003cp>2020 was already set to be a transitional year for the 38-year-old organization, best known outside the region for its highly competitive international residency program. In February, Sharon Maidenberg, Headlands’ executive director, \u003ca href=\"https://datebook.sfchronicle.com/art-exhibits/headlands-center-for-the-arts-director-leaving-to-lead-texas-museum\" rel=\"noopener noreferrer\" target=\"_blank\">announced\u003c/a> she would leave the nonprofit in June, after 10 years in her position. An executive search \u003ca href=\"https://koyapartners.com/search/headlands-executive-director/\" rel=\"noopener noreferrer\" target=\"_blank\">launched in March\u003c/a>, and Andrew Niklaus came on in May as an interim leader.\u003c/p>\n\u003cfigure id=\"attachment_13887265\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/10/HCA_Campus_Tom-Ide_1_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13887265\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/HCA_Campus_Tom-Ide_1_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/HCA_Campus_Tom-Ide_1_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/HCA_Campus_Tom-Ide_1_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/HCA_Campus_Tom-Ide_1_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/HCA_Campus_Tom-Ide_1_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A view of Headlands Center for the Arts’ lower campus buildings. \u003ccite>(Tom Ide)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In a normal year, the 20 affiliate artists and 14 graduate fellows would rub elbows with over 40 visiting artists and collectives at Mess Hall dinners, an exchange the affiliate artists describe as mutually beneficial. (Residents are often well-established in their careers, but affiliates have the advantage of local know-how, information they’re happy to share with visitors.)\u003c/p>\n\u003cp>Spring residents were scheduled to show up in March from as far away as Botswana; Headlands staff made the call to cancel their arrival just days before the Bay Area entered shelter in place. Board member and former affiliate artist Tucker Nichols says it was immediately apparent the organization needed to act quickly to address both near-future budget shortfalls and the long-term economic fallout the pandemic would surely bring about. \u003c/p>\n\u003cp>Headlands’ annual rent costs are around $174,00 per year; Buildings 960 and 961 represent roughly 21% of that amount. The organization estimates it would cost Headlands a minimum of $462,000—including rent, associated staff time, maintenance and “leasehold improvements”—to operate these buildings, as planned, through 2023.\u003c/p>\n\u003cp>“I don’t know if I would have done what they did,” Uyehara says of the Headlands’ 25-person board, several of whom are artists. “They gave so much time to us for free and we really needed it.” Together with remaining staff—two full-time employees were laid off, one in July and one in August—the board worked to figure out the organization’s available options. “The pandemic suggested the possibility that Headlands would have to close,” Uyehara says. “We worked for about three months really intensely on just reformulating, and rethinking everything we’re doing.” \u003c/p>\n\u003cp>Guiding them throughout, he says, was the existing master plan.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003ch2>‘We don’t want to go anywhere else’\u003c/h2>\n\u003cp>Part of Headlands’ 2018 master plan specified this exact consolidation of the campus, returning Building 960 and 961 to the Park Service and concentrating on maintaining the “lower” campus: the residences and Buildings 944 and 945. But the master plan outlined that this would happen by 2023, when the affiliate artist program would sunset. Incoming affiliates would be advised about the end of the program one, maybe even two years in advance—so they could know what they were getting into, and when it would all come to a close.\u003c/p>\n\u003cp>Moving everything up to the end of 2020 means no such gentle transition. “I won’t make this sound like we’re so happy and thrilled about everything,” Nichols says. He speaks wistfully of his own former studio in Building 960. “As an artist on the board, this was extremely painful … to have to end this program and give up those buildings is painful.” \u003c/p>\n\u003cp>Nichols adds: “If I had a studio there, I would feel really disappointed. The thing you need most is a place to make your work and a place to retreat to for your sanity.” \u003c/p>\n\u003cp>The current affiliates agree. To them, today’s announcement reads like a decision made in 2018 that they’re just now hearing about, a decision made without consulting them then—or now. Collectively, the affiliates say their studios are a key part of what enables many of them to stay in the Bay Area, a region so many artists have fled over the years because it’s simply “so much easier to be somewhere else,” they say. \u003c/p>\n\u003cp>Especially during the pandemic, Headlands has become a place where they can still be together, albeit in more distant ways, going for walks and maintaining a sense of community rooted in place. “Losing this space that allows for us to be here and to work here is really hurtful,” they say. “We don’t want to go away, we don’t want to go anywhere else.”\u003c/p>\n\u003cfigure id=\"attachment_13887266\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/10/Thematic_Palliative-Care_photo_by_TomIde_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13887266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Thematic_Palliative-Care_photo_by_TomIde_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Thematic_Palliative-Care_photo_by_TomIde_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Thematic_Palliative-Care_photo_by_TomIde_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Thematic_Palliative-Care_photo_by_TomIde_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Thematic_Palliative-Care_photo_by_TomIde_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Headlands Center for the Arts Program Director Sean Uyehara speaking with participants of the Thematic Residency on Palliative Care Futures and Psychedelic Medicines, in January, 2020. \u003ccite>(Tom Ide)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Adding to the sense of abandonment are other parts of Headlands’ reformulated plan for 2021: two newly created and generously funded fellowships, \u003ca href=\"http://www.headlands.org/program/bay-area-fellowship-program/\" rel=\"noopener noreferrer\" target=\"_blank\">one for Bay Area artists\u003c/a>, the other for \u003ca href=\"http://www.headlands.org/program/threshold-fellowship/\" rel=\"noopener noreferrer\" target=\"_blank\">multidisciplinary cohorts\u003c/a>. With these new programs, Headlands will work with less artists (Uyehara envisions the Bay Area Fellowship will launch with three artists, but aims to expand it for 8–10), but more deeply and responsively.\u003c/p>\n\u003cp>Each Bay Area fellow will receive a $15,000 honorarium per year over two years, along with the option for health insurance and an “$8,000 pot” to use towards their material and immaterial fellowship needs, Uyehara says. Applications open January 2021.\u003c/p>\n\u003cp>The Threshold Fellowship will gather artists and experts to “explore critical issues” in the vein of Headlands’ previous thematic residencies. Three fellows will receive $10,000 each, time and space at Headlands and additional monetary and administrative support to develop programs and activities over the course of a year. \u003c/p>\n\u003cp>Uyehara describes both fellowships as providing deeper support to artists than past residencies. Instead of a one-size-fits-all approach, working with fewer people will allow Headlands staff to be more responsive to individual fellows’ needs, to help them craft a program that serves their particular practice in that moment.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Uyehara is aware it’s going to be hard to separate the end of the affiliate program from the launch of the Bay Area fellowship, but stresses they’re two very separate decisions. “It’s really intended to vest and fully express the organization’s intention to become a more equitable institution,” he says of the fellowship. “It’s not intended that that equity would come at the price of the local artists. I don’t think that there’s a way to unhinge those things, but it’s never intended that the new programs would replace the old ones.”\u003c/p>\n\u003cp>Affiliates point out their current cohort is possibly the most diverse group of artists the program has accepted in recent years—and if equity is the goal, they question why Headlands would dissolve a program that is already successful.\u003c/p>\n\u003cp>But the real problem, Uyehara says with a sigh, is timing—the affiliates were supposed to have much more lead time to know their program was ending.\u003c/p>\n\u003ch2>Ensuring Futures\u003c/h2>\n\u003cp>In an attempt to cushion the blow of losing their studios, affiliates will be offered six to nine months of free studio space in Headlands’ lower campus buildings over the course of the next few years. The affiliates appreciate this gesture, but they believe their needs are once again not taking priority: their understanding is that their studio time is to be slotted around rescheduled residencies of Bay Area and California artists from the 2020 cohort, which will now take place only in the summer months. \u003c/p>\n\u003cp>“It’s not the affiliate program,” they say. “There’s no kind of support, programs, or explanation of how we will be presented. It’s just studio space.” \u003c/p>\n\u003cp>Meanwhile, Headlands is still negotiating with the Park Service to secure a long-term lease on the lower campus buildings. Buildings 960 and 961 may facilitate that process. “Part of what makes dealing with the Park easier is the return of the buildings,” Uyehara says.\u003c/p>\n\u003cp>And while it seems there is little time or room to alter the outcome of today’s announcement, the affiliate artists are committed to doing everything they can to ensure the future of their program. To that end, they’ve over gathered 50 emails of support from former affiliates who credit the program with substantially influencing their professional lives. \u003c/p>\n\u003cp>For now, the affiliate artists, 13 graduate fellows and two Tournesol awardees are the only artists at Headlands. The affiliate artists find this fact particularly poignant.\u003c/p>\n\u003cp>“I wish they valued us as much as they say they will value artists of the future,” say the affiliates.\u003c/p>\n\u003cp>\u003ci>This story has been updated to reflect the fact that 15 artists in addition to the affiliates are also currently working at Headlands.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>In the movie \u003cem>Raiders of the Lost Ark\u003c/em>, we’re made to believe that Indiana Jones teaches at an East Coast college and lives in Connecticut. But the exterior of the famed fictional archaeologist’s home was actually filmed at \u003ca href=\"https://www.google.com/maps/place/38+Alder+Ave,+San+Anselmo,+CA+94960/@37.9808915,-122.5719197,3a,75y,136.6h,93.32t/data=!3m6!1e1!3m4!1sgD311vqkCFu83S6s3NWhKQ!2e0!7i16384!8i8192!4m5!3m4!1s0x8085971aa26961af:0x4d73dd8213f98e72!8m2!3d37.9807863!4d-122.5717182\" rel=\"noopener noreferrer\" target=\"_blank\">a house in San Anselmo\u003c/a>. The modest house on Alder Avenue was one of a handful of the movie’s Marin County filming locations, which is part of what makes opening night of a new Marin County film series special. With movie theaters closed due to COVID-19, the Lark Theater in Larkspur launches a drive-in movie theater experience this month at the Village Shopping Center in Corte Madera.