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"content": "\u003cp>By the end of 2025, three galleries within San Francisco’s \u003ca href=\"https://www.kqed.org/arts/tag/minnesota-street-project\">Minnesota Street Project\u003c/a> will have closed their doors. All three — \u003ca href=\"https://altmansiegel.com/news/altman-siegel-closing-statement/\">Altman Siegel\u003c/a>, \u003ca href=\"https://renabranstengallery.com/\">Rena Bransten Gallery\u003c/a> and \u003ca href=\"https://mailchi.mp/anglimtrimble/towards-a-new-tomorrow?e=c461bee6fa\">Anglim/Trimble\u003c/a> — cited the economic difficulty of continuing to run a brick-and-mortar space, even in a complex expressly built to subsidize galleries.\u003c/p>\n\u003cp>[aside postID='arts_11406035']“We have really good landlords here,” says Shannon Trimble, the owner and director of Anglim/Trimble Gallery, which announced this week it would close at the end of December. “But the best they can do for us is to reduce our rent. And reducing your rent when you have absolutely no revenue doesn’t help anyone.”\u003c/p>\n\u003cp>\u003ca href=\"https://minnesotastreetproject.com/\">Minnesota Street Project\u003c/a>, established by Andy and Deborah Rappaport in 2016, is a collection of warehouses in the Dogpatch neighborhood that house commercial galleries, nonprofits, artist studios, and an art storage and handling operation.\u003c/p>\n\u003cp>“If you look back at 2014 when we had the idea for the project,” Andy Rappaport says, “the problem was that galleries couldn’t compete with tech companies for space.” Galleries’ rents were rapidly increasing, and they didn’t have the capital to band together and build out elsewhere. Enter: the Rappaports.\u003c/p>\n\u003cp>“We said that’s a problem we can solve, if you’re willing to invest the money to do it and you’re willing to basically be dumb landlords,” Rappaport says. They lease over a dozen gallery spaces at below-market rates.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The initial roster of Minnesota Street Project galleries included a number of downtown expats fleeing those 2010s rent hikes, including Anglim Gilbert Gallery (Anglim/Trimble’s predecessor), Nancy Toomey Fine Art, Rena Bransten and Themes + Projects.\u003c/p>\n\u003cp>“What’s happened now is that the galleries have a cost problem, but it’s not really related to their space,” Rappaport says. “People aren’t buying art from galleries.”\u003c/p>\n\u003cfigure id=\"attachment_13966013\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/2024_09_05_AT_MH_011.jpeg\" alt=\"model train set up in white walled gallery with framed prints on walls\" width=\"1280\" height=\"960\" class=\"size-full wp-image-13966013\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/2024_09_05_AT_MH_011.jpeg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/2024_09_05_AT_MH_011-800x600.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/2024_09_05_AT_MH_011-1020x765.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/2024_09_05_AT_MH_011-160x120.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/2024_09_05_AT_MH_011-768x576.jpeg 768w\" sizes=\"auto, (max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">Mildred Howard, ‘The Time and Space of Now: Moving Stills,’ installation view at Anglim/Trimble in 2024. \u003ccite>(Courtesy of the artist and Anglim/Trimble; Photo by Chris Grunder)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Trimble says that after a post-pandemic boost, sales started to drop off in 2023. “Then we came into January with this new administration and right off the bat the market dropped,” he explains. “It reached the point where I was only selling to museums for a while, and you can’t make a living just selling to museums.” For the past few months, he has been Anglim/Trimble’s sole employee.\u003c/p>\n\u003cp>Trimble doesn’t want this closure to overshadow the gallery’s long history and the artists it championed. He took over as owner-director in 2020, following the death of \u003ca href=\"https://www.sfchronicle.com/entertainment/arts-exhibits/article/ed-gilbert-sf-gallerist-who-championed-21188264.php\">Ed Gilbert\u003c/a>. Gilbert had assumed the same role just five years earlier, after the 2015 death of legendary dealer \u003ca href=\"https://www.sfchronicle.com/entertainment/article/Appreciation-The-irreplaceable-Paule-Anglim-6177323.php\">Paule Anglim\u003c/a>, who founded the eponymous gallery in the 1970s.\u003c/p>\n\u003cp>Anglim/Trimble still represents a number of significant Bay Area artists and their estates, including Jerome Caja, Enrique Chagoya, \u003ca href=\"https://www.kqed.org/arts/13965899/mildred-howard-collaborating-with-the-muses-part-one\">Mildred Howard\u003c/a>, Paul Kos, Rigo 23 and Richard Shaw.\u003c/p>\n\u003cp>“Holding Paula and Ed’s gallery together, really doing excellent shows, getting reviews, placing works in museums — all of that has been a success,” Trimble says. “But it wasn’t enough to support the overall program in the bigger picture if I didn’t have income.”\u003c/p>\n\u003cp>In this week’s announcement of the upcoming closure, he framed it as “a new beginning on the path to a better work-life balance.”\u003c/p>\n\u003cfigure id=\"attachment_13969015\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/2024_03_07_ASG3597_2000.jpg\" alt=\"gallery view of framed abstract woven work\" width=\"2000\" height=\"1500\" class=\"size-full wp-image-13969015\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/2024_03_07_ASG3597_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/2024_03_07_ASG3597_2000-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/2024_03_07_ASG3597_2000-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/2024_03_07_ASG3597_2000-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/2024_03_07_ASG3597_2000-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/2024_03_07_ASG3597_2000-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/2024_03_07_ASG3597_2000-1920x1440.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of Ruth Laskey’s ‘Loops & Circles’ at Altman Siegel in 2024. \u003ccite>(Courtesy of the artist and Altman Siegel, San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Rappaport points to international art fairs as the place where art sales happen these days, but fairs are an expensive and risky proposition for most small to mid-size galleries. Claudia Altman-Siegel has been transparent about the current state of the art market in interviews she’s given since her own closure announcement in October.\u003c/p>\n\u003cp>“It just felt like I would either have to be like a traveling salesperson at fairs all the time, or I would have to be a much more aggressive person, which is not my nature, or I would have to be way more commercial,” she told \u003ca href=\"https://news.artnet.com/market/altman-siegel-closing-2700649\">Artnet\u003c/a>. “And I just don’t want to do any of those things.”\u003c/p>\n\u003cp>Trimble never even budgeted to bring the gallery to fairs outside of San Francisco. Trish Bransten, director of Rena Bransten gallery, explained their closure to \u003ca href=\"https://sfstandard.com/2025/11/07/another-art-legend-rena-bransten-shuttering-sf-gallery/\">SF Standard\u003c/a> as “definitely a consequence of not quite enough visitors or sales.”\u003c/p>\n\u003cp>Rappaport says that even as people seem less inclined to buy work out of galleries, Minnesota Street Project has seen bigger crowds turn out for in-person events at the complex, like this year’s \u003ca href=\"https://www.kqed.org/arts/13978572/sf-art-book-fair-2025-minnesota-street-project-san-francisco\">San Francisco Art Book Fair\u003c/a>, which the Minnesota Street Project Foundation estimates had around 35,000 attendees.\u003c/p>\n\u003cfigure id=\"attachment_13984557\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/P1001076_2000.jpg\" alt=\"overhead view of crowds and booksellers\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13984557\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/P1001076_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/P1001076_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/P1001076_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/P1001076_2000-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A view of crowds at the 2025 San Francisco Art Book Fair, held in multiple buildings across the Minnesota Street Project campus. \u003ccite>(Jaelynn Walls/Minnesota Street Project Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The challenge facing them now, Rappaport says, is turning some of their event attendees into art collectors. On this front, the project’s next gambit will be Atrium, a free-to-attend art fair to be held at 1275 Minnesota Street during \u003ca href=\"https://sfartweek.com/\">SF Art Week\u003c/a> (and the \u003ca href=\"https://www.fogfair.com/\">FOG Design+Art fair\u003c/a>). Participants will mostly be Bay Area galleries, plus a few out-of-towners — an inverse of the FOG ratio. An assortment of artist-run projects organized under the moniker “Skylight Above” will occupy the old Rena Bransten space.\u003c/p>\n\u003cp>The hope is that efforts like these can stave off more closures. For each gallery that closes its doors, dozens of artists on their roster lose a venue for exhibition and potential sales. The effects ripple out through the Bay Area art ecosystem, sending a chill down everyone’s spine.\u003c/p>\n\u003cp>“It’s a red flag,” Trimble admits. “I do not have an answer for what the next steps are as far as this location. I want to see it vital and growing and have a whole community around it that’s engaged. That would be my dream.”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>The current Anglim/Trimble show, ‘\u003ca href=\"https://www.anglimtrimble.com/exhibitions/paul-kos-and-isabelle-sorrell\">&\u003c/a>,’ with work by Paul Kos and Isabelle Sorrel will be on view through Dec. 20, with an open house on Dec. 6, 3–7 p.m.\u003c/i>\u003c/p>\n\n",
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"title": "A Third Minnesota Street Project Gallery Shutters | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>By the end of 2025, three galleries within San Francisco’s \u003ca href=\"https://www.kqed.org/arts/tag/minnesota-street-project\">Minnesota Street Project\u003c/a> will have closed their doors. All three — \u003ca href=\"https://altmansiegel.com/news/altman-siegel-closing-statement/\">Altman Siegel\u003c/a>, \u003ca href=\"https://renabranstengallery.com/\">Rena Bransten Gallery\u003c/a> and \u003ca href=\"https://mailchi.mp/anglimtrimble/towards-a-new-tomorrow?e=c461bee6fa\">Anglim/Trimble\u003c/a> — cited the economic difficulty of continuing to run a brick-and-mortar space, even in a complex expressly built to subsidize galleries.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“We have really good landlords here,” says Shannon Trimble, the owner and director of Anglim/Trimble Gallery, which announced this week it would close at the end of December. “But the best they can do for us is to reduce our rent. And reducing your rent when you have absolutely no revenue doesn’t help anyone.”\u003c/p>\n\u003cp>\u003ca href=\"https://minnesotastreetproject.com/\">Minnesota Street Project\u003c/a>, established by Andy and Deborah Rappaport in 2016, is a collection of warehouses in the Dogpatch neighborhood that house commercial galleries, nonprofits, artist studios, and an art storage and handling operation.\u003c/p>\n\u003cp>“If you look back at 2014 when we had the idea for the project,” Andy Rappaport says, “the problem was that galleries couldn’t compete with tech companies for space.” Galleries’ rents were rapidly increasing, and they didn’t have the capital to band together and build out elsewhere. Enter: the Rappaports.\u003c/p>\n\u003cp>“We said that’s a problem we can solve, if you’re willing to invest the money to do it and you’re willing to basically be dumb landlords,” Rappaport says. They lease over a dozen gallery spaces at below-market rates.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The initial roster of Minnesota Street Project galleries included a number of downtown expats fleeing those 2010s rent hikes, including Anglim Gilbert Gallery (Anglim/Trimble’s predecessor), Nancy Toomey Fine Art, Rena Bransten and Themes + Projects.\u003c/p>\n\u003cp>“What’s happened now is that the galleries have a cost problem, but it’s not really related to their space,” Rappaport says. “People aren’t buying art from galleries.”\u003c/p>\n\u003cfigure id=\"attachment_13966013\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/2024_09_05_AT_MH_011.jpeg\" alt=\"model train set up in white walled gallery with framed prints on walls\" width=\"1280\" height=\"960\" class=\"size-full wp-image-13966013\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/2024_09_05_AT_MH_011.jpeg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/2024_09_05_AT_MH_011-800x600.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/2024_09_05_AT_MH_011-1020x765.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/2024_09_05_AT_MH_011-160x120.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/2024_09_05_AT_MH_011-768x576.jpeg 768w\" sizes=\"auto, (max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">Mildred Howard, ‘The Time and Space of Now: Moving Stills,’ installation view at Anglim/Trimble in 2024. \u003ccite>(Courtesy of the artist and Anglim/Trimble; Photo by Chris Grunder)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Trimble says that after a post-pandemic boost, sales started to drop off in 2023. “Then we came into January with this new administration and right off the bat the market dropped,” he explains. “It reached the point where I was only selling to museums for a while, and you can’t make a living just selling to museums.” For the past few months, he has been Anglim/Trimble’s sole employee.\u003c/p>\n\u003cp>Trimble doesn’t want this closure to overshadow the gallery’s long history and the artists it championed. He took over as owner-director in 2020, following the death of \u003ca href=\"https://www.sfchronicle.com/entertainment/arts-exhibits/article/ed-gilbert-sf-gallerist-who-championed-21188264.php\">Ed Gilbert\u003c/a>. Gilbert had assumed the same role just five years earlier, after the 2015 death of legendary dealer \u003ca href=\"https://www.sfchronicle.com/entertainment/article/Appreciation-The-irreplaceable-Paule-Anglim-6177323.php\">Paule Anglim\u003c/a>, who founded the eponymous gallery in the 1970s.\u003c/p>\n\u003cp>Anglim/Trimble still represents a number of significant Bay Area artists and their estates, including Jerome Caja, Enrique Chagoya, \u003ca href=\"https://www.kqed.org/arts/13965899/mildred-howard-collaborating-with-the-muses-part-one\">Mildred Howard\u003c/a>, Paul Kos, Rigo 23 and Richard Shaw.\u003c/p>\n\u003cp>“Holding Paula and Ed’s gallery together, really doing excellent shows, getting reviews, placing works in museums — all of that has been a success,” Trimble says. “But it wasn’t enough to support the overall program in the bigger picture if I didn’t have income.”\u003c/p>\n\u003cp>In this week’s announcement of the upcoming closure, he framed it as “a new beginning on the path to a better work-life balance.”\u003c/p>\n\u003cfigure id=\"attachment_13969015\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/2024_03_07_ASG3597_2000.jpg\" alt=\"gallery view of framed abstract woven work\" width=\"2000\" height=\"1500\" class=\"size-full wp-image-13969015\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/2024_03_07_ASG3597_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/2024_03_07_ASG3597_2000-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/2024_03_07_ASG3597_2000-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/2024_03_07_ASG3597_2000-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/2024_03_07_ASG3597_2000-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/2024_03_07_ASG3597_2000-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/2024_03_07_ASG3597_2000-1920x1440.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of Ruth Laskey’s ‘Loops & Circles’ at Altman Siegel in 2024. \u003ccite>(Courtesy of the artist and Altman Siegel, San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Rappaport points to international art fairs as the place where art sales happen these days, but fairs are an expensive and risky proposition for most small to mid-size galleries. Claudia Altman-Siegel has been transparent about the current state of the art market in interviews she’s given since her own closure announcement in October.\u003c/p>\n\u003cp>“It just felt like I would either have to be like a traveling salesperson at fairs all the time, or I would have to be a much more aggressive person, which is not my nature, or I would have to be way more commercial,” she told \u003ca href=\"https://news.artnet.com/market/altman-siegel-closing-2700649\">Artnet\u003c/a>. “And I just don’t want to do any of those things.”\u003c/p>\n\u003cp>Trimble never even budgeted to bring the gallery to fairs outside of San Francisco. Trish Bransten, director of Rena Bransten gallery, explained their closure to \u003ca href=\"https://sfstandard.com/2025/11/07/another-art-legend-rena-bransten-shuttering-sf-gallery/\">SF Standard\u003c/a> as “definitely a consequence of not quite enough visitors or sales.”