\u003c/p>\n\u003cp>Modeled after other parking lot pop-up drive-ins around the state, and accommodating around 100 cars each night, the \u003cem>Movies Under the Stars\u003c/em> series features classic films like \u003cem>Purple Rain, Dirty Dancing, Willy Wonka and the Chocolate Factory, Back to the Future\u003c/em> and \u003cem>Jurassic Park\u003c/em>. Tickets are $30 per car for as many people as you can legally cram inside. Screening on opening night, July 23, is \u003cem>Raiders of the Lost Ark\u003c/em>—and afterward, well, you may just want to drive the short six miles to check out Indiana Jones’ house just over the hill. \u003ca href=\"http://larktheater.net/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the movie \u003cem>Raiders of the Lost Ark\u003c/em>, we’re made to believe that Indiana Jones teaches at an East Coast college and lives in Connecticut. But the exterior of the famed fictional archaeologist’s home was actually filmed at \u003ca href=\"https://www.google.com/maps/place/38+Alder+Ave,+San+Anselmo,+CA+94960/@37.9808915,-122.5719197,3a,75y,136.6h,93.32t/data=!3m6!1e1!3m4!1sgD311vqkCFu83S6s3NWhKQ!2e0!7i16384!8i8192!4m5!3m4!1s0x8085971aa26961af:0x4d73dd8213f98e72!8m2!3d37.9807863!4d-122.5717182\" rel=\"noopener noreferrer\" target=\"_blank\">a house in San Anselmo\u003c/a>. The modest house on Alder Avenue was one of a handful of the movie’s Marin County filming locations, which is part of what makes opening night of a new Marin County film series special. With movie theaters closed due to COVID-19, the Lark Theater in Larkspur launches a drive-in movie theater experience this month at the Village Shopping Center in Corte Madera.\u003c/p>\n\u003cp>Modeled after other parking lot pop-up drive-ins around the state, and accommodating around 100 cars each night, the \u003cem>Movies Under the Stars\u003c/em> series features classic films like \u003cem>Purple Rain, Dirty Dancing, Willy Wonka and the Chocolate Factory, Back to the Future\u003c/em> and \u003cem>Jurassic Park\u003c/em>. Tickets are $30 per car for as many people as you can legally cram inside. Screening on opening night, July 23, is \u003cem>Raiders of the Lost Ark\u003c/em>—and afterward, well, you may just want to drive the short six miles to check out Indiana Jones’ house just over the hill. \u003ca href=\"http://larktheater.net/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "the-do-list-rock-the-boat-kendrick-scott-armenian-food-festival-and-more",
"title": "The Do List: Rock the Boat, Kendrick Scott, Armenian Food Festival and More",
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"content": "\u003cp>Looking for things to do in the Bay Area this weekend? The Do List has you covered with concerts, festivals, exhibitions, plays, performances and more.\u003c/p>\n\u003cp>You can listen to this week’s episode above with Gabe Meline, Nastia Voynovskaya and Grace Cheung, or read about our picks below.\u003c/p>\n\u003cp>\u003cstrong>Kendrick Scott Oracle\u003c/strong>: Kendrick Scott’s a leader in this new style of jazz drumming that’s exploding right now; a mix of jazz and skittering electronica-style beats played on the drums. Some of the players in this style have taken all the swing out of jazz drumming, but not Scott. He’s recorded for Blue Note Records, and his music often references social change, such as his \u003ca href=\"https://youtu.be/CcyJlQLu6-8\" rel=\"noopener noreferrer\" target=\"_blank\">tribute to Philando Castile\u003c/a>. With his group the Kendrick Scott Oracle, his show this week in San Jose is part of a new series called Black Cab Jazz, where the capacity is just over 100 seats. That’s on Sunday, Oct. 20, at the Hammer Theater Center’s black box theater in San Jose. \u003ca href=\"https://hammertheatre.com/event/sj-jazz-hammer-theatre-cabaret-kendrick-scott/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>‘Primary Wurld’\u003c/strong>: This group show at SWIM Gallery comes with a unique twist. All the installations, outfits, performers, snacks and even the audience will be in primary colors: blue, red or yellow. The curator, Baby Buu, seems really serious about this—there will actually be someone at the door checking outfits to make sure showgoers comply with the dress code. They’re keeping the art itself pretty hush-hush, but some interesting looking sculptures and club-kid looks related to the show have popped up on Instagram. The overall goal, though, is an immersive experience where the audience becomes the art. \u003cem>Primary Wurld\u003c/em> takes place on Saturday, Oct. 19, at SWIM Gallery in San Francisco. \u003ca href=\"http://www.luggagestoregallery.org/2019/09/primary-wurld/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Armenian Food Festival\u003c/strong>: When you think of Armenians in California, you might think of the Kardashians. But if you’re looking for traditional Armenian cuisine, it’s not exactly a staple of their TV show. Those curious about Armenian food are in luck, though, because fall is when Armenian churches in the Bay Area break out the food and dance. For 77 years, the St. John Armenian Church has held their food festival, where you can expect to see bread and butter (probably in the form of phyllo dough desserts), plus candied nuts and fruits, kufta and more. Proceeds benefit Armenian charities. That’s on Saturday and Sunday, Oct. 19 and 20, at St. John Armenian Church in San Francisco. \u003ca href=\"https://stjohnarmenianchurch.com/food-festival\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Headlands Center for the Arts Open House\u003c/strong>: If you’re looking to get out of town, the remote and beautiful Headlands Center for the Arts in the Marin Headlands holds an open house on Sunday. This isn’t your regular open house: it’s in a former Army barracks building that’s 100 years old, overlooking the Pacific Ocean. So if you get tired of seeing the studios of artists-in-residence—and I guarantee you won’t, the art is often astounding—but if you do, you can always go on a hike, or walk down to the beach. In fact, the building itself is art, since famous artists like Ann Hamilton and David Ireland added to it, and the bathrooms there are the weirdest and most fun bathrooms I’ve seen in years. That’s an open house on Sunday, Oct. 20, at the Headlands Center for the Arts. \u003ca href=\"http://www.headlands.org/event/fall-open-house-7/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Rock the Ship Festival\u003c/strong>: It seems only natural that the punk label Pirates Press Records would throw a show on the water. The centerpiece of the Rock the Ship festival comes on Saturday, Oct. 19, with an all-day punk rock extravaganza on the U.S.S. Hornet in Alameda, with influential British underground bands Cock Sparrer and Subhumans as headliners. Also playing: CJ Ramone, the Ramones’ bassist in the ’90s; all-woman anarcho-punk band Bad Cop/Bad Cop; and Oakland’s own Harrington Saints, plus lots of others. Off the ship and back on land, the festival also hosts four nights of shows at Starline Social Club in Oakland, Oct. 17–20. \u003ca href=\"http://www.rocktheshipfestival.com\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Looking for things to do in the Bay Area this weekend? The Do List has you covered with concerts, festivals, exhibitions, plays, performances and more.\u003c/p>\n\u003cp>You can listen to this week’s episode above with Gabe Meline, Nastia Voynovskaya and Grace Cheung, or read about our picks below.\u003c/p>\n\u003cp>\u003cstrong>Kendrick Scott Oracle\u003c/strong>: Kendrick Scott’s a leader in this new style of jazz drumming that’s exploding right now; a mix of jazz and skittering electronica-style beats played on the drums. Some of the players in this style have taken all the swing out of jazz drumming, but not Scott. He’s recorded for Blue Note Records, and his music often references social change, such as his \u003ca href=\"https://youtu.be/CcyJlQLu6-8\" rel=\"noopener noreferrer\" target=\"_blank\">tribute to Philando Castile\u003c/a>. With his group the Kendrick Scott Oracle, his show this week in San Jose is part of a new series called Black Cab Jazz, where the capacity is just over 100 seats. That’s on Sunday, Oct. 20, at the Hammer Theater Center’s black box theater in San Jose. \u003ca href=\"https://hammertheatre.com/event/sj-jazz-hammer-theatre-cabaret-kendrick-scott/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>‘Primary Wurld’\u003c/strong>: This group show at SWIM Gallery comes with a unique twist. All the installations, outfits, performers, snacks and even the audience will be in primary colors: blue, red or yellow. The curator, Baby Buu, seems really serious about this—there will actually be someone at the door checking outfits to make sure showgoers comply with the dress code. They’re keeping the art itself pretty hush-hush, but some interesting looking sculptures and club-kid looks related to the show have popped up on Instagram. The overall goal, though, is an immersive experience where the audience becomes the art. \u003cem>Primary Wurld\u003c/em> takes place on Saturday, Oct. 19, at SWIM Gallery in San Francisco. \u003ca href=\"http://www.luggagestoregallery.org/2019/09/primary-wurld/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Armenian Food Festival\u003c/strong>: When you think of Armenians in California, you might think of the Kardashians. But if you’re looking for traditional Armenian cuisine, it’s not exactly a staple of their TV show. Those curious about Armenian food are in luck, though, because fall is when Armenian churches in the Bay Area break out the food and dance. For 77 years, the St. John Armenian Church has held their food festival, where you can expect to see bread and butter (probably in the form of phyllo dough desserts), plus candied nuts and fruits, kufta and more. Proceeds benefit Armenian charities. That’s on Saturday and Sunday, Oct. 19 and 20, at St. John Armenian Church in San Francisco. \u003ca href=\"https://stjohnarmenianchurch.com/food-festival\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Headlands Center for the Arts Open House\u003c/strong>: If you’re looking to get out of town, the remote and beautiful Headlands Center for the Arts in the Marin Headlands holds an open house on Sunday. This isn’t your regular open house: it’s in a former Army barracks building that’s 100 years old, overlooking the Pacific Ocean. So if you get tired of seeing the studios of artists-in-residence—and I guarantee you won’t, the art is often astounding—but if you do, you can always go on a hike, or walk down to the beach. In fact, the building itself is art, since famous artists like Ann Hamilton and David Ireland added to it, and the bathrooms there are the weirdest and most fun bathrooms I’ve seen in years. That’s an open house on Sunday, Oct. 20, at the Headlands Center for the Arts. \u003ca href=\"http://www.headlands.org/event/fall-open-house-7/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Rock the Ship Festival\u003c/strong>: It seems only natural that the punk label Pirates Press Records would throw a show on the water. The centerpiece of the Rock the Ship festival comes on Saturday, Oct. 19, with an all-day punk rock extravaganza on the U.S.S. Hornet in Alameda, with influential British underground bands Cock Sparrer and Subhumans as headliners. Also playing: CJ Ramone, the Ramones’ bassist in the ’90s; all-woman anarcho-punk band Bad Cop/Bad Cop; and Oakland’s own Harrington Saints, plus lots of others. Off the ship and back on land, the festival also hosts four nights of shows at Starline Social Club in Oakland, Oct. 17–20. \u003ca href=\"http://www.rocktheshipfestival.com\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "With a Roll of the Dice, Artist’s Game Tells a Story of West Coast Science and Spiritualism",