\u003c/p>\n\u003cp>Rappaport says that even as people seem less inclined to buy work out of galleries, Minnesota Street Project has seen bigger crowds turn out for in-person events at the complex, like this year’s \u003ca href=\"https://www.kqed.org/arts/13978572/sf-art-book-fair-2025-minnesota-street-project-san-francisco\">San Francisco Art Book Fair\u003c/a>, which the Minnesota Street Project Foundation estimates had around 35,000 attendees.\u003c/p>\n\u003cfigure id=\"attachment_13984557\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/P1001076_2000.jpg\" alt=\"overhead view of crowds and booksellers\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13984557\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/P1001076_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/P1001076_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/P1001076_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/P1001076_2000-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A view of crowds at the 2025 San Francisco Art Book Fair, held in multiple buildings across the Minnesota Street Project campus. \u003ccite>(Jaelynn Walls/Minnesota Street Project Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The challenge facing them now, Rappaport says, is turning some of their event attendees into art collectors. On this front, the project’s next gambit will be Atrium, a free-to-attend art fair to be held at 1275 Minnesota Street during \u003ca href=\"https://sfartweek.com/\">SF Art Week\u003c/a> (and the \u003ca href=\"https://www.fogfair.com/\">FOG Design+Art fair\u003c/a>). Participants will mostly be Bay Area galleries, plus a few out-of-towners — an inverse of the FOG ratio. An assortment of artist-run projects organized under the moniker “Skylight Above” will occupy the old Rena Bransten space.\u003c/p>\n\u003cp>The hope is that efforts like these can stave off more closures. For each gallery that closes its doors, dozens of artists on their roster lose a venue for exhibition and potential sales. The effects ripple out through the Bay Area art ecosystem, sending a chill down everyone’s spine.\u003c/p>\n\u003cp>“It’s a red flag,” Trimble admits. “I do not have an answer for what the next steps are as far as this location. I want to see it vital and growing and have a whole community around it that’s engaged. That would be my dream.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>The current Anglim/Trimble show, ‘\u003ca href=\"https://www.anglimtrimble.com/exhibitions/paul-kos-and-isabelle-sorrell\">&\u003c/a>,’ with work by Paul Kos and Isabelle Sorrel will be on view through Dec. 20, with an open house on Dec. 6, 3–7 p.m.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>You don’t realize just how massive the Bay Area’s small-press and \u003ca href=\"https://www.kqed.org/arts/tag/zines\">zine\u003c/a> world is until you walk into the San Francisco Art Book Fair. \u003c/p>\n\u003cp>Inside, it’s shoulder-to-shoulder crowds. A steady din of excited conversation. And tables full of fascinating, eye-catching DIY publications as far as the eyes can see. \u003c/p>\n\u003cp>It’s a scene that immediately captivated \u003ca href=\"https://cargocollective.com/oceanmescalanti/About-Ocean-M-Escalanti\">Ocean Escalanti\u003c/a> when the festival launched in 2016. After working to assist other vendors at the fair, or tabling for her day job at Richmond’s NIAD Art Center, the Oakland-based zinemaker began applying to be an exhibitor herself. This year, despite the fair receiving more than 400 applications for around 130 tables, she got in. \u003c/p>\n\u003cfigure id=\"attachment_13929554\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/SFABF2019_photoAirykaRockefeller-200-1.jpeg\" alt=\"people browse at a book fair\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13929554\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/SFABF2019_photoAirykaRockefeller-200-1.jpeg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/SFABF2019_photoAirykaRockefeller-200-1-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/SFABF2019_photoAirykaRockefeller-200-1-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/SFABF2019_photoAirykaRockefeller-200-1-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/SFABF2019_photoAirykaRockefeller-200-1-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/SFABF2019_photoAirykaRockefeller-200-1-1536x1024.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/SFABF2019_photoAirykaRockefeller-200-1-1920x1280.jpeg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">People browse at the 2019 SF Art Book Fair. \u003ccite>(Airyka Rockefeller)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In a way, Escalanti says, exhibiting at the SFABF is a rite of passage, and “a way to get acceptance, and own the fact that I’m an artist creating in the Bay Area.”\u003c/p>\n\u003cp>Escalanti’s zines provide a cross-section of the fair’s variety: she’ll have chapbook-sized tributes to David Bowie and Jerry Garcia alongside zines that reference ancient drawings. Her skill-share brochures on color symbolism and natural dyes are informed by her Indigenous Quechan background, and her desire to foster a personal relationship with the Bay Area’s land and its Native people after moving here from San Diego more than 10 years ago.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>On Friday, July 11, 1–2 p.m., Escalanti leads a discussion on the importance of small publishers working in the realms of ecology, homesteading and the natural world — one of 19 breakout events throughout the weekend.\u003c/p>\n\u003cp>[aside postID='arts_13961341'] In fact, after eight years, the SF Art Book Fair has expanded beyond its original mission as a showcase for art books. In addition to book signings with decidedly non–small press publishers like Chronicle Books, the weekend’s activities include photo exhibitions, a record swap sponsored by KUSF, a reading room dedicated to Charles and Ray Eames and a screening room of short films curated by SF Cinematique. \u003ca href=\"https://www.instagram.com/p/DLyXK-3v-T3/\">There’s even a celebrity dog\u003c/a>.\u003c/p>\n\u003cp>But books and zines are still the star attraction — so much so that, in the case of Ben Kinmont and his “street activation” about the 1960s group The Diggers, they’ll even be printed and given away on-site. When I attended the fair last year, I struggled to whittle my highlights down to just \u003ca href=\"https://www.kqed.org/arts/13961341/sf-art-book-fair-zines-underground-small-press-review\">eight cool books and zines\u003c/a> on offer — although I discovered most of them in the out-of-the-way second building up the street at 1150 25th St., where more DIY and grassroots artists like Escalanti can be found.\u003c/p>\n\u003cp>My advice? Go in completely blind, work your way around the buildings, and enjoy navigating the maze of personal, niche, funny and I-didn’t-know-I-needed-this publications from the Bay Area and beyond. \u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The ninth annual \u003ca href=\"https://sfartbookfair.com/\">San Francisco Art Book Fair\u003c/a> is free to attend and runs Friday–Saturday, July 11–13 — with an opening night on Thursday, July 10, 6–10 p.m. — at the Minnesota Street Project (1150 25th St., 1275 Minnesota St., 1240 Minnesota St. and 1201 Minnesota St., San Francisco).\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>You don’t realize just how massive the Bay Area’s small-press and \u003ca href=\"https://www.kqed.org/arts/tag/zines\">zine\u003c/a> world is until you walk into the San Francisco Art Book Fair. \u003c/p>\n\u003cp>Inside, it’s shoulder-to-shoulder crowds. A steady din of excited conversation. And tables full of fascinating, eye-catching DIY publications as far as the eyes can see. \u003c/p>\n\u003cp>It’s a scene that immediately captivated \u003ca href=\"https://cargocollective.com/oceanmescalanti/About-Ocean-M-Escalanti\">Ocean Escalanti\u003c/a> when the festival launched in 2016. After working to assist other vendors at the fair, or tabling for her day job at Richmond’s NIAD Art Center, the Oakland-based zinemaker began applying to be an exhibitor herself. This year, despite the fair receiving more than 400 applications for around 130 tables, she got in. \u003c/p>\n\u003cfigure id=\"attachment_13929554\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/SFABF2019_photoAirykaRockefeller-200-1.jpeg\" alt=\"people browse at a book fair\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13929554\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/SFABF2019_photoAirykaRockefeller-200-1.jpeg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/SFABF2019_photoAirykaRockefeller-200-1-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/SFABF2019_photoAirykaRockefeller-200-1-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/SFABF2019_photoAirykaRockefeller-200-1-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/SFABF2019_photoAirykaRockefeller-200-1-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/SFABF2019_photoAirykaRockefeller-200-1-1536x1024.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/SFABF2019_photoAirykaRockefeller-200-1-1920x1280.jpeg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">People browse at the 2019 SF Art Book Fair. \u003ccite>(Airyka Rockefeller)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In a way, Escalanti says, exhibiting at the SFABF is a rite of passage, and “a way to get acceptance, and own the fact that I’m an artist creating in the Bay Area.”\u003c/p>\n\u003cp>Escalanti’s zines provide a cross-section of the fair’s variety: she’ll have chapbook-sized tributes to David Bowie and Jerry Garcia alongside zines that reference ancient drawings. Her skill-share brochures on color symbolism and natural dyes are informed by her Indigenous Quechan background, and her desire to foster a personal relationship with the Bay Area’s land and its Native people after moving here from San Diego more than 10 years ago.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp> In fact, after eight years, the SF Art Book Fair has expanded beyond its original mission as a showcase for art books. In addition to book signings with decidedly non–small press publishers like Chronicle Books, the weekend’s activities include photo exhibitions, a record swap sponsored by KUSF, a reading room dedicated to Charles and Ray Eames and a screening room of short films curated by SF Cinematique. \u003ca href=\"https://www.instagram.com/p/DLyXK-3v-T3/\">There’s even a celebrity dog\u003c/a>.\u003c/p>\n\u003cp>But books and zines are still the star attraction — so much so that, in the case of Ben Kinmont and his “street activation” about the 1960s group The Diggers, they’ll even be printed and given away on-site. When I attended the fair last year, I struggled to whittle my highlights down to just \u003ca href=\"https://www.kqed.org/arts/13961341/sf-art-book-fair-zines-underground-small-press-review\">eight cool books and zines\u003c/a> on offer — although I discovered most of them in the out-of-the-way second building up the street at 1150 25th St., where more DIY and grassroots artists like Escalanti can be found.\u003c/p>\n\u003cp>My advice? Go in completely blind, work your way around the buildings, and enjoy navigating the maze of personal, niche, funny and I-didn’t-know-I-needed-this publications from the Bay Area and beyond. \u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The ninth annual \u003ca href=\"https://sfartbookfair.com/\">San Francisco Art Book Fair\u003c/a> is free to attend and runs Friday–Saturday, July 11–13 — with an opening night on Thursday, July 10, 6–10 p.m. — at the Minnesota Street Project (1150 25th St., 1275 Minnesota St., 1240 Minnesota St. and 1201 Minnesota St., San Francisco).\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The \u003ca href=\"https://www.kqed.org/arts/tag/di-rosa\">di Rosa Center for Contemporary Art\u003c/a>, a Napa museum with an extensive collection of post-war Northern California art, \u003ca href=\"https://www.dirosaart.org/wp-content/uploads/2025/03/di-Rosa-Press-Release_Final_3.19.25.pdf\">announced today\u003c/a> that it will transform two of its spaces into permanent rental venues and open a satellite museum in San Francisco. The announcement was presented as “a sustainable path forward” amid longstanding financial challenges.\u003c/p>\n\u003cp>Renovations will begin in July on the museum’s Gatehouse Gallery and the di Rosa residence, to better court event rentals like weddings and corporate gatherings. (Most Napa wineries cannot host weddings due to the 1990 Winery Definition Ordinance; the di Rosa is a rare, preexisting exemption.) Gallery Two and the Sculpture Meadow will remain open on a reservation basis during the 18 months of construction.\u003c/p>\n\u003cp>The changes also come with reductions in staff, which today’s announcement characterized as “a difficult but necessary step towards lowering operational expenses.” The museum, which currently employs nine full-time and seven part-time staff, will lay off two full-time and six part-time employees in July. All the part-time employees work in visitor experiences.\u003c/p>\n\u003cp>On Aug. 9, di Rosa will open the Incorrect Museum, an exhibition and education program in the former McEvoy Foundation for the Arts within the Minnesota Street Project complex. The first show will be \u003ci>Far Out: Northern California Art from the di Rosa Collection\u003c/i>, featuring work by Joan Brown, Enrique Chagoya, Jay DeFeo, Mildred Howard and Peter Saul. Admission to the Incorrect Museum will be free.\u003c/p>\n\u003cp>This is not the first satellite space for the museum, which opened di Rosa Downtown at 1300 First St. in Napa in December 2024. Exhibitions will continue here as well, where the group show \u003ci>\u003ca href=\"https://www.dirosaart.org/2025/01/di-rosa-downtown-second-nature/\">Second Nature\u003c/a>\u003c/i> is on view through June 1.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Executive Director Kate Eilersten is quoted saying, “Once this transition is underway, we aim to begin collecting once again, a practice that was core to founder Rene di Rosa’s vision, and which will enable us to present visitors with a more contemporary and expansive view of Northern California art.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The \u003ca href=\"https://www.kqed.org/arts/tag/di-rosa\">di Rosa Center for Contemporary Art\u003c/a>, a Napa museum with an extensive collection of post-war Northern California art, \u003ca href=\"https://www.dirosaart.org/wp-content/uploads/2025/03/di-Rosa-Press-Release_Final_3.19.25.pdf\">announced today\u003c/a> that it will transform two of its spaces into permanent rental venues and open a satellite museum in San Francisco. The announcement was presented as “a sustainable path forward” amid longstanding financial challenges.\u003c/p>\n\u003cp>Renovations will begin in July on the museum’s Gatehouse Gallery and the di Rosa residence, to better court event rentals like weddings and corporate gatherings. (Most Napa wineries cannot host weddings due to the 1990 Winery Definition Ordinance; the di Rosa is a rare, preexisting exemption.) Gallery Two and the Sculpture Meadow will remain open on a reservation basis during the 18 months of construction.\u003c/p>\n\u003cp>The changes also come with reductions in staff, which today’s announcement characterized as “a difficult but necessary step towards lowering operational expenses.” The museum, which currently employs nine full-time and seven part-time staff, will lay off two full-time and six part-time employees in July. All the part-time employees work in visitor experiences.\u003c/p>\n\u003cp>On Aug. 9, di Rosa will open the Incorrect Museum, an exhibition and education program in the former McEvoy Foundation for the Arts within the Minnesota Street Project complex. The first show will be \u003ci>Far Out: Northern California Art from the di Rosa Collection\u003c/i>, featuring work by Joan Brown, Enrique Chagoya, Jay DeFeo, Mildred Howard and Peter Saul. Admission to the Incorrect Museum will be free.\u003c/p>\n\u003cp>This is not the first satellite space for the museum, which opened di Rosa Downtown at 1300 First St. in Napa in December 2024. Exhibitions will continue here as well, where the group show \u003ci>\u003ca href=\"https://www.dirosaart.org/2025/01/di-rosa-downtown-second-nature/\">Second Nature\u003c/a>\u003c/i> is on view through June 1.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Books! Zines! Hordes of people! Thursday night saw the opening of the \u003ca href=\"https://sfartbookfair.com/\">SF Art Book Fair\u003c/a>, as much a delight to small-press aficionados as a nightmare for claustrophobics. I can confirm: it was shoulder-to-shoulder \u003cem>packed\u003c/em>.\u003c/p>\n\u003cp>In its seventh year, the fair held at the Minnesota Street Art Project in San Francisco’s Dogpatch district is more popular than ever, underscored by the addition of a second exhibition building (the former McEvoy Foundation for the Arts, up the street). The expansion didn’t alleviate the congestion. It did provide for plenty of exhibitors, however — a total of 145, hawking limited-run books, zines and prints of all styles and subject matter to the beanie-and-tight-jean set.\u003c/p>\n\u003cp>I spent a few hours at the fair, looking for the coolest, weirdest, most intriguing printed matter on offer. Here are eight things that caught my eye.\u003c/p>\n\u003cfigure id=\"attachment_13961365\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8219.jpg\" alt=\"\" width=\"1920\" height=\"1440\" class=\"size-full wp-image-13961365\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8219.