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"content": "\u003cp>“It looks like a game and a table, but in fact it’s a book,” explains artist \u003ca href=\"http://www.stephaniesolinas.com/\" target=\"_blank\" rel=\"noopener\">Stéphanie Solinas\u003c/a> about her upcoming exhibition \u003ca href=\"http://www.headlands.org/event/spring-project-space-exibition/\" target=\"_blank\" rel=\"noopener\">\u003ci>Becoming Oneself\u003c/i>\u003c/a> at the Headlands Center for the Arts in Marin. I met the artist in her studio at the Headlands, which is open to the public while she prepares for the show, but she was reluctant to divulge the story arc of this book. As books go, the work is akin to a \u003ci>Choose Your Own Adventure\u003c/i>, and she hardly had the time to recount every possible version of the text.\u003c/p>\n\u003cp>Continuing with the literary metaphor, \u003ci>Becoming Oneself\u003c/i>, which will be unveiled on April 14 during the Headlands’ Spring Open House, is perhaps most accurately described as a philosophical travelogue of the French artist’s time in the western United States.\u003c/p>\n\u003cp>There is a long tradition of French intellectuals traversing the U.S. in an attempt to understand what exactly is going on across the Atlantic. Alexis de Tocqueville’s \u003ci>Democracy in America\u003c/i> (1835-40) is the classic text of this genre. Postmodern philosopher Jean Baudrillard followed suit in 1980s, as did philosopher Bernard-Henri Lévy at the turn of the current century. Solinas’ \u003ci>Becoming Oneself\u003c/i> follows suit, but with an eye towards the metaphysical.\u003c/p>\n\u003cfigure id=\"attachment_13854633\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/Solinas_Sunset_1200.jpg\" alt=\"Stéphanie Solinas, 'Becoming Oneself,' 2015–ongoing.\" width=\"1200\" height=\"928\" class=\"size-full wp-image-13854633\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Solinas_Sunset_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Solinas_Sunset_1200-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Solinas_Sunset_1200-800x619.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Solinas_Sunset_1200-768x594.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Solinas_Sunset_1200-1020x789.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Stéphanie Solinas, ‘Becoming Oneself,’ 2015–ongoing. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Since 2014, Solinas has been investigating none other than the dualism that undergirds modern European thought, specifically how the often-conflicting notions of mind and body shape individuals’ identities. At the same time that we are made of body, Solinas says, “we are made of our spirituality; we are made of our deceased friends and our ancestors.”\u003c/p>\n\u003cp>How then, she asks, can this complexity be represented in images? Indirectly and poetically, her work answers.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This artistic research began in Iceland, where Solinas collaborated with mediums and geneticists to map both the physical landscape and the territory of \u003cem>huldufólk\u003c/em>, Iceland’s population of rock-dwelling elves. She later continued the line of inquiry in Rome, where she researched miracles. But she was beckoned by the western U.S., a place where both science and spirituality play pivotal roles in regional identities.\u003c/p>\n\u003cfigure id=\"attachment_13854632\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/Solinas_Hand_1200.jpg\" alt=\"Stéphanie Solinas, 'Becoming Oneself,' 2015–ongoing.\" width=\"1200\" height=\"1029\" class=\"size-full wp-image-13854632\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Solinas_Hand_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Solinas_Hand_1200-160x137.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Solinas_Hand_1200-800x686.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Solinas_Hand_1200-768x659.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Solinas_Hand_1200-1020x875.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Stéphanie Solinas, ‘Becoming Oneself,’ 2015–ongoing. \u003ccite>(Courtesy of the aritst)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The region is home to Silicon Valley, Caltech and Lawrence Livermore National Laboratory, as well as flower power, the California Institute of Integral Studies, El Santuario de Chimayó, and, as I learned from Solinas, the supernatural vortices of Sedona. But while matter and mind are often thought of as oppositional, the relationship is more complicated. After all, an artificial intelligence engineer could leave work in Menlo Park and arrive at the Esalen Institute by sundown for a workshop on forest bathing. (This has probably happened.)\u003c/p>\n\u003cp>The guiding question for Solinas’ research was: “What are the ideas of today that are inventing tomorrow’s identity?” And to extrapolate, will this identity be grounded in techno-utopianism or new age spirituality? In search of an answer, she traveled from Sedona to Silicon Valley, and many points in between, interviewing scientists, shamans and a man she describes as a “repentant scientist.”\u003c/p>\n\u003cp>While on the road she collected images, stories, video interviews, artifacts and ideas. These elements make up the contents of the book and the material of the exhibition. But instead of mounting these items on a wall, she explains, “pictures are going from my hand to the hand of the viewer.”\u003c/p>\n\u003cfigure id=\"attachment_13854631\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/Solinas_Dollar_1200.jpg\" alt=\"Stéphanie Solinas, 'Becoming Oneself,' 2015–ongoing.\" width=\"1200\" height=\"1697\" class=\"size-full wp-image-13854631\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Solinas_Dollar_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Solinas_Dollar_1200-160x226.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Solinas_Dollar_1200-800x1131.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Solinas_Dollar_1200-768x1086.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Solinas_Dollar_1200-1020x1442.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Solinas_Dollar_1200-849x1200.jpg 849w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Stéphanie Solinas, ‘Becoming Oneself,’ 2015–ongoing. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To accomplish this, Solinas has created a seven-player game using a roulette board she purchased in Las Vegas, redesigning the gameplay with influences from roulette, tarot, Chutes and Ladders, and other games. One must engage directly with Solinas and six other strangers to experience this text, and the story will unfold according to the dictates of dice. The game is called Río Buenaventura, named after a mythical river once thought to run from the Rocky Mountains to the Pacific Ocean, a fitting metaphor for a region that is so often defined by its myths.\u003c/p>\n\u003cp>Back in 1981, Jean Baudrillard left the American West with less than flattering sentiments. “The mystical power of California,” he wrote, “consists of this mixture of extreme disconnection and vertiginous mobility captured in the setting … Nowhere else does there exist such a stunning fusion of a radical lack of culture and natural beauty.”\u003c/p>\n\u003cp>One will need to play Río Buenaventura for a full sense of Solinas’ findings, but she speaks about the people and experiences she encountered during her research with openness and sensitivity. She seems to embrace her perspective as an outsider without trying to force a specific worldview on what she found here. Instead, she says, the excitement of this work came from the surprising connections she found between seemingly disparate people and ideas.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Stéphanie Solinas: Becoming Oneself’ is on view at Headlands Center for the Arts April 14–May 2, 2019. \u003ca href=\"http://www.headlands.org/event/spring-project-space-exibition/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“It looks like a game and a table, but in fact it’s a book,” explains artist \u003ca href=\"http://www.stephaniesolinas.com/\" target=\"_blank\" rel=\"noopener\">Stéphanie Solinas\u003c/a> about her upcoming exhibition \u003ca href=\"http://www.headlands.org/event/spring-project-space-exibition/\" target=\"_blank\" rel=\"noopener\">\u003ci>Becoming Oneself\u003c/i>\u003c/a> at the Headlands Center for the Arts in Marin. I met the artist in her studio at the Headlands, which is open to the public while she prepares for the show, but she was reluctant to divulge the story arc of this book. As books go, the work is akin to a \u003ci>Choose Your Own Adventure\u003c/i>, and she hardly had the time to recount every possible version of the text.\u003c/p>\n\u003cp>Continuing with the literary metaphor, \u003ci>Becoming Oneself\u003c/i>, which will be unveiled on April 14 during the Headlands’ Spring Open House, is perhaps most accurately described as a philosophical travelogue of the French artist’s time in the western United States.\u003c/p>\n\u003cp>There is a long tradition of French intellectuals traversing the U.S. in an attempt to understand what exactly is going on across the Atlantic. Alexis de Tocqueville’s \u003ci>Democracy in America\u003c/i> (1835-40) is the classic text of this genre. Postmodern philosopher Jean Baudrillard followed suit in 1980s, as did philosopher Bernard-Henri Lévy at the turn of the current century. Solinas’ \u003ci>Becoming Oneself\u003c/i> follows suit, but with an eye towards the metaphysical.\u003c/p>\n\u003cfigure id=\"attachment_13854633\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/Solinas_Sunset_1200.jpg\" alt=\"Stéphanie Solinas, 'Becoming Oneself,' 2015–ongoing.\" width=\"1200\" height=\"928\" class=\"size-full wp-image-13854633\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Solinas_Sunset_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Solinas_Sunset_1200-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Solinas_Sunset_1200-800x619.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Solinas_Sunset_1200-768x594.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Solinas_Sunset_1200-1020x789.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Stéphanie Solinas, ‘Becoming Oneself,’ 2015–ongoing. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Since 2014, Solinas has been investigating none other than the dualism that undergirds modern European thought, specifically how the often-conflicting notions of mind and body shape individuals’ identities. At the same time that we are made of body, Solinas says, “we are made of our spirituality; we are made of our deceased friends and our ancestors.”\u003c/p>\n\u003cp>How then, she asks, can this complexity be represented in images? Indirectly and poetically, her work answers.