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8219-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8219-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8219-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8219-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8219-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">‘The Mission District,’ published by StreetSalad. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘The Mission District’\u003c/h2>\n\u003cp>\u003cem>(StreetSalad, $40)\u003c/em>\u003c/p>\n\u003cp>In 1980, out of his shop on 23rd Street in San Francisco, comics legend \u003ca href=\"https://larryrippeeandmollyreaart.blogspot.com/2014/01/gary-arlington.html\">Gary Arlington\u003c/a> began paying neighborhood teenagers to make one-page illustrations. Eventually, he compiled them into a periodical titled \u003cem>The Mission District\u003c/em>, filled with pencil drawings and Chicano-style lettering. Now, StreetSalad’s Tron Martínez has reprinted them, along with the more scrapbook-like \u003cem>Cholo\u003c/em>, out of San José, both perfectly capturing the \u003cem>Teen Angels\u003c/em>-type aesthetic of the cholo and lowrider scenes. As for Gary’s shop, “underground comic book culture really permeated out of there,” said Martínez.\u003c/p>\n\u003cfigure id=\"attachment_13961366\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8225.jpg\" alt=\"\" width=\"1920\" height=\"1440\" class=\"size-full wp-image-13961366\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8225.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8225-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8225-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8225-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8225-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8225-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">‘Emeryville Cool Fun Booklet,’ by Jessalyn Aaland. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Emeryville Cool Fun Booklet’\u003c/h2>\n\u003cp>\u003cem>Jessalyn Aaland (Current Editions, $15)\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In 2020, four years after moving to Emeryville from Oakland and in the throes of COVID lockdown, Jessalyn Aaland decided to learn more about the history of her new city. Each new rabbit hole resulted in an issue of \u003cem>Emeryville C☺☺L Fun Facts\u003c/em>, a monthly one-page newsletter covering Emeryville’s canneries, labor strikes, 1980s punk scene, public art, streetcar lines and more. With a Risograph printer at home and a pandemic yearning to return to more human ways of connecting, she stapled her insightful, chatty and often hilarious newsletters to poles all around town, adding a phone number at the bottom. \u003cem>Emeryville Cool Fun Booklet\u003c/em> compiles all nine issues, along with responses from readers who called the number. (“An older woman was like, ‘I live alone,’ and told me stories about her landlord,” Aaland said.) I brought it home and devoured it in one sitting.\u003c/p>\n\u003cfigure id=\"attachment_13961364\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8218.jpg\" alt=\"\" width=\"1920\" height=\"1440\" class=\"size-full wp-image-13961364\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8218.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8218-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8218-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8218-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8218-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8218-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">‘The Invisible,’ by Barbara Stauffacher Solomon. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘The Invisible’\u003c/h2>\n\u003cp>\u003cem>Barbara Stauffacher Solomon (Colpa Press, $40)\u003c/em>\u003c/p>\n\u003cp>When Colpa Press’ Luca Antonucci first met \u003ca href=\"https://www.kqed.org/arts/13957530/barbara-stauffacher-solomon-supergraphics-obituary\">supergraphics pioneer\u003c/a> Barbara Stauffacher Solomon, she was making her own books at Kinko’s in San Francisco. Now, two months after \u003ca href=\"https://www.nytimes.com/2024/05/08/arts/design/barbara-stauffacher-solomon-dead.html\">Solomon’s death at age 95\u003c/a>, he’s printed their fifth and final book together, spiral-bound in an edition of 200. Made of collages that Stauffacher Solomon cut and pasted directly to a \u003ca href=\"https://www.peopleofprint.com/exhibition/the-swiss-grid/\">Swiss Grid\u003c/a>, \u003cem>The Invisible\u003c/em> was turned in by Stauffacher Solomon just two weeks before her death in May — along with attached instructional notes, handwritten, which Antonucci opted to include. “Scanning them was super emotional,” he said, “almost as if she was talking to me from beyond the grave.”\u003c/p>\n\u003cfigure id=\"attachment_13961371\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8258.jpg\" alt=\"\" width=\"1920\" height=\"1440\" class=\"size-full wp-image-13961371\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8258.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8258-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8258-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8258-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8258-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8258-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">‘You’re Gonna Miss Me / For Your Love,’ by the Tymes 5. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘You’re Gonna Miss Me / For Your Love’\u003c/h2>\n\u003cp>\u003cem>(The Tymes 5 feat. Michael Jang, $16)\u003c/em>\u003c/p>\n\u003cp>Visitors to this year’s fair may notice a large wheatpaste nearby at 23rd and Tennessee, the handiwork of the dizzingly prolific \u003ca href=\"https://www.kqed.org/arts/13958762/who-is-michael-jang-documentary-michael-jacobs-sf-docfest\">Michael Jang\u003c/a>. A San Francisco photographer, street artist and subtle prankster, Jang once also… \u003cem>played in a 1960s garage band\u003c/em>?! Here’s the proof: a 7″ of The Tymes 5, for which Jang played guitar, recorded in 1965. Covering songs by the 13th Floor Elevators and the Zombies, the band is out of tune, the vocals are overblown, the tempo-challenged drums sound like cardboard boxes. It’s great! “They’ve been selling like crazy — more than we expected,” said Park Life’s Saffron Munkres. The huge wheatpasted advertisement down the street probably doesn’t hurt.\u003c/p>\n\u003cfigure id=\"attachment_13961362\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8209.jpg\" alt=\"\" width=\"1920\" height=\"1440\" class=\"size-full wp-image-13961362\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8209.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8209-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8209-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8209-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8209-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8209-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">‘Bodega Rider,’ by Martha Naranjo Sandoval. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Bodega Rider’\u003c/h2>\n\u003cp>\u003cem>Martha Naranjo Sandoval (Matarile Ediciones, $14)\u003c/em>\u003c/p>\n\u003cp>Not everything at the SF Art Book Fair is local. Distributed by Brooklyn’s Seaton Street Press, this photo zine contains the artist’s self-portraits on coin-operated sidewalk rides outside bodegas in New York City. What captivated me were the range of emotions on Naranjo Sandoval’s face while revisiting these childhood sources of joy: excitement at seeing them, nostalgia for what they once provided, sadness at their decreasing prominence, frustration at aging out of simple pleasures. “She’s publishing for immigrants, specifically, in the diaspora,” said Seaton Street’s Lindsay Buchman, but anyone who spent 90 seconds and 50¢ on a bucking horse stationed outside a storefront will relate.\u003c/p>\n\u003cfigure id=\"attachment_13961368\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8235.jpg\" alt=\"\" width=\"1920\" height=\"1440\" class=\"size-full wp-image-13961368\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8235.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8235-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8235-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8235-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8235-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8235-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">‘How to Art Book Fair,’ by Paul Shortt \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘How to Art Book Fair’\u003c/h2>\n\u003cp>\u003cem>Paul Shortt (Shortt Editions, $10)\u003c/em>\u003c/p>\n\u003cp>Talk about meta! This guide to art book fairs was being sold at the art book fair by Paul Shortt, who’d woken up Thursday morning at 3:30 a.m. in Florida before flying to San Francisco. “There’s a lot of books that teach you how to make books,” he said, “and not a lot of books that teach you how to \u003cem>sell\u003c/em> books.” (He should know; he’s been to over 50 art book fairs in the past decade.) I’d assumed this zine would be a snarky troll on art book fairs, but no — it’s a practical guide to their ins and outs, drawn from Shortt’s experiences as a vendor (“I’m very clear in the book about my own failures,” he quipped), and input from other veterans of the scene. Most of the advice is uber-specific, while some is refreshingly simple, like “don’t be a jerk.”\u003c/p>\n\u003cfigure id=\"attachment_13961369\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8238.jpg\" alt=\"\" width=\"1920\" height=\"1440\" class=\"size-full wp-image-13961369\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8238.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8238-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8238-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8238-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8238-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8238-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">‘If You Listen, Music Will Find You: 35mm Photographs of the Bay Area Underground,’ by Ezra Gonzalez. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘If You Listen, Music Will Find You: 35mm Photographs of the Bay Area Underground’\u003c/h2>\n\u003cp>\u003cem>Ezra Gonzalez (Nematode, $30 each)\u003c/em>\u003c/p>\n\u003cp>It’s a guarantee that your older punk friends have complained that music sucks now, or that the scene is dead. To which I always say: go to more shows! Now, there’s a tangible document to rebut those beardy, complainy denim-vest dudes: under the namesake \u003ca href=\"https://www.instagram.com/nematodeworld/\">Nematode\u003c/a>, Bay Area photographer Ezra Gonzalez has published two volumes documenting the local underground music scene. Spanning 2018–2020 and 2021–2023, the photos contain a few recognizable spots (Eli’s Mile High Club, the Rickshaw Stop), but most come from shows at basements, sidewalks and house parties. “It’s been really fun since we got them,” says Matt Brownell, co-owner of \u003ca href=\"https://coneshapetop.com/\">Cone Shape Top\u003c/a> in Oakland. “People pick up the book and say ‘I was at this show!'” Here’s to more photo books documenting the Bay Area’s rich DIY punk scene. (Please do it, \u003ca href=\"https://www.instagram.com/robcoonsphotography/?hl=en\">Rob Coons\u003c/a>!)\u003c/p>\n\u003cfigure id=\"attachment_13961370\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8244.jpg\" alt=\"\" width=\"1920\" height=\"1440\" class=\"size-full wp-image-13961370\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8244.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8244-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8244-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8244-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8244-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8244-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">‘Advertising Shits in Your Head: Strategies for Resistance,’ by Vyvian Raoul and Matt Bonner. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Advertising Shits in Your Head: Strategies for Resistance’\u003c/h2>\n\u003cp>\u003cem>Vyvian Raoul and Matt Bonner (PM Press, $15.95)\u003c/em>\u003c/p>\n\u003cp>While wandering around the Art Book Fair, it’s easy to be seduced by eye-catching book titles (\u003cem>What Is Post-Branding?\u003c/em>, \u003cem>8-Bit Porn Video Games\u003c/em>, \u003cem>Uncreative Writing\u003c/em> by Taylor Swift). Some of these clever titles deliver on their promises, while many do not. This is, in effect, a microcosm of the advertising world! So I was glad to discover that \u003cem>Advertising Shits in Your Head\u003c/em> is backed up by substance as well as humor. Along with a primer on how advertising intrudes on our daily mental lives, the book focuses on “subvertising” — the art of altering, remixing or defacing billboard and poster ads. “A lot of these things, like bus kiosks, are easy to get into. And if it looks like it belongs there, it’ll stay there for a while,” says Dan from Oakland’s PM Press. “It’s a public space! Use it for your own means!”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>The SF Art Book Fair continues daily through Sunday, July 21 at the Minnesota Street Project in San Francisco. Admission is free. \u003ca href=\"https://sfartbookfair.com/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "1980s lowrider art! Cool Emeryville facts! Bay Area DIY show photos! We found all of this and more.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Books! Zines! Hordes of people! Thursday night saw the opening of the \u003ca href=\"https://sfartbookfair.com/\">SF Art Book Fair\u003c/a>, as much a delight to small-press aficionados as a nightmare for claustrophobics. I can confirm: it was shoulder-to-shoulder \u003cem>packed\u003c/em>.\u003c/p>\n\u003cp>In its seventh year, the fair held at the Minnesota Street Art Project in San Francisco’s Dogpatch district is more popular than ever, underscored by the addition of a second exhibition building (the former McEvoy Foundation for the Arts, up the street). The expansion didn’t alleviate the congestion. It did provide for plenty of exhibitors, however — a total of 145, hawking limited-run books, zines and prints of all styles and subject matter to the beanie-and-tight-jean set.\u003c/p>\n\u003cp>I spent a few hours at the fair, looking for the coolest, weirdest, most intriguing printed matter on offer. Here are eight things that caught my eye.\u003c/p>\n\u003cfigure id=\"attachment_13961365\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8219.jpg\" alt=\"\" width=\"1920\" height=\"1440\" class=\"size-full wp-image-13961365\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8219.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8219-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8219-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8219-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8219-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8219-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">‘The Mission District,’ published by StreetSalad. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘The Mission District’\u003c/h2>\n\u003cp>\u003cem>(StreetSalad, $40)\u003c/em>\u003c/p>\n\u003cp>In 1980, out of his shop on 23rd Street in San Francisco, comics legend \u003ca href=\"https://larryrippeeandmollyreaart.blogspot.com/2014/01/gary-arlington.html\">Gary Arlington\u003c/a> began paying neighborhood teenagers to make one-page illustrations. Eventually, he compiled them into a periodical titled \u003cem>The Mission District\u003c/em>, filled with pencil drawings and Chicano-style lettering. Now, StreetSalad’s Tron Martínez has reprinted them, along with the more scrapbook-like \u003cem>Cholo\u003c/em>, out of San José, both perfectly capturing the \u003cem>Teen Angels\u003c/em>-type aesthetic of the cholo and lowrider scenes. As for Gary’s shop, “underground comic book culture really permeated out of there,” said Martínez.\u003c/p>\n\u003cfigure id=\"attachment_13961366\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8225.jpg\" alt=\"\" width=\"1920\" height=\"1440\" class=\"size-full wp-image-13961366\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8225.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8225-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8225-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8225-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8225-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8225-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">‘Emeryville Cool Fun Booklet,’ by Jessalyn Aaland. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Emeryville Cool Fun Booklet’\u003c/h2>\n\u003cp>\u003cem>Jessalyn Aaland (Current Editions, $15)\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In 2020, four years after moving to Emeryville from Oakland and in the throes of COVID lockdown, Jessalyn Aaland decided to learn more about the history of her new city. Each new rabbit hole resulted in an issue of \u003cem>Emeryville C☺☺L Fun Facts\u003c/em>, a monthly one-page newsletter covering Emeryville’s canneries, labor strikes, 1980s punk scene, public art, streetcar lines and more. With a Risograph printer at home and a pandemic yearning to return to more human ways of connecting, she stapled her insightful, chatty and often hilarious newsletters to poles all around town, adding a phone number at the bottom. \u003cem>Emeryville Cool Fun Booklet\u003c/em> compiles all nine issues, along with responses from readers who called the number. (“An older woman was like, ‘I live alone,’ and told me stories about her landlord,” Aaland said.) I brought it home and devoured it in one sitting.