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This artistic research began in Iceland, where Solinas collaborated with mediums and geneticists to map both the physical landscape and the territory of \u003cem>huldufólk\u003c/em>, Iceland’s population of rock-dwelling elves. She later continued the line of inquiry in Rome, where she researched miracles. But she was beckoned by the western U.S., a place where both science and spirituality play pivotal roles in regional identities.\u003c/p>\n\u003cfigure id=\"attachment_13854632\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/Solinas_Hand_1200.jpg\" alt=\"Stéphanie Solinas, 'Becoming Oneself,' 2015–ongoing.\" width=\"1200\" height=\"1029\" class=\"size-full wp-image-13854632\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Solinas_Hand_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Solinas_Hand_1200-160x137.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Solinas_Hand_1200-800x686.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Solinas_Hand_1200-768x659.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Solinas_Hand_1200-1020x875.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Stéphanie Solinas, ‘Becoming Oneself,’ 2015–ongoing. \u003ccite>(Courtesy of the aritst)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The region is home to Silicon Valley, Caltech and Lawrence Livermore National Laboratory, as well as flower power, the California Institute of Integral Studies, El Santuario de Chimayó, and, as I learned from Solinas, the supernatural vortices of Sedona. But while matter and mind are often thought of as oppositional, the relationship is more complicated. After all, an artificial intelligence engineer could leave work in Menlo Park and arrive at the Esalen Institute by sundown for a workshop on forest bathing. (This has probably happened.)\u003c/p>\n\u003cp>The guiding question for Solinas’ research was: “What are the ideas of today that are inventing tomorrow’s identity?” And to extrapolate, will this identity be grounded in techno-utopianism or new age spirituality? In search of an answer, she traveled from Sedona to Silicon Valley, and many points in between, interviewing scientists, shamans and a man she describes as a “repentant scientist.”\u003c/p>\n\u003cp>While on the road she collected images, stories, video interviews, artifacts and ideas. These elements make up the contents of the book and the material of the exhibition. But instead of mounting these items on a wall, she explains, “pictures are going from my hand to the hand of the viewer.”\u003c/p>\n\u003cfigure id=\"attachment_13854631\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/Solinas_Dollar_1200.jpg\" alt=\"Stéphanie Solinas, 'Becoming Oneself,' 2015–ongoing.\" width=\"1200\" height=\"1697\" class=\"size-full wp-image-13854631\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Solinas_Dollar_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Solinas_Dollar_1200-160x226.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Solinas_Dollar_1200-800x1131.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Solinas_Dollar_1200-768x1086.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Solinas_Dollar_1200-1020x1442.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Solinas_Dollar_1200-849x1200.jpg 849w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Stéphanie Solinas, ‘Becoming Oneself,’ 2015–ongoing. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To accomplish this, Solinas has created a seven-player game using a roulette board she purchased in Las Vegas, redesigning the gameplay with influences from roulette, tarot, Chutes and Ladders, and other games. One must engage directly with Solinas and six other strangers to experience this text, and the story will unfold according to the dictates of dice. The game is called Río Buenaventura, named after a mythical river once thought to run from the Rocky Mountains to the Pacific Ocean, a fitting metaphor for a region that is so often defined by its myths.\u003c/p>\n\u003cp>Back in 1981, Jean Baudrillard left the American West with less than flattering sentiments. “The mystical power of California,” he wrote, “consists of this mixture of extreme disconnection and vertiginous mobility captured in the setting … Nowhere else does there exist such a stunning fusion of a radical lack of culture and natural beauty.”\u003c/p>\n\u003cp>One will need to play Río Buenaventura for a full sense of Solinas’ findings, but she speaks about the people and experiences she encountered during her research with openness and sensitivity. She seems to embrace her perspective as an outsider without trying to force a specific worldview on what she found here. Instead, she says, the excitement of this work came from the surprising connections she found between seemingly disparate people and ideas.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Stéphanie Solinas: Becoming Oneself’ is on view at Headlands Center for the Arts April 14–May 2, 2019. \u003ca href=\"http://www.headlands.org/event/spring-project-space-exibition/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Your Device Becomes a Portal in Headlands’ ‘Twilight Engines’",
"headTitle": "Your Device Becomes a Portal in Headlands’ ‘Twilight Engines’ | KQED",
"content": "\u003cp>\u003ci>Twilight Engines\u003c/i> is not, as it sounds, a fanfic crossover between the \u003ci>Twilight\u003c/i> series (vampires and werewolves in the Pacific Northwest) and the \u003ci> Mortal Engines\u003c/i> series (futuristic steampunk cities on wheels), though it is a bit fantastical, and a bit futuristic.\u003c/p>\n\u003cp>Indian artist Vishal K. Dar’s \u003ci>\u003ca href=\"http://www.headlands.org/event/edge-of-see-twilight-engines/\" target=\"_blank\" rel=\"noopener\">Edge of See: Twilight Engines\u003c/a>\u003c/i> (full title) is an augmented reality installation commissioned by Headlands Center for the Arts at three former military batteries—and a surprisingly seamless combination of technology, environment and imagination.\u003c/p>\n\u003cp>Viewing the works is a multi-step process (outlined in the exhibition brochure) that involves \u003ca href=\"https://itunes.apple.com/us/app/twilight-engines/id1448070024?mt=8\" target=\"_blank\" rel=\"noopener\">downloading a free app\u003c/a> (only available on iOS devices), walking, driving or biking to three batteries spread across the Headlands’ hills, and positioning yourself at “activation points” to summon the gently undulating and epic arching lines of Dar’s sculptures into view. As a final step, because “pics or it didn’t happen” is real, you can document your view with an in-app camera function, saving to your device a series of otherworldly landscapes.\u003c/p>\n\u003cfigure id=\"attachment_13849809\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13849809\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/22_Headlands_TwilightEngines_opening-reception_2019-01-20-11.png\" alt=\"Vishal K. Dar, 'Edge of See: Twilight Engines' (app view in gallery), 2019.\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/22_Headlands_TwilightEngines_opening-reception_2019-01-20-11.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/22_Headlands_TwilightEngines_opening-reception_2019-01-20-11-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/22_Headlands_TwilightEngines_opening-reception_2019-01-20-11-800x450.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/22_Headlands_TwilightEngines_opening-reception_2019-01-20-11-768x432.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/22_Headlands_TwilightEngines_opening-reception_2019-01-20-11-1020x574.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/22_Headlands_TwilightEngines_opening-reception_2019-01-20-11-1200x675.png 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Vishal K. Dar, ‘Edge of See: Twilight Engines’ (app view in gallery), 2019. \u003ccite>(Photo: Tom Ide)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The exhibition brochure also recommends visiting the third floor of the art center’s main building before you venture out into the Headlands’ beautiful wild. There you will find wooden models of the batteries with miniature versions of Dar’s AR effects issuing from them, along with a small display of the artist’s sketches and project notes. While the models’ sleek lines makes the batteries appear more like spaceships than they do when nestled into hills with weeds sprouting from cracks in their cast-concrete walls, this gallery space slightly spoils the surprise of encountering the “real” thing. Be forewarned.\u003c/p>\n\u003cp>Out in the field is where things get a bit fantastical. You know in your rational brain that \u003ci>Twilight Engines\u003c/i> is a digital overlay of orbs and arcs onto your iPhone or iPad’s view of Battery Smith-Guthrie, Battery Wallace and Battery Mendell. But somehow the process of looking at your device’s screen—and simultaneously at the world outside of it—creates the effect of a magical window into another level of perception. \u003ci>It’s like they’re always there\u003c/i>, you think. \u003ci>Whoa.\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_13849810\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13849810\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/26_Headlands_TwilightEngines_2019-01-20-03.png\" alt=\"Vishal K. Dar, 'Edge of See: Twilight Engines' (app view), 2019.\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/26_Headlands_TwilightEngines_2019-01-20-03.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/26_Headlands_TwilightEngines_2019-01-20-03-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/26_Headlands_TwilightEngines_2019-01-20-03-800x450.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/26_Headlands_TwilightEngines_2019-01-20-03-768x432.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/26_Headlands_TwilightEngines_2019-01-20-03-1020x574.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/26_Headlands_TwilightEngines_2019-01-20-03-1200x675.png 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Vishal K. Dar, ‘Edge of See: Twilight Engines’ (app view), 2019. \u003ccite>(Photo: Apollonia Morrill)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Compounding this is the sensation that the sculptures are alive. They seem to ebb and flow with the sound of the waves crashing below. When I visited, the breeze felt like it was responsible for the slight movement of the white lines I traced above me.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>What brings the experience back to reality are the expected hitches of using technology in public spaces: the embarrassment of swinging your arm (and device) around you like a madwoman who cares nothing for nature, the awkwardness of slowly approaching strangers who happen to be sitting in the spot you need to point your camera in order to produce \u003ci>Twilight Engines\u003c/i>. (I gave up at several activation locations where it looked, from the outside, like I was stalking someone else’s child with my outstretched phone.)\u003c/p>\n\u003cp>Except for a few moments of self-aware shame, the experience of \u003ci>Twilight Engines\u003c/i> was a thrilling one. The lines, which somewhat resemble long-lasting condensation trails (a.k.a. “chemtrails”) emerging from or curving around the batteries like the paths of joyful fireworks, hold none of the threat of violence these military outposts once did.\u003c/p>\n\u003cp>And if you visit as the sun is setting, may I recommend saving Battery Wallace, with its digital ring of orbiting moons set perfectly along the horizon line, for last. It’s transportive. B.Y.O. sci-fi or fantasy fanfic.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Edge of See: Twilight Engines’ is on view at the Headlands Center for the Arts, Battery Smith-Guthrie, Battery Wallage and Battery mendell throughout 2019. The artist will be present for guided walks on Feb. 3 (1–3pm) and Feb. 7 (5–7pm). \u003ca href=\"http://www.headlands.org/event/edge-of-see-twilight-engines/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"excerpt": "Vishal K. Dar's augmented reality artwork, which overlays light sculptures onto three former battery sites, turns the Marin Headlands into an otherworldly place.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>Twilight Engines\u003c/i> is not, as it sounds, a fanfic crossover between the \u003ci>Twilight\u003c/i> series (vampires and werewolves in the Pacific Northwest) and the \u003ci> Mortal Engines\u003c/i> series (futuristic steampunk cities on wheels), though it is a bit fantastical, and a bit futuristic.\u003c/p>\n\u003cp>Indian artist Vishal K. Dar’s \u003ci>\u003ca href=\"http://www.headlands.org/event/edge-of-see-twilight-engines/\" target=\"_blank\" rel=\"noopener\">Edge of See: Twilight Engines\u003c/a>\u003c/i> (full title) is an augmented reality installation commissioned by Headlands Center for the Arts at three former military batteries—and a surprisingly seamless combination of technology, environment and imagination.\u003c/p>\n\u003cp>Viewing the works is a multi-step process (outlined in the exhibition brochure) that involves \u003ca href=\"https://itunes.apple.com/us/app/twilight-engines/id1448070024?mt=8\" target=\"_blank\" rel=\"noopener\">downloading a free app\u003c/a> (only available on iOS devices), walking, driving or biking to three batteries spread across the Headlands’ hills, and positioning yourself at “activation points” to summon the gently undulating and epic arching lines of Dar’s sculptures into view. As a final step, because “pics or it didn’t happen” is real, you can document your view with an in-app camera function, saving to your device a series of otherworldly landscapes.\u003c/p>\n\u003cfigure id=\"attachment_13849809\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13849809\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/22_Headlands_TwilightEngines_opening-reception_2019-01-20-11.png\" alt=\"Vishal K. Dar, 'Edge of See: Twilight Engines' (app view in gallery), 2019.\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/22_Headlands_TwilightEngines_opening-reception_2019-01-20-11.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/22_Headlands_TwilightEngines_opening-reception_2019-01-20-11-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/22_Headlands_TwilightEngines_opening-reception_2019-01-20-11-800x450.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/22_Headlands_TwilightEngines_opening-reception_2019-01-20-11-768x432.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/22_Headlands_TwilightEngines_opening-reception_2019-01-20-11-1020x574.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/22_Headlands_TwilightEngines_opening-reception_2019-01-20-11-1200x675.png 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Vishal K. Dar, ‘Edge of See: Twilight Engines’ (app view in gallery), 2019. \u003ccite>(Photo: Tom Ide)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The exhibition brochure also recommends visiting the third floor of the art center’s main building before you venture out into the Headlands’ beautiful wild. There you will find wooden models of the batteries with miniature versions of Dar’s AR effects issuing from them, along with a small display of the artist’s sketches and project notes. While the models’ sleek lines makes the batteries appear more like spaceships than they do when nestled into hills with weeds sprouting from cracks in their cast-concrete walls, this gallery space slightly spoils the surprise of encountering the “real” thing. Be forewarned.\u003c/p>\n\u003cp>Out in the field is where things get a bit fantastical. You know in your rational brain that \u003ci>Twilight Engines\u003c/i> is a digital overlay of orbs and arcs onto your iPhone or iPad’s view of Battery Smith-Guthrie, Battery Wallace and Battery Mendell. But somehow the process of looking at your device’s screen—and simultaneously at the world outside of it—creates the effect of a magical window into another level of perception. \u003ci>It’s like they’re always there\u003c/i>, you think. \u003ci>Whoa.\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_13849810\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13849810\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/26_Headlands_TwilightEngines_2019-01-20-03.png\" alt=\"Vishal K. Dar, 'Edge of See: Twilight Engines' (app view), 2019.\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/26_Headlands_TwilightEngines_2019-01-20-03.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/26_Headlands_TwilightEngines_2019-01-20-03-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/26_Headlands_TwilightEngines_2019-01-20-03-800x450.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/26_Headlands_TwilightEngines_2019-01-20-03-768x432.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/26_Headlands_TwilightEngines_2019-01-20-03-1020x574.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/26_Headlands_TwilightEngines_2019-01-20-03-1200x675.png 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Vishal K. Dar, ‘Edge of See: Twilight Engines’ (app view), 2019. \u003ccite>(Photo: Apollonia Morrill)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Compounding this is the sensation that the sculptures are alive. They seem to ebb and flow with the sound of the waves crashing below. When I visited, the breeze felt like it was responsible for the slight movement of the white lines I traced above me.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>What brings the experience back to reality are the expected hitches of using technology in public spaces: the embarrassment of swinging your arm (and device) around you like a madwoman who cares nothing for nature, the awkwardness of slowly approaching strangers who happen to be sitting in the spot you need to point your camera in order to produce \u003ci>Twilight Engines\u003c/i>. (I gave up at several activation locations where it looked, from the outside, like I was stalking someone else’s child with my outstretched phone.)\u003c/p>\n\u003cp>Except for a few moments of self-aware shame, the experience of \u003ci>Twilight Engines\u003c/i> was a thrilling one. The lines, which somewhat resemble long-lasting condensation trails (a.k.a. “chemtrails”) emerging from or curving around the batteries like the paths of joyful fireworks, hold none of the threat of violence these military outposts once did.\u003c/p>\n\u003cp>And if you visit as the sun is setting, may I recommend saving Battery Wallace, with its digital ring of orbiting moons set perfectly along the horizon line, for last. It’s transportive. B.Y.O. sci-fi or fantasy fanfic.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Edge of See: Twilight Engines’ is on view at the Headlands Center for the Arts, Battery Smith-Guthrie, Battery Wallage and Battery mendell throughout 2019. The artist will be present for guided walks on Feb. 3 (1–3pm) and Feb. 7 (5–7pm). \u003ca href=\"http://www.headlands.org/event/edge-of-see-twilight-engines/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "It's ABBA's Year—Even on the Top of Mt. Tam",
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"content": "\u003cp>So you blew it on the Mother’s Day gift this year. Just straight-up forgot. I know, I know — I’ve been there too, and frankly, I don’t envy you. But here’s the easy fix: take her to \u003cem>Mamma Mia!\u003c/em> at the top of Mt. Tamalpais.\u003c/p>\n\u003cp>The Mountain Play, who for over 100 years have presented summer theater in the amphitheater on Mt. Tam, brings this ABBA-inspired musical to new heights in their 2018 season. And what better timing? ABBA just announced some new songs due to be released this year, as well as a possible, uh… \u003ca href=\"https://consequenceofsound.net/2018/04/abba-reunite-for-new-music-hologram-tour/\" rel=\"noopener\" target=\"_blank\">hologram tour\u003c/a>? \u003c/p>\n\u003cp>\u003cem>Mamma Mia!\u003c/em> opens May 20 and runs every Sunday afternoon through June 17, with a special sing-along on Saturday, June 9. \u003ca href=\"https://www.mountainplay.org/2018-season/\"> Details here\u003c/a>. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>So you blew it on the Mother’s Day gift this year. Just straight-up forgot. I know, I know — I’ve been there too, and frankly, I don’t envy you. But here’s the easy fix: take her to \u003cem>Mamma Mia!\u003c/em> at the top of Mt. Tamalpais.\u003c/p>\n\u003cp>The Mountain Play, who for over 100 years have presented summer theater in the amphitheater on Mt. Tam, brings this ABBA-inspired musical to new heights in their 2018 season. And what better timing? ABBA just announced some new songs due to be released this year, as well as a possible, uh… \u003ca href=\"https://consequenceofsound.net/2018/04/abba-reunite-for-new-music-hologram-tour/\" rel=\"noopener\" target=\"_blank\">hologram tour\u003c/a>? \u003c/p>\n\u003cp>\u003cem>Mamma Mia!\u003c/em> opens May 20 and runs every Sunday afternoon through June 17, with a special sing-along on Saturday, June 9. \u003ca href=\"https://www.mountainplay.org/2018-season/\"> Details here\u003c/a>. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "(Many) Years of Artistic Experience on View at Marin Civic Center",
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"content": "\u003cp>I often publicly state a desire for a narrower journalistic beat. “Instead of all of Bay Area visual arts and film, what if I only covered artists over the age of 70?” This is what I ask my editor every time I profile someone as impressive as \u003ca href=\"https://www.kqed.org/arts/13310178/she-photographed-jimi-hendrix-without-knowing-his-name\" rel=\"noopener\" target=\"_blank\">Elaine Mayes\u003c/a> or \u003ca href=\"https://www.kqed.org/arts/13816067\" rel=\"noopener\" target=\"_blank\">Joan van Briesen\u003c/a>. “Ha ha Sarah,” he says. “No wait, but really,” I say.\u003c/p>\n\u003cp>The current exhibition at the Marin Center Exhibit Hall in San Rafael conveniently solves this problem for me. \u003ci>80 Over 80\u003c/i> showcases painting, sculpture and photography all made by artists — you guessed it — over the age of 80. \u003c/p>\n\u003cfigure id=\"attachment_13831005\" class=\"wp-caption aligncenter\" style=\"max-width: 1261px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/Lea-Del-Pomo_photograph_1200.jpg\" alt=\"A portrait by Lea Del Pomo, from 'Women Over 80.'\" width=\"1261\" height=\"1200\" class=\"size-full wp-image-13831005\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Lea-Del-Pomo_photograph_1200.jpg 1261w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Lea-Del-Pomo_photograph_1200-160x152.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Lea-Del-Pomo_photograph_1200-800x761.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Lea-Del-Pomo_photograph_1200-768x731.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Lea-Del-Pomo_photograph_1200-1020x971.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Lea-Del-Pomo_photograph_1200-1200x1142.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Lea-Del-Pomo_photograph_1200-1180x1123.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Lea-Del-Pomo_photograph_1200-960x914.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Lea-Del-Pomo_photograph_1200-240x228.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Lea-Del-Pomo_photograph_1200-375x357.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Lea-Del-Pomo_photograph_1200-520x495.jpg 520w\" sizes=\"(max-width: 1261px) 100vw, 1261px\">\u003cfigcaption class=\"wp-caption-text\">A portrait by Lea Del Pomo, from ‘Women Over 80.’ \u003ccite>(Courtesy of Marin County Department of Cultural Services)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Showing in the Board of Supervisors Chambers Gallery is an accompanying exhibition of photographs by Lea Del Pomo — all portraits of women over the age of 80. Combating the increased invisibility women face as they age, Del Pomo’s portraits show them strong and decidedly visible, staring directly into her camera’s lens.\u003c/p>\n\u003cp>Quotes from the two shows’ press release argue the benefits of not only making art as an older event, but viewing it. So whether or not you’re an octogenarian, check this out — it’ll be good for your health.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>’80 over 80′ and ‘Women Over 80: Photographs by Lea Del Pomo’ are on view at the Marin Civic Center in San Rafael through June 1, 2018. For more information, \u003ca href=\"https://www.marincounty.org/depts/cu/art-exhibits/bartolini-gallery\" rel=\"noopener\" target=\"_blank\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"excerpt": "'80 Over 80' shows the work of octogenarian and nonagenarian artists alongside portraits of older women. ",