\u003c/p>\n\u003cfigure id=\"attachment_13961364\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8218.jpg\" alt=\"\" width=\"1920\" height=\"1440\" class=\"size-full wp-image-13961364\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8218.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8218-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8218-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8218-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8218-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8218-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">‘The Invisible,’ by Barbara Stauffacher Solomon. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘The Invisible’\u003c/h2>\n\u003cp>\u003cem>Barbara Stauffacher Solomon (Colpa Press, $40)\u003c/em>\u003c/p>\n\u003cp>When Colpa Press’ Luca Antonucci first met \u003ca href=\"https://www.kqed.org/arts/13957530/barbara-stauffacher-solomon-supergraphics-obituary\">supergraphics pioneer\u003c/a> Barbara Stauffacher Solomon, she was making her own books at Kinko’s in San Francisco. Now, two months after \u003ca href=\"https://www.nytimes.com/2024/05/08/arts/design/barbara-stauffacher-solomon-dead.html\">Solomon’s death at age 95\u003c/a>, he’s printed their fifth and final book together, spiral-bound in an edition of 200. Made of collages that Stauffacher Solomon cut and pasted directly to a \u003ca href=\"https://www.peopleofprint.com/exhibition/the-swiss-grid/\">Swiss Grid\u003c/a>, \u003cem>The Invisible\u003c/em> was turned in by Stauffacher Solomon just two weeks before her death in May — along with attached instructional notes, handwritten, which Antonucci opted to include. “Scanning them was super emotional,” he said, “almost as if she was talking to me from beyond the grave.”\u003c/p>\n\u003cfigure id=\"attachment_13961371\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8258.jpg\" alt=\"\" width=\"1920\" height=\"1440\" class=\"size-full wp-image-13961371\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8258.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8258-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8258-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8258-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8258-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8258-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">‘You’re Gonna Miss Me / For Your Love,’ by the Tymes 5. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘You’re Gonna Miss Me / For Your Love’\u003c/h2>\n\u003cp>\u003cem>(The Tymes 5 feat. Michael Jang, $16)\u003c/em>\u003c/p>\n\u003cp>Visitors to this year’s fair may notice a large wheatpaste nearby at 23rd and Tennessee, the handiwork of the dizzingly prolific \u003ca href=\"https://www.kqed.org/arts/13958762/who-is-michael-jang-documentary-michael-jacobs-sf-docfest\">Michael Jang\u003c/a>. A San Francisco photographer, street artist and subtle prankster, Jang once also… \u003cem>played in a 1960s garage band\u003c/em>?! Here’s the proof: a 7″ of The Tymes 5, for which Jang played guitar, recorded in 1965. Covering songs by the 13th Floor Elevators and the Zombies, the band is out of tune, the vocals are overblown, the tempo-challenged drums sound like cardboard boxes. It’s great! “They’ve been selling like crazy — more than we expected,” said Park Life’s Saffron Munkres. The huge wheatpasted advertisement down the street probably doesn’t hurt.\u003c/p>\n\u003cfigure id=\"attachment_13961362\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8209.jpg\" alt=\"\" width=\"1920\" height=\"1440\" class=\"size-full wp-image-13961362\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8209.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8209-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8209-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8209-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8209-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8209-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">‘Bodega Rider,’ by Martha Naranjo Sandoval. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Bodega Rider’\u003c/h2>\n\u003cp>\u003cem>Martha Naranjo Sandoval (Matarile Ediciones, $14)\u003c/em>\u003c/p>\n\u003cp>Not everything at the SF Art Book Fair is local. Distributed by Brooklyn’s Seaton Street Press, this photo zine contains the artist’s self-portraits on coin-operated sidewalk rides outside bodegas in New York City. What captivated me were the range of emotions on Naranjo Sandoval’s face while revisiting these childhood sources of joy: excitement at seeing them, nostalgia for what they once provided, sadness at their decreasing prominence, frustration at aging out of simple pleasures. “She’s publishing for immigrants, specifically, in the diaspora,” said Seaton Street’s Lindsay Buchman, but anyone who spent 90 seconds and 50¢ on a bucking horse stationed outside a storefront will relate.\u003c/p>\n\u003cfigure id=\"attachment_13961368\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8235.jpg\" alt=\"\" width=\"1920\" height=\"1440\" class=\"size-full wp-image-13961368\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8235.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8235-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8235-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8235-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8235-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8235-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">‘How to Art Book Fair,’ by Paul Shortt \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘How to Art Book Fair’\u003c/h2>\n\u003cp>\u003cem>Paul Shortt (Shortt Editions, $10)\u003c/em>\u003c/p>\n\u003cp>Talk about meta! This guide to art book fairs was being sold at the art book fair by Paul Shortt, who’d woken up Thursday morning at 3:30 a.m. in Florida before flying to San Francisco. “There’s a lot of books that teach you how to make books,” he said, “and not a lot of books that teach you how to \u003cem>sell\u003c/em> books.” (He should know; he’s been to over 50 art book fairs in the past decade.) I’d assumed this zine would be a snarky troll on art book fairs, but no — it’s a practical guide to their ins and outs, drawn from Shortt’s experiences as a vendor (“I’m very clear in the book about my own failures,” he quipped), and input from other veterans of the scene. Most of the advice is uber-specific, while some is refreshingly simple, like “don’t be a jerk.”\u003c/p>\n\u003cfigure id=\"attachment_13961369\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8238.jpg\" alt=\"\" width=\"1920\" height=\"1440\" class=\"size-full wp-image-13961369\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8238.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8238-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8238-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8238-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8238-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8238-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">‘If You Listen, Music Will Find You: 35mm Photographs of the Bay Area Underground,’ by Ezra Gonzalez. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘If You Listen, Music Will Find You: 35mm Photographs of the Bay Area Underground’\u003c/h2>\n\u003cp>\u003cem>Ezra Gonzalez (Nematode, $30 each)\u003c/em>\u003c/p>\n\u003cp>It’s a guarantee that your older punk friends have complained that music sucks now, or that the scene is dead. To which I always say: go to more shows! Now, there’s a tangible document to rebut those beardy, complainy denim-vest dudes: under the namesake \u003ca href=\"https://www.instagram.com/nematodeworld/\">Nematode\u003c/a>, Bay Area photographer Ezra Gonzalez has published two volumes documenting the local underground music scene. Spanning 2018–2020 and 2021–2023, the photos contain a few recognizable spots (Eli’s Mile High Club, the Rickshaw Stop), but most come from shows at basements, sidewalks and house parties. “It’s been really fun since we got them,” says Matt Brownell, co-owner of \u003ca href=\"https://coneshapetop.com/\">Cone Shape Top\u003c/a> in Oakland. “People pick up the book and say ‘I was at this show!'” Here’s to more photo books documenting the Bay Area’s rich DIY punk scene. (Please do it, \u003ca href=\"https://www.instagram.com/robcoonsphotography/?hl=en\">Rob Coons\u003c/a>!)\u003c/p>\n\u003cfigure id=\"attachment_13961370\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8244.jpg\" alt=\"\" width=\"1920\" height=\"1440\" class=\"size-full wp-image-13961370\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8244.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8244-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8244-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8244-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8244-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8244-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">‘Advertising Shits in Your Head: Strategies for Resistance,’ by Vyvian Raoul and Matt Bonner. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Advertising Shits in Your Head: Strategies for Resistance’\u003c/h2>\n\u003cp>\u003cem>Vyvian Raoul and Matt Bonner (PM Press, $15.95)\u003c/em>\u003c/p>\n\u003cp>While wandering around the Art Book Fair, it’s easy to be seduced by eye-catching book titles (\u003cem>What Is Post-Branding?\u003c/em>, \u003cem>8-Bit Porn Video Games\u003c/em>, \u003cem>Uncreative Writing\u003c/em> by Taylor Swift). Some of these clever titles deliver on their promises, while many do not. This is, in effect, a microcosm of the advertising world! So I was glad to discover that \u003cem>Advertising Shits in Your Head\u003c/em> is backed up by substance as well as humor. Along with a primer on how advertising intrudes on our daily mental lives, the book focuses on “subvertising” — the art of altering, remixing or defacing billboard and poster ads. “A lot of these things, like bus kiosks, are easy to get into. And if it looks like it belongs there, it’ll stay there for a while,” says Dan from Oakland’s PM Press. “It’s a public space! Use it for your own means!”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>The SF Art Book Fair continues daily through Sunday, July 21 at the Minnesota Street Project in San Francisco. Admission is free. \u003ca href=\"https://sfartbookfair.com/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>I truly don’t think we use the word “extrusion” enough — its onomatopoeic quality perfectly captures the squishy nature of its meaning. But thanks to \u003ca href=\"https://tanaquincyarcega.com/home.html\">Tana Quincy Arcega\u003c/a>’s \u003ci>\u003ca href=\"https://www.reriddle.com/spirt-of-scrappiness-tana-quincy-arcega\">Spirit of Scrappiness\u003c/a>\u003c/i>, a goopy yet delicate collection of abstract textile works at re.riddle gallery (now housed within Minnesota Street Project), I’ve been thinking about extrusion a lot.\u003c/p>\n\u003cp>The work on view, made with cotton, PVC mesh, shade cloth, spackle, grout and paint, doesn’t conceal its careful modes of construction, but there’s still a bit of chance at play. As Arcega strategically pushes grout and spackle through grids of varying density (a whole continuum from tightly woven fabric to looser mesh), it gloops out in organic, self-determined ways. Some extrusions resemble the delightful squish of Play-Doh going through a garlic press. Others are more solid, or mere bubbles along an otherwise taut, stretched and stitched surface.\u003c/p>\n\u003cp>My favorite pieces in the show were some of the most simple in terms of materials. In \u003ci>Tulip Garment\u003c/i>, a vermillion piece of cotton is stitched against a gauzy backing, allowing the work’s stretcher bars to show through. Cut-out shapes arranged across the red fabric look like the remnants of a garment pattern (a better tailor than I might be able to extrapolate a three-dimensional design). Darts and curves suggest the body that missing fabric might enclose, while lines of stitching become the backbones for short spikes of spackle.\u003c/p>\n\u003cfigure id=\"attachment_13937389\" class=\"wp-caption aligncenter\" style=\"max-width: 1890px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/1_TQA.jpg\" alt=\"Red fabric punctuated by cut-out shapes, white stitching across surface\" width=\"1890\" height=\"2252\" class=\"size-full wp-image-13937389\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/1_TQA.jpg 1890w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/1_TQA-800x953.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/1_TQA-1020x1215.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/1_TQA-160x191.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/1_TQA-768x915.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/1_TQA-1289x1536.jpg 1289w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/1_TQA-1719x2048.jpg 1719w\" sizes=\"auto, (max-width: 1890px) 100vw, 1890px\">\u003cfigcaption class=\"wp-caption-text\">Tana Quincy Arcega, ‘Tulip Garment,’ 2023; cotton, graphite, spackle, 51 x 42 inches. \u003ccite>(Courtesy the artist and re.riddle)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Arcega grew up in her mother’s fabric store, and her resourceful facility with piecing together colorful scraps into a greater, balanced whole is evident. But the work is most exciting when it interrupts its tidiness and flatness with pockets of unruliness. In \u003ci>Invisi Garment\u003c/i>, grout pushed through PVC mesh (hemmed in by thick wool) becomes fabric-like again, looking more like paint-hardened terry cloth than anything else. Referencing a DIY aesthetic of household fixing and making, Arcega cannily bridges soft, domestic arts with the grittier work of laying tile and patching holes.\u003c/p>\n\u003cp>I suggest walking through this show with your hands in your pockets — it’s difficult to resist the urge to reach out and touch.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://www.reriddle.com/spirt-of-scrappiness-tana-quincy-arcega\">Spirit of Scrappiness\u003c/a>’ is on view at re.riddle (1275 Minnesota St., Gallery 204) through Nov. 9. Tana Quincy Arcega will be in conversation with Lynda Grose at the gallery on Saturday, Nov. 4 at 11 a.m.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I truly don’t think we use the word “extrusion” enough — its onomatopoeic quality perfectly captures the squishy nature of its meaning. But thanks to \u003ca href=\"https://tanaquincyarcega.com/home.html\">Tana Quincy Arcega\u003c/a>’s \u003ci>\u003ca href=\"https://www.reriddle.com/spirt-of-scrappiness-tana-quincy-arcega\">Spirit of Scrappiness\u003c/a>\u003c/i>, a goopy yet delicate collection of abstract textile works at re.riddle gallery (now housed within Minnesota Street Project), I’ve been thinking about extrusion a lot.\u003c/p>\n\u003cp>The work on view, made with cotton, PVC mesh, shade cloth, spackle, grout and paint, doesn’t conceal its careful modes of construction, but there’s still a bit of chance at play. As Arcega strategically pushes grout and spackle through grids of varying density (a whole continuum from tightly woven fabric to looser mesh), it gloops out in organic, self-determined ways. Some extrusions resemble the delightful squish of Play-Doh going through a garlic press. Others are more solid, or mere bubbles along an otherwise taut, stretched and stitched surface.\u003c/p>\n\u003cp>My favorite pieces in the show were some of the most simple in terms of materials. In \u003ci>Tulip Garment\u003c/i>, a vermillion piece of cotton is stitched against a gauzy backing, allowing the work’s stretcher bars to show through. Cut-out shapes arranged across the red fabric look like the remnants of a garment pattern (a better tailor than I might be able to extrapolate a three-dimensional design). Darts and curves suggest the body that missing fabric might enclose, while lines of stitching become the backbones for short spikes of spackle.\u003c/p>\n\u003cfigure id=\"attachment_13937389\" class=\"wp-caption aligncenter\" style=\"max-width: 1890px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/1_TQA.jpg\" alt=\"Red fabric punctuated by cut-out shapes, white stitching across surface\" width=\"1890\" height=\"2252\" class=\"size-full wp-image-13937389\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/1_TQA.jpg 1890w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/1_TQA-800x953.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/1_TQA-1020x1215.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/1_TQA-160x191.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/1_TQA-768x915.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/1_TQA-1289x1536.jpg 1289w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/1_TQA-1719x2048.jpg 1719w\" sizes=\"auto, (max-width: 1890px) 100vw, 1890px\">\u003cfigcaption class=\"wp-caption-text\">Tana Quincy Arcega, ‘Tulip Garment,’ 2023; cotton, graphite, spackle, 51 x 42 inches. \u003ccite>(Courtesy the artist and re.riddle)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Arcega grew up in her mother’s fabric store, and her resourceful facility with piecing together colorful scraps into a greater, balanced whole is evident. But the work is most exciting when it interrupts its tidiness and flatness with pockets of unruliness. In \u003ci>Invisi Garment\u003c/i>, grout pushed through PVC mesh (hemmed in by thick wool) becomes fabric-like again, looking more like paint-hardened terry cloth than anything else. Referencing a DIY aesthetic of household fixing and making, Arcega cannily bridges soft, domestic arts with the grittier work of laying tile and patching holes.\u003c/p>\n\u003cp>I suggest walking through this show with your hands in your pockets — it’s difficult to resist the urge to reach out and touch.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://www.reriddle.com/spirt-of-scrappiness-tana-quincy-arcega\">Spirit of Scrappiness\u003c/a>’ is on view at re.riddle (1275 Minnesota St., Gallery 204) through Nov. 9. Tana Quincy Arcega will be in conversation with Lynda Grose at the gallery on Saturday, Nov. 4 at 11 a.m.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "fake-newsroom-reimagines-1983-photo-project-about-truth-and-media",
"title": "'Fake Newsroom' Reimagines 1983 Photo Project About Truth and Media",
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"content": "\u003cp>In a second floor gallery at San Francisco’s Minnesota Street Project, the trappings of a newspaper’s photo department spread themselves across the polished concrete floor in a strange mix of outmoded and modern-day technologies. Heavy wooden desks supporting laptops sit alongside a filing cabinet labelled “MORGUE.” Printed images crowd for floor space next to a paper shredder, while three clocks set to different locations (one always set to the central San Fernando Valley city of Van Nuys) oversee the room’s activity.\u003c/p>\n\u003cp>This is \u003ci>\u003ca href=\"http://fakenewsroom.org/\" target=\"_blank\" rel=\"noopener\">Fake Newsroom\u003c/a>\u003c/i>, an ever-evolving installation of photographs culled from the Associated Press, organized into categories, and published daily both online and in good old paper form.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\" target=\"_blank\" rel=\"noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12667846\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg\" alt=\"100Days_300x300z\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-150x150.jpg 150w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>\u003ci>Fake Newsroom\u003c/i> is a re-enactment of and elaboration on \u003ci>\u003ca href=\"http://archive.bampfa.berkeley.edu/exhibition/61\" target=\"_blank\" rel=\"noopener\">Newsroom\u003c/a>\u003c/i>, a 1983 exhibition at the Berkeley Art Museum by photographers and frequent collaborators Mike Mandel and Larry Sultan, who died in 2009. In the BAM gallery space, they installed electronic news and wirephoto machines from AP and United Press International, and, playing the parts of news editors, selected material for new installations twice a week.\u003c/p>\n\u003cp>A floor-to-ceiling wall vinyl currently installed at Minnesota Street Project shows Sultan behind a desk, Mandel perched on the edge of one in the midst of their \u003ci>Newsroom\u003c/i> installation. Both look serious while holding sheets of paper. To their right hangs one of their selections: a giant silver gelatin print of John Glenn at a podium, the eyes of the man behind him glowing eerily in the camera’s flash.\u003c/p>\n\u003cfigure id=\"attachment_13068579\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13068579\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/fnewsroom2_1200-1020x849.jpg\" alt=\"'Fake Newsroom' editors Jason Fulford, Dru Donovan and Jim Goldberg confer in front of an image of the 1983 installation 'Newsroom.'\" width=\"640\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/fnewsroom2_1200-1020x849.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/fnewsroom2_1200-160x133.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/fnewsroom2_1200-800x666.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/fnewsroom2_1200-768x639.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/fnewsroom2_1200-1180x982.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/fnewsroom2_1200-960x799.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/fnewsroom2_1200-240x200.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/fnewsroom2_1200-375x312.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/fnewsroom2_1200-520x433.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/fnewsroom2_1200.jpg 1200w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">‘Fake Newsroom’ editors Jason Fulford, Dru Donovan and Jim Goldberg confer in front of an image of the 1983 installation ‘Newsroom.’ \u003ccite>(Courtesy of Minnesota Street Project)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If Sultan and Mandel’s names sound familiar, it could be because of the recently opened \u003ca href=\"https://www.sfmoma.org/exhibition/larry-sultan-here-and-home/\" target=\"_blank\" rel=\"noopener\">Larry Sultan retrospective\u003c/a> or the \u003ca href=\"https://www.sfmoma.org/exhibition/mike-mandel-good-70s/\" target=\"_blank\" rel=\"noopener\">forthcoming Mike Mandel one\u003c/a> (both at SFMOMA). Perhaps it’s Casemore Kirkeby’s exhibition of \u003ca href=\"http://casemorekirkeby.com/exhibition/larry-sultan-editorial-work/\" target=\"_blank\" rel=\"noopener\">Sultan’s editorial photographs\u003c/a>, or the display of the \u003ca href=\"http://minnesotastreetproject.com/exhibitions/1275-minnesota-st/billboards-larry-sultan-and-mike-mandel\" target=\"_blank\" rel=\"noopener\">pair’s billboard projects\u003c/a> in the gallery adjacent to \u003ci>Fake Newsroom\u003c/i>. Take your pick; some have dubbed this “Sultan Spring.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But \u003ci>Fake Newsroom\u003c/i> is more than a timely capitalization on major museum shows. The impetus behind the original staging still feels relevant 34 years later (and perhaps even more so): to examine, through selection, juxtaposition and categorization, the hidden biases of the media. But in 2017, instead of over 200 photographs coming daily down the wire, the \u003ci>Fake Newsroom\u003c/i> team gets to choose from thousands of images in the AP database.\u003c/p>\n\u003cfigure id=\"attachment_13068580\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13068580\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Science_1200-1020x373.jpg\" alt=\"AP images selected for the "Science" page in the April 11 issue of 'Fake Newsroom.'\" width=\"640\" height=\"234\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Science_1200-1020x373.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Science_1200-160x59.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Science_1200-800x293.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Science_1200-768x281.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Science_1200-1180x432.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Science_1200-960x351.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Science_1200-240x88.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Science_1200-375x137.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Science_1200-520x190.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Science_1200.jpg 1200w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">AP images selected for the “Science” page in the April 11 of ‘Fake Newsroom.’ \u003ccite>(Courtesy of 'Fake Newsroom.')\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Photographers \u003ca href=\"http://www.drudonovan.com/\" target=\"_blank\" rel=\"noopener\">Dru Donovan\u003c/a>, \u003ca href=\"http://www.jasonfulford.com/\" target=\"_blank\" rel=\"noopener\">Jason Fulford\u003c/a> and \u003ca href=\"http://jimgoldberg.com/\" target=\"_blank\" rel=\"noopener\">Jim Goldberg\u003c/a> head the operation, shifting responsibility as editors-in-chief over the course of the project’s three-week run. The first changing of the guard was announced playfully on April 18 with the headline “\u003ca href=\"http://fakenewsroom.org/aalksdf\" target=\"_blank\" rel=\"noopener\">Fulford Fired Goldberg Promoted\u003c/a>.” Goldberg is ready, he says, “to generate some fake news with an open heart and open mind.”\u003c/p>\n\u003cp>Both Goldberg and Donovan studied under Sultan and later worked as his assistants — Goldberg was there for the original 1983 \u003ci>Newsroom\u003c/i>, the man responsible for the giant John Glenn print. They’re aided by a small army of volunteers, many of them current students or recent grads of the San Francisco Art Institute’s photography program, where Sultan and Mandel met as M.F.A. candidates in the early ’70s.\u003c/p>\n\u003cfigure id=\"attachment_13068578\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13068578\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/fnewsroom_1200-1020x765.jpg\" alt=\"The working 'Fake Newsroom' in Gallery 200.\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/fnewsroom_1200-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/fnewsroom_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/fnewsroom_1200-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/fnewsroom_1200-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/fnewsroom_1200-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/fnewsroom_1200-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/fnewsroom_1200-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/fnewsroom_1200-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/fnewsroom_1200-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/fnewsroom_1200.jpg 1200w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The working ‘Fake Newsroom’ in Gallery 200. \u003ccite>(Courtesy of Minnesota Street Project)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Both the physical and digital versions of \u003ci>Fake Newsroom\u003c/i> are full of hidden treats for the curious observer. In the gallery, the “Van Nuys” clock is an homage to Sultan and Mandel’s shared hometown; they liked to call themselves “two guys from Van Nuys.” On the website, a click on the triangular symbol in the page’s upper right hand corner flips the entire site into a mirror image of itself, backwards text and all.\u003c/p>\n\u003cp>And in the corner of \u003ci>Fake Newsroom\u003c/i>, the shredder serves just one purpose: to destroy images of President Donald Trump. Visitors are welcome to select their favorite (or least favorite) candid from a small stack and run it through the machine. As Fulford says, “There are no pictures of him in our newspaper.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/BSzfv43hY-R/?taken-by=fake_newsroom\">https://www.instagram.com/p/BSzfv43hY-R/?taken-by=fake_newsroom\u003c/a>\u003c/p>\n\u003cp>What does appear in the paper is a wry blend of image and text. For April 17, in the “\u003ca href=\"http://fakenewsroom.org/hlmfgbhj/vows\" target=\"_blank\" rel=\"noopener\">Vows\u003c/a>” section (the first appearance of a “Vows” section seven days into \u003ci>Fake Newsroom\u003c/i>), one photo shows a child high-fiving an adult in a bee costume, while another shows someone in a goldenrod zentai suit giving the camera a thumbs up. For April 11, the “\u003ca href=\"http://fakenewsroom.org/hsdvjm/science\" target=\"_blank\" rel=\"noopener\">Science\u003c/a>” section contains two separate pictures of golfers bending backwards, their faces turned toward the sky.\u003c/p>\n\u003cp>\u003ci>Fake Newsroom\u003c/i> is fake in the sense that it isn’t the \u003ci>Newsroom\u003c/i> of 1983, let alone a real newsroom. But at a time when “fake news” casts a shadow of doubt over the veracity of any juxtaposition of image and text, \u003ci>Fake Newsroom\u003c/i> separates its images from politics, culture, publication, editorial concern and even the original photographer’s intent. It’s a process too rarely undertaken in our consumption of media, and as the scattered print-outs and carefully assembled compositions of \u003ci>Fake Newsroom\u003c/i> prove, it’s also a process that cannot be a passive one.\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=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Fake Newsroom’ is on view in Gallery 200 at San Francisco’s Minnesota Street Project through April 29, 2017, with new events added to the programming almost daily. For more information, \u003ca href=\"http://minnesotastreetproject.com/exhibitions/1275-minnesota-st/fake-newsroom\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"excerpt": "To examine hidden biases of the media in the age of \"fake news,\" contemporary photographers restage an installation by Larry Sultan and Mike Mandel.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In a second floor gallery at San Francisco’s Minnesota Street Project, the trappings of a newspaper’s photo department spread themselves across the polished concrete floor in a strange mix of outmoded and modern-day technologies. Heavy wooden desks supporting laptops sit alongside a filing cabinet labelled “MORGUE.” Printed images crowd for floor space next to a paper shredder, while three clocks set to different locations (one always set to the central San Fernando Valley city of Van Nuys) oversee the room’s activity.\u003c/p>\n\u003cp>This is \u003ci>\u003ca href=\"http://fakenewsroom.org/\" target=\"_blank\" rel=\"noopener\">Fake Newsroom\u003c/a>\u003c/i>, an ever-evolving installation of photographs culled from the Associated Press, organized into categories, and published daily both online and in good old paper form.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\" target=\"_blank\" rel=\"noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12667846\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg\" alt=\"100Days_300x300z\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-150x150.jpg 150w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>\u003ci>Fake Newsroom\u003c/i> is a re-enactment of and elaboration on \u003ci>\u003ca href=\"http://archive.bampfa.berkeley.edu/exhibition/61\" target=\"_blank\" rel=\"noopener\">Newsroom\u003c/a>\u003c/i>, a 1983 exhibition at the Berkeley Art Museum by photographers and frequent collaborators Mike Mandel and Larry Sultan, who died in 2009. In the BAM gallery space, they installed electronic news and wirephoto machines from AP and United Press International, and, playing the parts of news editors, selected material for new installations twice a week.\u003c/p>\n\u003cp>A floor-to-ceiling wall vinyl currently installed at Minnesota Street Project shows Sultan behind a desk, Mandel perched on the edge of one in the midst of their \u003ci>Newsroom\u003c/i> installation. Both look serious while holding sheets of paper. To their right hangs one of their selections: a giant silver gelatin print of John Glenn at a podium, the eyes of the man behind him glowing eerily in the camera’s flash.\u003c/p>\n\u003cfigure id=\"attachment_13068579\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13068579\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/fnewsroom2_1200-1020x849.jpg\" alt=\"'Fake Newsroom' editors Jason Fulford, Dru Donovan and Jim Goldberg confer in front of an image of the 1983 installation 'Newsroom.'\" width=\"640\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/fnewsroom2_1200-1020x849.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/fnewsroom2_1200-160x133.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/fnewsroom2_1200-800x666.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/fnewsroom2_1200-768x639.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/fnewsroom2_1200-1180x982.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/fnewsroom2_1200-960x799.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/fnewsroom2_1200-240x200.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/fnewsroom2_1200-375x312.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/fnewsroom2_1200-520x433.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/fnewsroom2_1200.jpg 1200w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">‘Fake Newsroom’ editors Jason Fulford, Dru Donovan and Jim Goldberg confer in front of an image of the 1983 installation ‘Newsroom.’ \u003ccite>(Courtesy of Minnesota Street Project)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If Sultan and Mandel’s names sound familiar, it could be because of the recently opened \u003ca href=\"https://www.sfmoma.org/exhibition/larry-sultan-here-and-home/\" target=\"_blank\" rel=\"noopener\">Larry Sultan retrospective\u003c/a> or the \u003ca href=\"https://www.sfmoma.org/exhibition/mike-mandel-good-70s/\" target=\"_blank\" rel=\"noopener\">forthcoming Mike Mandel one\u003c/a> (both at SFMOMA). Perhaps it’s Casemore Kirkeby’s exhibition of \u003ca href=\"http://casemorekirkeby.com/exhibition/larry-sultan-editorial-work/\" target=\"_blank\" rel=\"noopener\">Sultan’s editorial photographs\u003c/a>, or the display of the \u003ca href=\"http://minnesotastreetproject.com/exhibitions/1275-minnesota-st/billboards-larry-sultan-and-mike-mandel\" target=\"_blank\" rel=\"noopener\">pair’s billboard projects\u003c/a> in the gallery adjacent to \u003ci>Fake Newsroom\u003c/i>. Take your pick; some have dubbed this “Sultan Spring.