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"title": "(Many) Years of Artistic Experience on View at Marin Civic Center | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I often publicly state a desire for a narrower journalistic beat. “Instead of all of Bay Area visual arts and film, what if I only covered artists over the age of 70?” This is what I ask my editor every time I profile someone as impressive as \u003ca href=\"https://www.kqed.org/arts/13310178/she-photographed-jimi-hendrix-without-knowing-his-name\" rel=\"noopener\" target=\"_blank\">Elaine Mayes\u003c/a> or \u003ca href=\"https://www.kqed.org/arts/13816067\" rel=\"noopener\" target=\"_blank\">Joan van Briesen\u003c/a>. “Ha ha Sarah,” he says. “No wait, but really,” I say.\u003c/p>\n\u003cp>The current exhibition at the Marin Center Exhibit Hall in San Rafael conveniently solves this problem for me. \u003ci>80 Over 80\u003c/i> showcases painting, sculpture and photography all made by artists — you guessed it — over the age of 80. \u003c/p>\n\u003cfigure id=\"attachment_13831005\" class=\"wp-caption aligncenter\" style=\"max-width: 1261px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/Lea-Del-Pomo_photograph_1200.jpg\" alt=\"A portrait by Lea Del Pomo, from 'Women Over 80.'\" width=\"1261\" height=\"1200\" class=\"size-full wp-image-13831005\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Lea-Del-Pomo_photograph_1200.jpg 1261w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Lea-Del-Pomo_photograph_1200-160x152.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Lea-Del-Pomo_photograph_1200-800x761.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Lea-Del-Pomo_photograph_1200-768x731.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Lea-Del-Pomo_photograph_1200-1020x971.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Lea-Del-Pomo_photograph_1200-1200x1142.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Lea-Del-Pomo_photograph_1200-1180x1123.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Lea-Del-Pomo_photograph_1200-960x914.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Lea-Del-Pomo_photograph_1200-240x228.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Lea-Del-Pomo_photograph_1200-375x357.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Lea-Del-Pomo_photograph_1200-520x495.jpg 520w\" sizes=\"(max-width: 1261px) 100vw, 1261px\">\u003cfigcaption class=\"wp-caption-text\">A portrait by Lea Del Pomo, from ‘Women Over 80.’ \u003ccite>(Courtesy of Marin County Department of Cultural Services)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Showing in the Board of Supervisors Chambers Gallery is an accompanying exhibition of photographs by Lea Del Pomo — all portraits of women over the age of 80. Combating the increased invisibility women face as they age, Del Pomo’s portraits show them strong and decidedly visible, staring directly into her camera’s lens.\u003c/p>\n\u003cp>Quotes from the two shows’ press release argue the benefits of not only making art as an older event, but viewing it. So whether or not you’re an octogenarian, check this out — it’ll be good for your health.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>’80 over 80′ and ‘Women Over 80: Photographs by Lea Del Pomo’ are on view at the Marin Civic Center in San Rafael through June 1, 2018. For more information, \u003ca href=\"https://www.marincounty.org/depts/cu/art-exhibits/bartolini-gallery\" rel=\"noopener\" target=\"_blank\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "headlands-balances-preservation-and-intervention-with-new-artist-commissions",
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"content": "\u003cp>\u003ca href=\"http://www.headlands.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Headlands Center for the Arts\u003c/a> has a new drinking fountain. This is a big deal.\u003c/p>\n\u003cp>Anyone who’s spent time rambling through the Marin Headlands knows sweeping vistas are legion, but drinking fountains are \u003ca href=\"https://ww2.kqed.org/arts/2017/06/15/lets-drink-scenic-water-fountains-and-why-its-radical-to-use-them/\" target=\"_blank\" rel=\"noopener\">few and far between\u003c/a>. Also: this is no ordinary double-spouted bubbler.\u003c/p>\n\u003cp>Made by Bay Area artist \u003ca href=\"http://www.nathanlynch.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Nathan Lynch\u003c/a>, \u003ci>Doubledrink\u003c/i> is a functional sculpture covered in white industrial glaze — as if a Kohler fixture turned oozy and bulbous. \u003ci>Doubledrink\u003c/i> also makes the act of slurping water more awkward than it has ever possibly been.\u003c/p>\n\u003cp>Lynch positioned the spouts in such a way that simultaneous drinking means staring someone straight in the eyes while you make whatever strange expression you make at the drinking fountain. “It’s like a toast,” he says. An intimate, uncomfortable toast that puts you face-to-face with someone in their most vulnerable state.\u003c/p>\n\u003cfigure id=\"attachment_13808506\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13808506\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/4_Commons_Plaza_RobertHerrick_1200.jpg\" alt=\"View of The Commons, main plaza at Headlands Center for the Arts.\" width=\"1200\" height=\"901\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/4_Commons_Plaza_RobertHerrick_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/4_Commons_Plaza_RobertHerrick_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/4_Commons_Plaza_RobertHerrick_1200-800x601.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/4_Commons_Plaza_RobertHerrick_1200-768x577.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/4_Commons_Plaza_RobertHerrick_1200-1020x766.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/4_Commons_Plaza_RobertHerrick_1200-1180x886.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/4_Commons_Plaza_RobertHerrick_1200-960x721.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/4_Commons_Plaza_RobertHerrick_1200-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/4_Commons_Plaza_RobertHerrick_1200-375x282.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/4_Commons_Plaza_RobertHerrick_1200-520x390.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">View of The Commons, main plaza at Headlands Center for the Arts. \u003ccite>(Photo by Robert Herrick)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>Doubledrink\u003c/i>, along with Dutch artist and designer \u003ca href=\"http://www.chriskabel.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Chris Kabel\u003c/a>’s \u003ci>Wall Space\u003c/i> and Los Angeles-based \u003ca href=\"http://www.ball-nogues.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Ball-Nogues Studio\u003c/a>’s \u003ci>Welcome Terrace East & West\u003c/i>, is a brand new commission created specially for Headlands’ brand new outdoor gathering space, called \u003ca href=\"http://www.headlands.org/the-commons/\" target=\"_blank\" rel=\"noopener noreferrer\">The Commons\u003c/a>. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Once a gravelly parking area between Buildings 944 and 945 (home to administrative offices, a project space, the mess hall and artist studios), the Commons is now gracefully landscaped into stairs, seating and jutting concrete vantage points, courtesy of local firm \u003ca href=\"http://www.cmgsite.com\" target=\"_blank\" rel=\"noopener noreferrer\">CMG Landscape Architecture\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13808507\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13808507\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/5_Commons_Plaza_aerial_RobertHerrick_1200.jpg\" alt=\"Aerial view of The Commons, main plaza.\" width=\"1200\" height=\"901\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/5_Commons_Plaza_aerial_RobertHerrick_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/5_Commons_Plaza_aerial_RobertHerrick_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/5_Commons_Plaza_aerial_RobertHerrick_1200-800x601.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/5_Commons_Plaza_aerial_RobertHerrick_1200-768x577.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/5_Commons_Plaza_aerial_RobertHerrick_1200-1020x766.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/5_Commons_Plaza_aerial_RobertHerrick_1200-1180x886.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/5_Commons_Plaza_aerial_RobertHerrick_1200-960x721.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/5_Commons_Plaza_aerial_RobertHerrick_1200-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/5_Commons_Plaza_aerial_RobertHerrick_1200-375x282.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/5_Commons_Plaza_aerial_RobertHerrick_1200-520x390.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Aerial view of The Commons, main plaza. \u003ccite>(Photo by Robert Herrick)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Headlands celebrates the opening of The Commons on Sunday, Sept. 17, 12-5pm with a day of performances, installations, food trucks, family-friendly activities and even a pedal-in (a group bike ride from San Francisco, led by the \u003ca href=\"http://www.studioforurbanprojects.org/projects/pedal-in/\" target=\"_blank\" rel=\"noopener noreferrer\">Studio for Urban Projects\u003c/a>).\u003c/p>\n\u003cp>The $1.8 million project was born out of both practical and artistic desires. “Given our home here in the national park, a big part of our commitment to the park is to take care of the campus,” says Headlands’ executive director, sharon maidenberg. “We felt strongly that we should focus on a project that enhances the space for visitors and makes it more accessible.”\u003c/p>\n\u003cfigure id=\"attachment_13808511\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13808511\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/19_Commons_EastWestPromenade_RobertHerrick_1200.jpg\" alt=\"'Welcome Terrace East & West,' a site-specific work by Ball-Nogues Studio.