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But \u003ci>Fake Newsroom\u003c/i> is more than a timely capitalization on major museum shows. The impetus behind the original staging still feels relevant 34 years later (and perhaps even more so): to examine, through selection, juxtaposition and categorization, the hidden biases of the media. But in 2017, instead of over 200 photographs coming daily down the wire, the \u003ci>Fake Newsroom\u003c/i> team gets to choose from thousands of images in the AP database.\u003c/p>\n\u003cfigure id=\"attachment_13068580\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13068580\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Science_1200-1020x373.jpg\" alt=\"AP images selected for the "Science" page in the April 11 issue of 'Fake Newsroom.'\" width=\"640\" height=\"234\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Science_1200-1020x373.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Science_1200-160x59.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Science_1200-800x293.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Science_1200-768x281.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Science_1200-1180x432.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Science_1200-960x351.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Science_1200-240x88.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Science_1200-375x137.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Science_1200-520x190.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Science_1200.jpg 1200w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">AP images selected for the “Science” page in the April 11 of ‘Fake Newsroom.’ \u003ccite>(Courtesy of 'Fake Newsroom.')\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Photographers \u003ca href=\"http://www.drudonovan.com/\" target=\"_blank\" rel=\"noopener\">Dru Donovan\u003c/a>, \u003ca href=\"http://www.jasonfulford.com/\" target=\"_blank\" rel=\"noopener\">Jason Fulford\u003c/a> and \u003ca href=\"http://jimgoldberg.com/\" target=\"_blank\" rel=\"noopener\">Jim Goldberg\u003c/a> head the operation, shifting responsibility as editors-in-chief over the course of the project’s three-week run. The first changing of the guard was announced playfully on April 18 with the headline “\u003ca href=\"http://fakenewsroom.org/aalksdf\" target=\"_blank\" rel=\"noopener\">Fulford Fired Goldberg Promoted\u003c/a>.” Goldberg is ready, he says, “to generate some fake news with an open heart and open mind.”\u003c/p>\n\u003cp>Both Goldberg and Donovan studied under Sultan and later worked as his assistants — Goldberg was there for the original 1983 \u003ci>Newsroom\u003c/i>, the man responsible for the giant John Glenn print. They’re aided by a small army of volunteers, many of them current students or recent grads of the San Francisco Art Institute’s photography program, where Sultan and Mandel met as M.F.A. candidates in the early ’70s.\u003c/p>\n\u003cfigure id=\"attachment_13068578\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13068578\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/fnewsroom_1200-1020x765.jpg\" alt=\"The working 'Fake Newsroom' in Gallery 200.\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/fnewsroom_1200-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/fnewsroom_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/fnewsroom_1200-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/fnewsroom_1200-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/fnewsroom_1200-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/fnewsroom_1200-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/fnewsroom_1200-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/fnewsroom_1200-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/fnewsroom_1200-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/fnewsroom_1200.jpg 1200w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The working ‘Fake Newsroom’ in Gallery 200. \u003ccite>(Courtesy of Minnesota Street Project)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Both the physical and digital versions of \u003ci>Fake Newsroom\u003c/i> are full of hidden treats for the curious observer. In the gallery, the “Van Nuys” clock is an homage to Sultan and Mandel’s shared hometown; they liked to call themselves “two guys from Van Nuys.” On the website, a click on the triangular symbol in the page’s upper right hand corner flips the entire site into a mirror image of itself, backwards text and all.\u003c/p>\n\u003cp>And in the corner of \u003ci>Fake Newsroom\u003c/i>, the shredder serves just one purpose: to destroy images of President Donald Trump. Visitors are welcome to select their favorite (or least favorite) candid from a small stack and run it through the machine. As Fulford says, “There are no pictures of him in our newspaper.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/BSzfv43hY-R/?taken-by=fake_newsroom\">https://www.instagram.com/p/BSzfv43hY-R/?taken-by=fake_newsroom\u003c/a>\u003c/p>\n\u003cp>What does appear in the paper is a wry blend of image and text. For April 17, in the “\u003ca href=\"http://fakenewsroom.org/hlmfgbhj/vows\" target=\"_blank\" rel=\"noopener\">Vows\u003c/a>” section (the first appearance of a “Vows” section seven days into \u003ci>Fake Newsroom\u003c/i>), one photo shows a child high-fiving an adult in a bee costume, while another shows someone in a goldenrod zentai suit giving the camera a thumbs up. For April 11, the “\u003ca href=\"http://fakenewsroom.org/hsdvjm/science\" target=\"_blank\" rel=\"noopener\">Science\u003c/a>” section contains two separate pictures of golfers bending backwards, their faces turned toward the sky.\u003c/p>\n\u003cp>\u003ci>Fake Newsroom\u003c/i> is fake in the sense that it isn’t the \u003ci>Newsroom\u003c/i> of 1983, let alone a real newsroom. But at a time when “fake news” casts a shadow of doubt over the veracity of any juxtaposition of image and text, \u003ci>Fake Newsroom\u003c/i> separates its images from politics, culture, publication, editorial concern and even the original photographer’s intent. It’s a process too rarely undertaken in our consumption of media, and as the scattered print-outs and carefully assembled compositions of \u003ci>Fake Newsroom\u003c/i> prove, it’s also a process that cannot be a passive one.\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=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Fake Newsroom’ is on view in Gallery 200 at San Francisco’s Minnesota Street Project through April 29, 2017, with new events added to the programming almost daily. For more information, \u003ca href=\"http://minnesotastreetproject.com/exhibitions/1275-minnesota-st/fake-newsroom\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "New Dogpatch Arts Complex Fuels Hope Amid Evictions and Closures",
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"content": "\u003cp>The challenges facing San Francisco’s art community are myriad, and their causes range from the actions of individual landlords to global economic trends. Many individuals and organizations are searching for ways help the arts prosper, from crowdfunding art projects to establishing non-profit asset development trusts.\u003c/p>\n\u003cp>[contextly_sidebar id=”AbpyaCxDT6lRRG4ZI4qkrmemNIvEAssV”]The \u003ca href=\"http://minnesotastreetproject.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Minnesota Street Project\u003c/a> (MSP), opening to the public on Friday, March 18, aims to help stem the flow of artists and galleries out of the Bay Area. The three-building arts complex in San Francisco’s Dogpatch neighborhood is the new home for 10 galleries, one arts nonprofit, 35 artist studios, an art storage business, and a restaurant and bar (opening in the fall). The gallery spaces are rented at below market rate, and because of zoning restrictions, artists and galleries do not need to worry about being evicted to make room for offices or condos. The landlords would be unlikely to do that anyway.\u003c/p>\n\u003cp>Andy Rappaport, a retired venture capitalist and photographer, and Deborah Rappaport, a philanthropist and jewelry designer, undertook this project following a community discussion two years ago about the state of the arts in San Francisco. The Rappaports’ goals for MSP are to provide long-term stability to artists and galleries and to create a hub for contemporary art.\u003c/p>\n\u003cfigure id=\"attachment_11406040\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11406040 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Minnesota_07.jpg\" alt=\"Courtesy of Minnesota Street Project\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Minnesota_07.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Minnesota_07-400x267.jpg 400w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Courtesy of Minnesota Street Project\u003c/figcaption>\u003c/figure>\n\u003cp>MSP is situated on the eastern edge of the so-called DoReMi (\u003cb>Do\u003c/b>gpatch, Pot\u003cstrong>re\u003c/strong>ro, \u003cb>Mi\u003c/b>ssion) arts district, home to a number of relocated arts spaces and long-time residents. MSP’s Dogpatch neighbors include \u003ca href=\"http://workshopresidence.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Workshop Residence\u003c/a>, \u003ca href=\"http://www.romeryounggallery.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Romer Young Gallery\u003c/a>, the \u003ca href=\"http://sfmcd.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Museum of Craft and Design\u003c/a>, the \u003ca href=\"http://themidwaysf.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Midway\u003c/a>, and the \u003ca href=\"http://www.sfai.edu/about-sfai/facilities\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Art Institute’s graduate center\u003c/a>. Nearby is \u003ca href=\"https://www.cca.edu/\" target=\"_blank\" rel=\"noopener noreferrer\">California College of the Arts\u003c/a>, \u003ca href=\"https://www.creativityexplored.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Creativity Explored\u003c/a>, \u003ca href=\"http://fusedspace.com/\" target=\"_blank\" rel=\"noopener noreferrer\">fusedspace\u003c/a>, \u003ca href=\"https://sfcb.org/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Center for the Book\u003c/a>, \u003ca href=\"http://www.wattis.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Wattis Institute for Contemporary Arts\u003c/a>, and \u003ca href=\"https://cclarkgallery.com/\" target=\"_blank\" rel=\"noopener noreferrer\">several\u003c/a> \u003ca href=\"http://www.briangrossfineart.com/\" target=\"_blank\" rel=\"noopener noreferrer\">other\u003c/a> \u003ca href=\"http://www.hosfeltgallery.com/\" target=\"_blank\" rel=\"noopener noreferrer\">galleries\u003c/a>.\u003c/p>\n\u003cp>MSP is close to Muni and Interstate 280, yet it can still feel like it’s tucked in a far-flung corner of the city. The 10 resident galleries will host first Saturday openings (the opening month is an exception), a critical mass that might be able to quash the neighborhood’s perceived remoteness. Prior to the neighborhood’s ongoing atrophy, many art enthusiasts dutifully found their way downtown, one Thursday night a month, to the many openings at 49 Geary. MSP possesses the potential to command similar attention with a compelling and diverse calendar of shows. Several MSP galleries are former downtown tenants, including \u003ca href=\"http://www.anglimgilbertgallery.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Anglim Gilbert Gallery\u003c/a>, \u003ca href=\"http://www.nancytoomeyfineart.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Nancy Toomey Fine Art\u003c/a> (formerly Toomey Tourell Fine Arts), \u003ca href=\"http://Rena%20Bransten%20Fine%20Art\" target=\"_blank\" rel=\"noopener noreferrer\">Rena Bransten Projects\u003c/a>, and \u003ca href=\"http://www.themesandprojects.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Themes + Projects\u003c/a> (formerly Modernbook).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Joining these established galleries are a number of artist-run and alternative art spaces whose long-term existence could depend on MSP’s alternative business model. In summer 2015, \u003ca href=\"http://www.bassandreiner.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Bass & Reiner Gallery\u003c/a> was \u003ca href=\"http://ww2.kqed.org/arts/2015/08/24/after-displacement-redlick-artists-rally-against-changing-mission/\" target=\"_blank\" rel=\"noopener noreferrer\">displaced from their Mission District location\u003c/a>. The gallery looked at other potential spaces, but found none with terms as favorable as MSP’s. “Moving into Minnesota Street Project has essentially made it possible for us to continue to exist,” says Emily Reynolds, one of Bass & Reiner’s four co-directors.\u003c/p>\n\u003cfigure id=\"attachment_11406041\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11406041\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Minnesota_08.jpg\" alt=\"Courtesy of Minnesota Street Project\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Minnesota_08.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Minnesota_08-400x267.jpg 400w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Courtesy of Minnesota Street Project\u003c/figcaption>\u003c/figure>\n\u003cp>For Bass & Reiner, the move isn’t just about survival but the prospect of thriving. “As a standalone gallery that visitors needed to buzz into and then take an elevator to reach,” Reynolds says of the gallery’s former space within Studio 17 at Mission and 17th Streets, “we could only convince the most adventurous art lovers to come see what we were doing.” At MSP, she’s looking forward to brighter prospects.\u003c/p>\n\u003cp>“It’s comforting to be in a building where I know I’m protected by landlords that are passionate about the arts,” says Andrew McClintock, director of \u003ca href=\"http://sfaq.us/ever-gold-projects/\" target=\"_blank\" rel=\"noopener noreferrer\">Ever Gold [Projects]\u003c/a> (formerly Ever Gold Gallery), which is moving to MSP from the Tenderloin. But McClintock sees increased opportunity beyond the agreeable rent. He says his new gallery will be bigger and cleaner, and that the Dogpatch in general has more room “to think and breathe” — and to park.\u003c/p>\n\u003cp>The proximity of established galleries to artist-run spaces is exciting; the potential within these combinations will be on display during the opening night. Anglim Gilbert Gallery shows work by San Francisco-based \u003ca href=\"http://enriquechagoya.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Enrique Chagoya\u003c/a>, an established painter and printmaker whose art is included in major museum collections across the country. A group show at Rena Bransten Projects includes work from prominent visual artists like \u003ca href=\"http://www.doughallstudio.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Doug Hall\u003c/a>, \u003ca href=\"http://www.hungliu.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Hung Liu\u003c/a>, \u003ca href=\"http://artsites.ucsc.edu/faculty/lord/\" target=\"_blank\" rel=\"noopener noreferrer\">Chip Lord\u003c/a>, and \u003ca href=\"http://www.dreamlandnews.com/\" target=\"_blank\" rel=\"noopener noreferrer\">John Waters\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"http://www.etaletc.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Et al. etc.\u003c/a> (a second gallery from Chinatown’s Et al.) shows work by \u003ca href=\"http://jacquelinegordon.net/\" target=\"_blank\" rel=\"noopener noreferrer\">Jacqueline Gordon\u003c/a> and \u003ca href=\"http://www.margowolowiec.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Margo Wolowiec\u003c/a>. Bass & Reiner inaugurates their new space with a site-specific installation by \u003ca href=\"http://www.miemogensen.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Mie Hørlyck Mogensen\u003c/a> and \u003ca href=\"http://www.maycwilson.com/\" target=\"_blank\" rel=\"noopener noreferrer\">May Wilson\u003c/a>. Gordon, Mogensen, Wilson and Wolowiec are all relatively recent art school graduates, a category the 18 California College of the Arts MFA candidates showing in the MSP gallery reserved for outside institutions and curators will soon join.\u003c/p>\n\u003cfigure id=\"attachment_11411805\" class=\"wp-caption alignright\" style=\"max-width: 398px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11411805\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/bassreiner-398x600.jpg\" alt=\"Mie Hørlyck Mogensen, Untitled (detail), installation at Bass & Reiner Gallery, 2016. Photo: Chris Grunder\" width=\"398\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/bassreiner-398x600.jpg 398w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/bassreiner-400x603.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/bassreiner.jpg 610w\" sizes=\"auto, (max-width: 398px) 100vw, 398px\">\u003cfigcaption class=\"wp-caption-text\">Mie Hørlyck Mogensen, \u003ci>Untitled (detail)\u003c/i>, installation at Bass & Reiner Gallery, 2016. Photo: Chris Grunder\u003c/figcaption>\u003c/figure>\n\u003cp>MSP’s artist studio program also values professional integration. Early-career artists and designers like \u003ca href=\"http://bethabrahamson.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Beth Abrahamson\u003c/a>, \u003ca href=\"http://brittanyatkinsonphotography.tumblr.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Brittany Atkinson\u003c/a>, and \u003ca href=\"http://www.hennavainio.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Henna Vainio\u003c/a> will share facilities with an impressive roster of mid-career and established artists, including \u003ca href=\"http://www.lynnhershman.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Lynn Hershman Leeson\u003c/a>, \u003ca href=\"http://sean-mcfarland.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Sean McFarland\u003c/a>, \u003ca href=\"http://www.ratio3.org/artists/mitzi-pederson\" target=\"_blank\" rel=\"noopener noreferrer\">Mitzi Pederson\u003c/a>, and \u003ca href=\"http://www.taranehhemami.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Taraneh Hemami\u003c/a>. Various sources have described these studios as renting at or just below market rates, but with terms, facilities, and landlords that would be difficult to find elsewhere.\u003c/p>\n\u003cp>MSP is not a nonprofit organization, despite its benevolent aims. The Rappaports say that a for-profit structure affords them the flexibility to act quickly. It also allows them to offer services, such as a 100,000-cubic-foot museum-quality art storage facility, that subsidizes the galleries and studios. Cautionary skepticism of this business model is not inappropriate: for-profit business practices regularly push galleries and artists out of the Bay Area, and there will almost always be a venture more profitable than contemporary art. But if the actions of landlords speak to their values, optimism like Reynolds’ and McClintock’s may be warranted.\u003c/p>\n\u003cp>See you at the opening.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Minnesota Street Project\u003c/strong> and its 10 gallery tenants celebrate their grand opening Friday, March 18, 6-10pm. Visit \u003ca href=\"http://minnesotastreetproject.com/\" target=\"_blank\" rel=\"noopener noreferrer\">minnesotastreetproject.com\u003c/a> for more information.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Galleries are optimistic about Minnesota Street Complex, the privately funded arts complex opening this week in San Francisco's Dogpatch neighborhood.",