\" width=\"1200\" height=\"901\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/19_Commons_EastWestPromenade_RobertHerrick_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/19_Commons_EastWestPromenade_RobertHerrick_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/19_Commons_EastWestPromenade_RobertHerrick_1200-800x601.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/19_Commons_EastWestPromenade_RobertHerrick_1200-768x577.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/19_Commons_EastWestPromenade_RobertHerrick_1200-1020x766.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/19_Commons_EastWestPromenade_RobertHerrick_1200-1180x886.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/19_Commons_EastWestPromenade_RobertHerrick_1200-960x721.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/19_Commons_EastWestPromenade_RobertHerrick_1200-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/19_Commons_EastWestPromenade_RobertHerrick_1200-375x282.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/19_Commons_EastWestPromenade_RobertHerrick_1200-520x390.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">‘Welcome Terrace East & West,’ a site-specific work by Ball-Nogues Studio. \u003ccite>(Photo by Robert Herrick)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nothing embodies this balance of preservation and creative improvement quite like the newly flush driveways in front of both main buildings. Inspired by the Japanese art of kintsugi, in which broken pottery is mended with lacquer mixed with powdered gold, silver or platinum, making the site of repair obvious, \u003ci>Welcome Terrace East & West\u003c/i> fills the areas between the old fragments of concrete with brilliant multicolored stripes of terrazzo. The result is archeological and puzzle-like, with islands of gray concrete showing just how much solid ground was missing before Ball-Nogues Studio intervened.\u003c/p>\n\u003cp>Kabel’s \u003ci>Wall Space\u003c/i> is similarly subtle: A system of slim rails on Building 945’s wooden siding supports metal mesh letters — painted the same color as the wall — that can be arranged, movie marquee-style, between the windows of the building’s three stories.\u003c/p>\n\u003cp>“It’s an empty slate that other people can use to express their thoughts,” Kabel says. “I was interested in being as minimal as possible.” Headlands invited San Francisco-based writer \u003ca href=\"https://openspace.sfmoma.org/author/claudialarocco/\" target=\"_blank\" rel=\"noopener noreferrer\">Claudia La Rocco\u003c/a> to curate the first round of texts, which begins with a new poem by \u003ca href=\"https://en.wikipedia.org/wiki/Wendy_Rose\" target=\"_blank\" rel=\"noopener noreferrer\">Wendy Rose\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13808508\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13808508\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/9_Commons_Kabel_detail_2_RobertHerrick_1200.jpg\" alt=\"Detail of Chris Kabel's 'Wall Space,' showing a new commissioned poem by Wendy Rose.\" width=\"1200\" height=\"901\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/9_Commons_Kabel_detail_2_RobertHerrick_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/9_Commons_Kabel_detail_2_RobertHerrick_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/9_Commons_Kabel_detail_2_RobertHerrick_1200-800x601.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/9_Commons_Kabel_detail_2_RobertHerrick_1200-768x577.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/9_Commons_Kabel_detail_2_RobertHerrick_1200-1020x766.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/9_Commons_Kabel_detail_2_RobertHerrick_1200-1180x886.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/9_Commons_Kabel_detail_2_RobertHerrick_1200-960x721.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/9_Commons_Kabel_detail_2_RobertHerrick_1200-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/9_Commons_Kabel_detail_2_RobertHerrick_1200-375x282.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/9_Commons_Kabel_detail_2_RobertHerrick_1200-520x390.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Detail of Chris Kabel’s ‘Wall Space,’ showing a new commissioned poem by Wendy Rose. \u003ccite>(Photo by Robert Herrick)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Remember invasion / Remember smallpox / Remember captivity,” it reads in part, drawing from Rose’s Hopi and Miwok ancestry to reference a pre-Fort Barry history on a remnant of Fort Barry itself.\u003c/p>\n\u003cp>“I wanted language that would challenge, but also leave room for various interpretations, so that these texts might become site-specific collaborations between single authors and an ever-changing flow of readers,” La Rocco says in her curatorial statement.\u003c/p>\n\u003cp>Back at the drinking fountain, that flow of visitors is met with a welcoming flow of water — a contemporary interpretation of a timeless gathering site. Beyond the slapstick, semi-embarrassing quality of spilling water across one’s face, Lynch is earnest in his desire to foster connection through the act of sharing a water source. “My hope is that this gesture becomes a device for increasing our ability to see one another, whether we share a drink with new friends, lost loves or old enemies,” he says.\u003c/p>\n\u003cfigure id=\"attachment_13808509\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/14_Commons_DoubleDrink_RobertHerrick_COVER-800x450.jpg\" alt=\"Nathan Lynch's 'Doubledrink' at Headlands Center for the Arts.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13808509\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/14_Commons_DoubleDrink_RobertHerrick_COVER-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/14_Commons_DoubleDrink_RobertHerrick_COVER-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/14_Commons_DoubleDrink_RobertHerrick_COVER-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/14_Commons_DoubleDrink_RobertHerrick_COVER-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/14_Commons_DoubleDrink_RobertHerrick_COVER.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/14_Commons_DoubleDrink_RobertHerrick_COVER-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/14_Commons_DoubleDrink_RobertHerrick_COVER-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/14_Commons_DoubleDrink_RobertHerrick_COVER-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/14_Commons_DoubleDrink_RobertHerrick_COVER-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/14_Commons_DoubleDrink_RobertHerrick_COVER-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nathan Lynch’s ‘Doubledrink’ at Headlands Center for the Arts. \u003ccite>(Photo by Robert Herrick)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In all my discussions with the artists and administrators behind The Commons, conversation invariably turned to the here and now of 2017 in the United States of America. “This is a surreal year to be contemplating public space, particularly in this country,” La Rocco’s curatorial statement says.\u003c/p>\n\u003cp>The idea of “the commons” as a set of cultural and natural resources free and open to all members of society — or as a place where people meet face to face and exchange ideas — today seems distantly optimistic. And yet maidenberg says the project’s name came early and easily for the gathering space. Right now, maidenberg says, “It feels particularly meaningful to be able to demonstrate our values.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>The Commons opens at Headlands Center for the Arts in Marin on Saturday, Sept. 17, 12-5pm. For more information, click here.\u003c/i>\u003c/p>\n\n",
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"excerpt": "The Commons, a newly landscaped outdoor space, includes stairs, seats and three new permanent art commissions.",
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"title": "Headlands Balances Preservation and Intervention with New Artist Commissions | KQED",
"description": "The Commons, a newly landscaped outdoor space, includes stairs, seats and three new permanent art commissions.",
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"headline": "Headlands Balances Preservation and Intervention with New Artist Commissions",
"datePublished": "2017-09-14T12:26:29-07:00",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://www.headlands.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Headlands Center for the Arts\u003c/a> has a new drinking fountain. This is a big deal.\u003c/p>\n\u003cp>Anyone who’s spent time rambling through the Marin Headlands knows sweeping vistas are legion, but drinking fountains are \u003ca href=\"https://ww2.kqed.org/arts/2017/06/15/lets-drink-scenic-water-fountains-and-why-its-radical-to-use-them/\" target=\"_blank\" rel=\"noopener\">few and far between\u003c/a>. Also: this is no ordinary double-spouted bubbler.\u003c/p>\n\u003cp>Made by Bay Area artist \u003ca href=\"http://www.nathanlynch.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Nathan Lynch\u003c/a>, \u003ci>Doubledrink\u003c/i> is a functional sculpture covered in white industrial glaze — as if a Kohler fixture turned oozy and bulbous. \u003ci>Doubledrink\u003c/i> also makes the act of slurping water more awkward than it has ever possibly been.\u003c/p>\n\u003cp>Lynch positioned the spouts in such a way that simultaneous drinking means staring someone straight in the eyes while you make whatever strange expression you make at the drinking fountain. “It’s like a toast,” he says. An intimate, uncomfortable toast that puts you face-to-face with someone in their most vulnerable state.\u003c/p>\n\u003cfigure id=\"attachment_13808506\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13808506\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/4_Commons_Plaza_RobertHerrick_1200.jpg\" alt=\"View of The Commons, main plaza at Headlands Center for the Arts.\" width=\"1200\" height=\"901\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/4_Commons_Plaza_RobertHerrick_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/4_Commons_Plaza_RobertHerrick_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/4_Commons_Plaza_RobertHerrick_1200-800x601.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/4_Commons_Plaza_RobertHerrick_1200-768x577.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/4_Commons_Plaza_RobertHerrick_1200-1020x766.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/4_Commons_Plaza_RobertHerrick_1200-1180x886.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/4_Commons_Plaza_RobertHerrick_1200-960x721.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/4_Commons_Plaza_RobertHerrick_1200-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/4_Commons_Plaza_RobertHerrick_1200-375x282.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/4_Commons_Plaza_RobertHerrick_1200-520x390.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">View of The Commons, main plaza at Headlands Center for the Arts. \u003ccite>(Photo by Robert Herrick)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>Doubledrink\u003c/i>, along with Dutch artist and designer \u003ca href=\"http://www.chriskabel.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Chris Kabel\u003c/a>’s \u003ci>Wall Space\u003c/i> and Los Angeles-based \u003ca href=\"http://www.ball-nogues.