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"title": "New Dogpatch Arts Complex Fuels Hope Amid Evictions and Closures | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The challenges facing San Francisco’s art community are myriad, and their causes range from the actions of individual landlords to global economic trends. Many individuals and organizations are searching for ways help the arts prosper, from crowdfunding art projects to establishing non-profit asset development trusts.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>The \u003ca href=\"http://minnesotastreetproject.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Minnesota Street Project\u003c/a> (MSP), opening to the public on Friday, March 18, aims to help stem the flow of artists and galleries out of the Bay Area. The three-building arts complex in San Francisco’s Dogpatch neighborhood is the new home for 10 galleries, one arts nonprofit, 35 artist studios, an art storage business, and a restaurant and bar (opening in the fall). The gallery spaces are rented at below market rate, and because of zoning restrictions, artists and galleries do not need to worry about being evicted to make room for offices or condos. The landlords would be unlikely to do that anyway.\u003c/p>\n\u003cp>Andy Rappaport, a retired venture capitalist and photographer, and Deborah Rappaport, a philanthropist and jewelry designer, undertook this project following a community discussion two years ago about the state of the arts in San Francisco. The Rappaports’ goals for MSP are to provide long-term stability to artists and galleries and to create a hub for contemporary art.\u003c/p>\n\u003cfigure id=\"attachment_11406040\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11406040 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Minnesota_07.jpg\" alt=\"Courtesy of Minnesota Street Project\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Minnesota_07.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Minnesota_07-400x267.jpg 400w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Courtesy of Minnesota Street Project\u003c/figcaption>\u003c/figure>\n\u003cp>MSP is situated on the eastern edge of the so-called DoReMi (\u003cb>Do\u003c/b>gpatch, Pot\u003cstrong>re\u003c/strong>ro, \u003cb>Mi\u003c/b>ssion) arts district, home to a number of relocated arts spaces and long-time residents. MSP’s Dogpatch neighbors include \u003ca href=\"http://workshopresidence.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Workshop Residence\u003c/a>, \u003ca href=\"http://www.romeryounggallery.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Romer Young Gallery\u003c/a>, the \u003ca href=\"http://sfmcd.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Museum of Craft and Design\u003c/a>, the \u003ca href=\"http://themidwaysf.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Midway\u003c/a>, and the \u003ca href=\"http://www.sfai.edu/about-sfai/facilities\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Art Institute’s graduate center\u003c/a>. Nearby is \u003ca href=\"https://www.cca.edu/\" target=\"_blank\" rel=\"noopener noreferrer\">California College of the Arts\u003c/a>, \u003ca href=\"https://www.creativityexplored.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Creativity Explored\u003c/a>, \u003ca href=\"http://fusedspace.com/\" target=\"_blank\" rel=\"noopener noreferrer\">fusedspace\u003c/a>, \u003ca href=\"https://sfcb.org/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Center for the Book\u003c/a>, \u003ca href=\"http://www.wattis.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Wattis Institute for Contemporary Arts\u003c/a>, and \u003ca href=\"https://cclarkgallery.com/\" target=\"_blank\" rel=\"noopener noreferrer\">several\u003c/a> \u003ca href=\"http://www.briangrossfineart.com/\" target=\"_blank\" rel=\"noopener noreferrer\">other\u003c/a> \u003ca href=\"http://www.hosfeltgallery.com/\" target=\"_blank\" rel=\"noopener noreferrer\">galleries\u003c/a>.\u003c/p>\n\u003cp>MSP is close to Muni and Interstate 280, yet it can still feel like it’s tucked in a far-flung corner of the city. The 10 resident galleries will host first Saturday openings (the opening month is an exception), a critical mass that might be able to quash the neighborhood’s perceived remoteness. Prior to the neighborhood’s ongoing atrophy, many art enthusiasts dutifully found their way downtown, one Thursday night a month, to the many openings at 49 Geary. MSP possesses the potential to command similar attention with a compelling and diverse calendar of shows. Several MSP galleries are former downtown tenants, including \u003ca href=\"http://www.anglimgilbertgallery.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Anglim Gilbert Gallery\u003c/a>, \u003ca href=\"http://www.nancytoomeyfineart.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Nancy Toomey Fine Art\u003c/a> (formerly Toomey Tourell Fine Arts), \u003ca href=\"http://Rena%20Bransten%20Fine%20Art\" target=\"_blank\" rel=\"noopener noreferrer\">Rena Bransten Projects\u003c/a>, and \u003ca href=\"http://www.themesandprojects.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Themes + Projects\u003c/a> (formerly Modernbook).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Joining these established galleries are a number of artist-run and alternative art spaces whose long-term existence could depend on MSP’s alternative business model. In summer 2015, \u003ca href=\"http://www.bassandreiner.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Bass & Reiner Gallery\u003c/a> was \u003ca href=\"http://ww2.kqed.org/arts/2015/08/24/after-displacement-redlick-artists-rally-against-changing-mission/\" target=\"_blank\" rel=\"noopener noreferrer\">displaced from their Mission District location\u003c/a>. The gallery looked at other potential spaces, but found none with terms as favorable as MSP’s. “Moving into Minnesota Street Project has essentially made it possible for us to continue to exist,” says Emily Reynolds, one of Bass & Reiner’s four co-directors.\u003c/p>\n\u003cfigure id=\"attachment_11406041\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11406041\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Minnesota_08.jpg\" alt=\"Courtesy of Minnesota Street Project\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Minnesota_08.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Minnesota_08-400x267.jpg 400w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Courtesy of Minnesota Street Project\u003c/figcaption>\u003c/figure>\n\u003cp>For Bass & Reiner, the move isn’t just about survival but the prospect of thriving. “As a standalone gallery that visitors needed to buzz into and then take an elevator to reach,” Reynolds says of the gallery’s former space within Studio 17 at Mission and 17th Streets, “we could only convince the most adventurous art lovers to come see what we were doing.” At MSP, she’s looking forward to brighter prospects.\u003c/p>\n\u003cp>“It’s comforting to be in a building where I know I’m protected by landlords that are passionate about the arts,” says Andrew McClintock, director of \u003ca href=\"http://sfaq.us/ever-gold-projects/\" target=\"_blank\" rel=\"noopener noreferrer\">Ever Gold [Projects]\u003c/a> (formerly Ever Gold Gallery), which is moving to MSP from the Tenderloin. But McClintock sees increased opportunity beyond the agreeable rent. He says his new gallery will be bigger and cleaner, and that the Dogpatch in general has more room “to think and breathe” — and to park.\u003c/p>\n\u003cp>The proximity of established galleries to artist-run spaces is exciting; the potential within these combinations will be on display during the opening night. Anglim Gilbert Gallery shows work by San Francisco-based \u003ca href=\"http://enriquechagoya.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Enrique Chagoya\u003c/a>, an established painter and printmaker whose art is included in major museum collections across the country. A group show at Rena Bransten Projects includes work from prominent visual artists like \u003ca href=\"http://www.doughallstudio.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Doug Hall\u003c/a>, \u003ca href=\"http://www.hungliu.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Hung Liu\u003c/a>, \u003ca href=\"http://artsites.ucsc.edu/faculty/lord/\" target=\"_blank\" rel=\"noopener noreferrer\">Chip Lord\u003c/a>, and \u003ca href=\"http://www.dreamlandnews.com/\" target=\"_blank\" rel=\"noopener noreferrer\">John Waters\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"http://www.etaletc.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Et al. etc.\u003c/a> (a second gallery from Chinatown’s Et al.) shows work by \u003ca href=\"http://jacquelinegordon.net/\" target=\"_blank\" rel=\"noopener noreferrer\">Jacqueline Gordon\u003c/a> and \u003ca href=\"http://www.margowolowiec.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Margo Wolowiec\u003c/a>. Bass & Reiner inaugurates their new space with a site-specific installation by \u003ca href=\"http://www.miemogensen.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Mie Hørlyck Mogensen\u003c/a> and \u003ca href=\"http://www.maycwilson.com/\" target=\"_blank\" rel=\"noopener noreferrer\">May Wilson\u003c/a>. Gordon, Mogensen, Wilson and Wolowiec are all relatively recent art school graduates, a category the 18 California College of the Arts MFA candidates showing in the MSP gallery reserved for outside institutions and curators will soon join.\u003c/p>\n\u003cfigure id=\"attachment_11411805\" class=\"wp-caption alignright\" style=\"max-width: 398px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11411805\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/bassreiner-398x600.jpg\" alt=\"Mie Hørlyck Mogensen, Untitled (detail), installation at Bass & Reiner Gallery, 2016. Photo: Chris Grunder\" width=\"398\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/bassreiner-398x600.jpg 398w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/bassreiner-400x603.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/bassreiner.jpg 610w\" sizes=\"auto, (max-width: 398px) 100vw, 398px\">\u003cfigcaption class=\"wp-caption-text\">Mie Hørlyck Mogensen, \u003ci>Untitled (detail)\u003c/i>, installation at Bass & Reiner Gallery, 2016. Photo: Chris Grunder\u003c/figcaption>\u003c/figure>\n\u003cp>MSP’s artist studio program also values professional integration. Early-career artists and designers like \u003ca href=\"http://bethabrahamson.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Beth Abrahamson\u003c/a>, \u003ca href=\"http://brittanyatkinsonphotography.tumblr.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Brittany Atkinson\u003c/a>, and \u003ca href=\"http://www.hennavainio.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Henna Vainio\u003c/a> will share facilities with an impressive roster of mid-career and established artists, including \u003ca href=\"http://www.lynnhershman.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Lynn Hershman Leeson\u003c/a>, \u003ca href=\"http://sean-mcfarland.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Sean McFarland\u003c/a>, \u003ca href=\"http://www.ratio3.org/artists/mitzi-pederson\" target=\"_blank\" rel=\"noopener noreferrer\">Mitzi Pederson\u003c/a>, and \u003ca href=\"http://www.taranehhemami.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Taraneh Hemami\u003c/a>. Various sources have described these studios as renting at or just below market rates, but with terms, facilities, and landlords that would be difficult to find elsewhere.\u003c/p>\n\u003cp>MSP is not a nonprofit organization, despite its benevolent aims. The Rappaports say that a for-profit structure affords them the flexibility to act quickly. It also allows them to offer services, such as a 100,000-cubic-foot museum-quality art storage facility, that subsidizes the galleries and studios. Cautionary skepticism of this business model is not inappropriate: for-profit business practices regularly push galleries and artists out of the Bay Area, and there will almost always be a venture more profitable than contemporary art. But if the actions of landlords speak to their values, optimism like Reynolds’ and McClintock’s may be warranted.\u003c/p>\n\u003cp>See you at the opening.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Minnesota Street Project\u003c/strong> and its 10 gallery tenants celebrate their grand opening Friday, March 18, 6-10pm. Visit \u003ca href=\"http://minnesotastreetproject.com/\" target=\"_blank\" rel=\"noopener noreferrer\">minnesotastreetproject.com\u003c/a> for more information.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The much-anticipated \u003ca href=\"http://minnesotastreetproject.com/\" target=\"_blank\" rel=\"noopener\">Minnesota Street Project\u003c/a>, Deborah and Andy Rappaport’s ambitious Dogpatch neighborhood arts complex, announced its starting line-up of commercial galleries and project spaces Wednesday.\u003c/p>\n\u003cp>The roster includes a number of galleries displaced from their original spaces by rising rents and landlord evictions, like \u003ca href=\"http://www.bassandreiner.com/\" target=\"_blank\" rel=\"noopener\">Bass & Reiner Gallery\u003c/a> (former tenant of \u003ca href=\"http://ww2.kqed.org/arts/2015/08/24/after-displacement-redlick-artists-rally-against-changing-mission/\">Studio 17\u003c/a>) and \u003ca href=\"http://www.renabranstengallery.com\" target=\"_blank\" rel=\"noopener\">Rena Bransten Gallery\u003c/a> (former tenant of \u003ca href=\"http://ww2.kqed.org/news/2014/02/24/art-galleries-displaced-amid-san-francisco-tech-boom\">77 Geary\u003c/a>). Other starter tenants include \u003ca href=\"http://www.casemorekirkeby.com/\" target=\"_blank\" rel=\"noopener\">Casemore Kirkeby\u003c/a>, \u003ca href=\"http://www.eleanorharwood.com/Eleanor_Harwood_Gallery/Home.html\" target=\"_blank\" rel=\"noopener\">Eleanor Harwood Gallery\u003c/a>, \u003ca href=\"http://www.etaletc.com/\" target=\"_blank\" rel=\"noopener\">Et al. etc.\u003c/a>, \u003ca href=\"http://www.jackfischergallery.com/\" target=\"_blank\" rel=\"noopener\">Jack Fischer Gallery\u003c/a>, Nancy Toomey Fine Art and \u003ca href=\"http://www.themesandprojects.com/\" target=\"_blank\" rel=\"noopener\">Themes + Projects\u003c/a>. \u003c/p>\n\u003cp>And the list isn’t entirely about the white-cube scene. \u003ca href=\"http://www.sfartsed.org/\" target=\"_blank\" rel=\"noopener\">The San Francisco Arts Education Project\u003c/a>, a nonprofit that posts working artists in San Francisco schools to teach theater, dance and visual arts to children, is another “charter member.”\u003c/p>\n\u003cfigure id=\"attachment_11092406\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/MSP640.jpg\" alt=\"Rendering of 1275 Minnesota St.\" width=\"640\" height=\"439\" class=\"size-full wp-image-11092406\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/MSP640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/MSP640-400x274.jpg 400w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Rendering of 1275 Minnesota St. \u003ccite>(Photo: Jensen Architects)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While many galleries will relocate to Minnesota Street entirely, Et al. will expand — opening “a new gallery concept” at the complex while retaining their subterranean Chinatown space. Never ones to keep things simple, Et al. etc. will host two concurrent exhibitions at all times: one organized by Et al.’s directors Facundo Argañaraz, Jackie Im and Aaron Harbour, the other by a gallery from outside the Bay Area.