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Ball-Nogues Studio\u003c/a>’s \u003ci>Welcome Terrace East & West\u003c/i>, is a brand new commission created specially for Headlands’ brand new outdoor gathering space, called \u003ca href=\"http://www.headlands.org/the-commons/\" target=\"_blank\" rel=\"noopener noreferrer\">The Commons\u003c/a>. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Once a gravelly parking area between Buildings 944 and 945 (home to administrative offices, a project space, the mess hall and artist studios), the Commons is now gracefully landscaped into stairs, seating and jutting concrete vantage points, courtesy of local firm \u003ca href=\"http://www.cmgsite.com\" target=\"_blank\" rel=\"noopener noreferrer\">CMG Landscape Architecture\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13808507\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13808507\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/5_Commons_Plaza_aerial_RobertHerrick_1200.jpg\" alt=\"Aerial view of The Commons, main plaza.\" width=\"1200\" height=\"901\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/5_Commons_Plaza_aerial_RobertHerrick_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/5_Commons_Plaza_aerial_RobertHerrick_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/5_Commons_Plaza_aerial_RobertHerrick_1200-800x601.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/5_Commons_Plaza_aerial_RobertHerrick_1200-768x577.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/5_Commons_Plaza_aerial_RobertHerrick_1200-1020x766.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/5_Commons_Plaza_aerial_RobertHerrick_1200-1180x886.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/5_Commons_Plaza_aerial_RobertHerrick_1200-960x721.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/5_Commons_Plaza_aerial_RobertHerrick_1200-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/5_Commons_Plaza_aerial_RobertHerrick_1200-375x282.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/5_Commons_Plaza_aerial_RobertHerrick_1200-520x390.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Aerial view of The Commons, main plaza. \u003ccite>(Photo by Robert Herrick)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Headlands celebrates the opening of The Commons on Sunday, Sept. 17, 12-5pm with a day of performances, installations, food trucks, family-friendly activities and even a pedal-in (a group bike ride from San Francisco, led by the \u003ca href=\"http://www.studioforurbanprojects.org/projects/pedal-in/\" target=\"_blank\" rel=\"noopener noreferrer\">Studio for Urban Projects\u003c/a>).\u003c/p>\n\u003cp>The $1.8 million project was born out of both practical and artistic desires. “Given our home here in the national park, a big part of our commitment to the park is to take care of the campus,” says Headlands’ executive director, sharon maidenberg. “We felt strongly that we should focus on a project that enhances the space for visitors and makes it more accessible.”\u003c/p>\n\u003cfigure id=\"attachment_13808511\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13808511\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/19_Commons_EastWestPromenade_RobertHerrick_1200.jpg\" alt=\"'Welcome Terrace East & West,' a site-specific work by Ball-Nogues Studio.\" width=\"1200\" height=\"901\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/19_Commons_EastWestPromenade_RobertHerrick_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/19_Commons_EastWestPromenade_RobertHerrick_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/19_Commons_EastWestPromenade_RobertHerrick_1200-800x601.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/19_Commons_EastWestPromenade_RobertHerrick_1200-768x577.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/19_Commons_EastWestPromenade_RobertHerrick_1200-1020x766.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/19_Commons_EastWestPromenade_RobertHerrick_1200-1180x886.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/19_Commons_EastWestPromenade_RobertHerrick_1200-960x721.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/19_Commons_EastWestPromenade_RobertHerrick_1200-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/19_Commons_EastWestPromenade_RobertHerrick_1200-375x282.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/19_Commons_EastWestPromenade_RobertHerrick_1200-520x390.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">‘Welcome Terrace East & West,’ a site-specific work by Ball-Nogues Studio. \u003ccite>(Photo by Robert Herrick)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nothing embodies this balance of preservation and creative improvement quite like the newly flush driveways in front of both main buildings. Inspired by the Japanese art of kintsugi, in which broken pottery is mended with lacquer mixed with powdered gold, silver or platinum, making the site of repair obvious, \u003ci>Welcome Terrace East & West\u003c/i> fills the areas between the old fragments of concrete with brilliant multicolored stripes of terrazzo. The result is archeological and puzzle-like, with islands of gray concrete showing just how much solid ground was missing before Ball-Nogues Studio intervened.\u003c/p>\n\u003cp>Kabel’s \u003ci>Wall Space\u003c/i> is similarly subtle: A system of slim rails on Building 945’s wooden siding supports metal mesh letters — painted the same color as the wall — that can be arranged, movie marquee-style, between the windows of the building’s three stories.\u003c/p>\n\u003cp>“It’s an empty slate that other people can use to express their thoughts,” Kabel says. “I was interested in being as minimal as possible.” Headlands invited San Francisco-based writer \u003ca href=\"https://openspace.sfmoma.org/author/claudialarocco/\" target=\"_blank\" rel=\"noopener noreferrer\">Claudia La Rocco\u003c/a> to curate the first round of texts, which begins with a new poem by \u003ca href=\"https://en.wikipedia.org/wiki/Wendy_Rose\" target=\"_blank\" rel=\"noopener noreferrer\">Wendy Rose\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13808508\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13808508\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/9_Commons_Kabel_detail_2_RobertHerrick_1200.jpg\" alt=\"Detail of Chris Kabel's 'Wall Space,' showing a new commissioned poem by Wendy Rose.\" width=\"1200\" height=\"901\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/9_Commons_Kabel_detail_2_RobertHerrick_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/9_Commons_Kabel_detail_2_RobertHerrick_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/9_Commons_Kabel_detail_2_RobertHerrick_1200-800x601.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/9_Commons_Kabel_detail_2_RobertHerrick_1200-768x577.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/9_Commons_Kabel_detail_2_RobertHerrick_1200-1020x766.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/9_Commons_Kabel_detail_2_RobertHerrick_1200-1180x886.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/9_Commons_Kabel_detail_2_RobertHerrick_1200-960x721.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/9_Commons_Kabel_detail_2_RobertHerrick_1200-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/9_Commons_Kabel_detail_2_RobertHerrick_1200-375x282.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/9_Commons_Kabel_detail_2_RobertHerrick_1200-520x390.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Detail of Chris Kabel’s ‘Wall Space,’ showing a new commissioned poem by Wendy Rose. \u003ccite>(Photo by Robert Herrick)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Remember invasion / Remember smallpox / Remember captivity,” it reads in part, drawing from Rose’s Hopi and Miwok ancestry to reference a pre-Fort Barry history on a remnant of Fort Barry itself.\u003c/p>\n\u003cp>“I wanted language that would challenge, but also leave room for various interpretations, so that these texts might become site-specific collaborations between single authors and an ever-changing flow of readers,” La Rocco says in her curatorial statement.\u003c/p>\n\u003cp>Back at the drinking fountain, that flow of visitors is met with a welcoming flow of water — a contemporary interpretation of a timeless gathering site. Beyond the slapstick, semi-embarrassing quality of spilling water across one’s face, Lynch is earnest in his desire to foster connection through the act of sharing a water source. “My hope is that this gesture becomes a device for increasing our ability to see one another, whether we share a drink with new friends, lost loves or old enemies,” he says.\u003c/p>\n\u003cfigure id=\"attachment_13808509\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/14_Commons_DoubleDrink_RobertHerrick_COVER-800x450.jpg\" alt=\"Nathan Lynch's 'Doubledrink' at Headlands Center for the Arts.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13808509\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/14_Commons_DoubleDrink_RobertHerrick_COVER-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/14_Commons_DoubleDrink_RobertHerrick_COVER-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/14_Commons_DoubleDrink_RobertHerrick_COVER-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/14_Commons_DoubleDrink_RobertHerrick_COVER-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/14_Commons_DoubleDrink_RobertHerrick_COVER.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/14_Commons_DoubleDrink_RobertHerrick_COVER-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/14_Commons_DoubleDrink_RobertHerrick_COVER-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/14_Commons_DoubleDrink_RobertHerrick_COVER-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/14_Commons_DoubleDrink_RobertHerrick_COVER-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/14_Commons_DoubleDrink_RobertHerrick_COVER-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nathan Lynch’s ‘Doubledrink’ at Headlands Center for the Arts. \u003ccite>(Photo by Robert Herrick)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In all my discussions with the artists and administrators behind The Commons, conversation invariably turned to the here and now of 2017 in the United States of America. “This is a surreal year to be contemplating public space, particularly in this country,” La Rocco’s curatorial statement says.\u003c/p>\n\u003cp>The idea of “the commons” as a set of cultural and natural resources free and open to all members of society — or as a place where people meet face to face and exchange ideas — today seems distantly optimistic. And yet maidenberg says the project’s name came early and easily for the gathering space. Right now, maidenberg says, “It feels particularly meaningful to be able to demonstrate our values.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>The Commons opens at Headlands Center for the Arts in Marin on Saturday, Sept. 17, 12-5pm. For more information, click here.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
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},
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"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
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"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"rss": "https://feeds.npr.org/510313/podcast.xml"
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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"rss": "https://feeds.megaphone.fm/KQINC2275451163"
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
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