\u003c/p>\n\u003cp>By its opening next spring, the complex will also host 30 private studios ranging from 250 to 800 square feet, “as well as 4,000 square feet of communal workspace and resources, including a wood shop, digital media lab, traditional printing presses, kiln, and other specialized tools and services,” the website proclaims. Minnesota Street Project is \u003ca href=\"http://minnesotastreetproject.com/studios\" target=\"_blank\" rel=\"noopener\">currently accepting applications\u003c/a> from those with a serious studio practice (this translates to an expected 25 hours per week of studio time, a luxury for many working artists). \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The project’s website also outlines “a comprehensive, concierge-based art-collection management service” for everyone from individuals to institutions.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In the meantime, programming continues at Minnesota Street Project’s off-site pop-up gallery at 2291 Third St., with \u003ca href=\"http://minnesotastreetproject.com/exhibitions/2291-3rd-st/real-time-space-group-exhibition\" target=\"_blank\" rel=\"noopener\">an opening this Saturday\u003c/a> of artwork made in another, scrappier type of art complex, Oakland’s studio and residency program \u003ca href=\"http://www.realtimeandspace.org/\" target=\"_blank\" rel=\"noopener\">Real Time & Space\u003c/a>. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The much-anticipated \u003ca href=\"http://minnesotastreetproject.com/\" target=\"_blank\" rel=\"noopener\">Minnesota Street Project\u003c/a>, Deborah and Andy Rappaport’s ambitious Dogpatch neighborhood arts complex, announced its starting line-up of commercial galleries and project spaces Wednesday.\u003c/p>\n\u003cp>The roster includes a number of galleries displaced from their original spaces by rising rents and landlord evictions, like \u003ca href=\"http://www.bassandreiner.com/\" target=\"_blank\" rel=\"noopener\">Bass & Reiner Gallery\u003c/a> (former tenant of \u003ca href=\"http://ww2.kqed.org/arts/2015/08/24/after-displacement-redlick-artists-rally-against-changing-mission/\">Studio 17\u003c/a>) and \u003ca href=\"http://www.renabranstengallery.com\" target=\"_blank\" rel=\"noopener\">Rena Bransten Gallery\u003c/a> (former tenant of \u003ca href=\"http://ww2.kqed.org/news/2014/02/24/art-galleries-displaced-amid-san-francisco-tech-boom\">77 Geary\u003c/a>). Other starter tenants include \u003ca href=\"http://www.casemorekirkeby.com/\" target=\"_blank\" rel=\"noopener\">Casemore Kirkeby\u003c/a>, \u003ca href=\"http://www.eleanorharwood.com/Eleanor_Harwood_Gallery/Home.html\" target=\"_blank\" rel=\"noopener\">Eleanor Harwood Gallery\u003c/a>, \u003ca href=\"http://www.etaletc.com/\" target=\"_blank\" rel=\"noopener\">Et al. etc.\u003c/a>, \u003ca href=\"http://www.jackfischergallery.com/\" target=\"_blank\" rel=\"noopener\">Jack Fischer Gallery\u003c/a>, Nancy Toomey Fine Art and \u003ca href=\"http://www.themesandprojects.com/\" target=\"_blank\" rel=\"noopener\">Themes + Projects\u003c/a>. \u003c/p>\n\u003cp>And the list isn’t entirely about the white-cube scene. \u003ca href=\"http://www.sfartsed.org/\" target=\"_blank\" rel=\"noopener\">The San Francisco Arts Education Project\u003c/a>, a nonprofit that posts working artists in San Francisco schools to teach theater, dance and visual arts to children, is another “charter member.”\u003c/p>\n\u003cfigure id=\"attachment_11092406\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/MSP640.jpg\" alt=\"Rendering of 1275 Minnesota St.\" width=\"640\" height=\"439\" class=\"size-full wp-image-11092406\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/MSP640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/MSP640-400x274.jpg 400w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Rendering of 1275 Minnesota St. \u003ccite>(Photo: Jensen Architects)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While many galleries will relocate to Minnesota Street entirely, Et al. will expand — opening “a new gallery concept” at the complex while retaining their subterranean Chinatown space. Never ones to keep things simple, Et al. etc. will host two concurrent exhibitions at all times: one organized by Et al.’s directors Facundo Argañaraz, Jackie Im and Aaron Harbour, the other by a gallery from outside the Bay Area.\u003c/p>\n\u003cp>By its opening next spring, the complex will also host 30 private studios ranging from 250 to 800 square feet, “as well as 4,000 square feet of communal workspace and resources, including a wood shop, digital media lab, traditional printing presses, kiln, and other specialized tools and services,” the website proclaims. Minnesota Street Project is \u003ca href=\"http://minnesotastreetproject.com/studios\" target=\"_blank\" rel=\"noopener\">currently accepting applications\u003c/a> from those with a serious studio practice (this translates to an expected 25 hours per week of studio time, a luxury for many working artists). \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The project’s website also outlines “a comprehensive, concierge-based art-collection management service” for everyone from individuals to institutions.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In the meantime, programming continues at Minnesota Street Project’s off-site pop-up gallery at 2291 Third St., with \u003ca href=\"http://minnesotastreetproject.com/exhibitions/2291-3rd-st/real-time-space-group-exhibition\" target=\"_blank\" rel=\"noopener\">an opening this Saturday\u003c/a> of artwork made in another, scrappier type of art complex, Oakland’s studio and residency program \u003ca href=\"http://www.realtimeandspace.org/\" target=\"_blank\" rel=\"noopener\">Real Time & Space\u003c/a>. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "the-death-and-rebirth-of-san-franciscos-gallery-scene",
"title": "The Death and Rebirth of San Francisco's Gallery Scene",
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"content": "\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/230351516″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>Union Square was once the heart of San Francisco’s gallery district, but not so much anymore.\u003c/p>\n\u003cp>About 20 months ago, some of the city’s best known galleries were evicted to make room for a tech company, or gave up their leases because they couldn’t afford the soaring rents. \u003ca href=\"http://renabranstengallery.com/\" target=\"_blank\" rel=\"noopener\">Rena Bransten\u003c/a> was among them. She ran her gallery at 77 Geary Street for nearly 30 years.\u003c/p>\n\u003cp>“In the old days,” Bransten said recently, “it was much more congenial. People wanted to come to the art galleries and schmooze and talk and go to openings, and that’s not really true anymore.”\u003c/p>\n\u003cp>When I talked to Bransten the other day, she was sitting in her storefront on Market St. near Civic Center, in a temporary space too small to mount a full show.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>High rents have spun San Francisco galleries further and further from downtown, and to once unlikely neighborhoods: \u003ca href=\"http://jessicasilvermangallery.com/\" target=\"_blank\" rel=\"noopener\">Jessica Silverman\u003c/a> in the Tenderloin, \u003ca href=\"http://www.gallerywendinorris.com/index.php\" target=\"_blank\" rel=\"noopener\">Wendi Norris \u003c/a>south of Market Street, and \u003ca href=\"http://cclarkgallery.com/\" target=\"_blank\" rel=\"noopener\">Catherine Clark\u003c/a>, \u003ca href=\"http://www.jackfischergallery.com/\" target=\"_blank\" rel=\"noopener\">Jack Fischer\u003c/a>, \u003ca href=\"http://www.briangrossfineart.com/\" target=\"_blank\" rel=\"noopener\">Brian Gross\u003c/a> and \u003ca href=\"http://www.georgelawsongallery.com/\" target=\"_blank\" rel=\"noopener\">George Lawson \u003c/a>all in Potrero Flats near the Design District.\u003c/p>\n\u003cp>One of Bransten’s old neighbors at 77 Geary St., \u003ca href=\"http://georgekrevskygallery.com/\" target=\"_blank\" rel=\"noopener\">George Krevsky\u003c/a>, took a more radical approach, and moved his business to his home in the Oakland Hills.\u003c/p>\n\u003cp>“The idea is a work in progress,” said Krevsky.\u003c/p>\n\u003cp>“Here are two Milton Avery drawings,” he said while standing in the doorway to a guest bedroom during a tour, which continued through the living room and into his office, where its walls were covered with paintings consigned for sale by Lawrence Ferlinghetti and Jack Levine, and prints by Ben Shahn.\u003c/p>\n\u003cp>Occasionally Krevsky shows a buyer through the house, but he says most of his sales now are at art fairs or to clients whose experience of the work is an image delivered over the internet.\u003c/p>\n\u003cp>“It’s in there,” Krevsky said pointing to his computer. “And that’s cold. I miss the warmth of the artist being there, and the client coming in and seeing the reaction between the human being and the painting. But I think brick-and-mortar galleries are a thing of the past.”\u003c/p>\n\u003cp>What’s at stake for the Bay Area art scene may not be obvious, with museums thriving around the bay, and the San Francisco Museum of Modern Art reopening in the spring.\u003c/p>\n\u003cp>But Renny Pritikin, now chief curator at the Contemporary Jewish Museum, says galleries are essential to the Bay Area’s arts ecosystem, “Art fairs are elitist,” he said. “But anyone can come into a commercial gallery and meet the curator and the artist for free. I don’t know many fields where that’s the case. And it would be a loss if this went away.”\u003c/p>\n\u003cp>But maybe the old gallery model can still thrive in the right location at the right price.\u003c/p>\n\u003cp>That’s what Deborah Rappaport and Andrew, her venture capitalist husband, are hoping. They’re converting a huge warehouse, once the home of a cabinet maker, into a space for 10 galleries on Minnesota St. in San Francisco’s Dogpatch neighborhood.\u003c/p>\n\u003cfigure id=\"attachment_11037154\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/Eleanor-Harwood-and-Chris-Grunder-at-1275-Minnesota-Street.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11037154\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/Eleanor-Harwood-and-Chris-Grunder-at-1275-Minnesota-Street-1180x885.jpg\" alt=\"Eleanor Harwood and Chris Grunder at 1275 Minnesota Street\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Eleanor-Harwood-and-Chris-Grunder-at-1275-Minnesota-Street-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Eleanor-Harwood-and-Chris-Grunder-at-1275-Minnesota-Street-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Eleanor-Harwood-and-Chris-Grunder-at-1275-Minnesota-Street-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Eleanor-Harwood-and-Chris-Grunder-at-1275-Minnesota-Street-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Eleanor-Harwood-and-Chris-Grunder-at-1275-Minnesota-Street-960x720.jpg 960w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Eleanor Harwood and Chris Grunder at 1275 Minnesota Street \u003ccite>(Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Galleries need a physical presence,” Rappaport told me on a recent tour, “whether that’s where most of their sales come from or not. It’s the way they build careers for their artists, it’s the way they build inventory for the art fairs that they have to go to.”\u003c/p>\n\u003cp>The Rappaports are longtime arts patrons who watched with dismay as gallery after gallery lost its lease. So they came up with a business plan for this new space set to open this spring.\u003c/p>\n\u003cp>“We’re doing a for profit model, where we just want to break even,” said Rappaport.\u003c/p>\n\u003cp>Yet Rappaport says they can still offer affordable rents, a quarter to a third of what galleries are now paying around Union Square. Plus the Rappaport’s are offering free utilities, providing a room in which to show videoes, packing and shipping facilities, a café and a bar, and even showers.\u003c/p>\n\u003cp>“Nobody is happier about having showers on site than a gallerist,” Rappaport said laughing. “Because they can hang their shows until 15 minutes before the public shows up, and they don’t have to go home to change.”\u003c/p>\n\u003cp>\u003ca href=\"http://www.minnesotastreetproject.com/\" target=\"_blank\" rel=\"noopener\">The Minnesota Street Project\u003c/a>, as it’s called, has attracted younger gallery owners like Chris Grunder.\u003c/p>\n\u003cp>“If this didn’t exist,” he said recently, while sidestepping construction workers and a forklift piled high with steel beams, “we probably would not have continued as a gallery.”\u003c/p>\n\u003cp>Grunder’s gallery,\u003ca href=\"http://www.bassandreiner.com/\" target=\"_blank\" rel=\"noopener\"> Bass and Reiner\u003c/a>, is losing its Mission District space to — no surprise — a tech company.\u003c/p>\n\u003cp>Grunder’s and his future neighbors hope Minnesota St. will become a community, a destination for art lovers and artists to gather, drink and schmooze.\u003c/p>\n\u003cp>“I’m really looking forward to that,” said Trish Bransten, Rena Bransten’s daughter and gallery director.\u003c/p>\n\u003cp>Yup. The Branstens are moving their gallery to Rappaport’s Minnesota Street Project.\u003c/p>\n\u003cp>“The parallel to Union Square,” Trish Bransten said, “is that the people who come from out of town, will have a place to go.”\u003c/p>\n\u003cp>So score one for the city’s art galleries. But how do you save artists’ studios, which are falling in numbers due to rents increasing at a rapid pace?\u003c/p>\n\u003cp>Deborah Rappaport and her husband are also working on that, with plans to convert another 20,000-square-foot warehouse on Minnesota St. into art studios.\u003c/p>\n\u003cp>Another obliging landlord turned down higher offers to make room for North Beach Bauhaus, a five-artist studio and gallery collective in North Beach, one of the city’s highest rent neighborhoods.\u003c/p>\n\u003cp>“Our plan is to make rent the first year,” said photographer and collective member James Cha, “break even the second year, and be profitable the third year.”\u003c/p>\n\u003cfigure id=\"attachment_11037151\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/James-Cha-at-North-Beach-Bauhaus.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11037151\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/James-Cha-at-North-Beach-Bauhaus-1180x885.jpg\" alt=\"James Cha at North Beach Bauhaus\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/James-Cha-at-North-Beach-Bauhaus-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/James-Cha-at-North-Beach-Bauhaus-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/James-Cha-at-North-Beach-Bauhaus-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/James-Cha-at-North-Beach-Bauhaus-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/James-Cha-at-North-Beach-Bauhaus-960x720.jpg 960w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">James Cha at North Beach Bauhaus \u003ccite>(Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cha said he and his fellow artists consider themselves very lucky. They had a gallery on Green St. but lost the lease when the landlord raised the rent.\u003c/p>\n\u003cfigure id=\"attachment_11037152\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/Earl-Thibodeau-at-North-Beach-Bauhaus.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11037152\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/Earl-Thibodeau-at-North-Beach-Bauhaus-1180x885.jpg\" alt=\"Earl Thibodeau at North Beach Bauhaus\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Earl-Thibodeau-at-North-Beach-Bauhaus-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Earl-Thibodeau-at-North-Beach-Bauhaus-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Earl-Thibodeau-at-North-Beach-Bauhaus-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Earl-Thibodeau-at-North-Beach-Bauhaus-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Earl-Thibodeau-at-North-Beach-Bauhaus-960x720.jpg 960w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Earl Thibodeau at North Beach Bauhaus \u003ccite>(Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cha shares the space with Earl Thibodeau, who makes colorful hipster hats in the large basement studio they all share. Thibodeau offers this reminder of why it’s worth saving space for local artists to make and show their work.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“We have all the stores that are selling mass produced stuff,” Thibodeau said. “Artists add the humanistic approach to life. You sort of inspire people. Make people dream.”\u003c/p>\n\n",
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"excerpt": "High rents have spun San Francisco galleries further and further from downtown, and to once unlikely neighborhoods.",
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"title": "The Death and Rebirth of San Francisco's Gallery Scene | KQED",
"description": "High rents have spun San Francisco galleries further and further from downtown, and to once unlikely neighborhoods.",
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"headline": "The Death and Rebirth of San Francisco's Gallery Scene",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/230351516″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/230351516″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Union Square was once the heart of San Francisco’s gallery district, but not so much anymore.\u003c/p>\n\u003cp>About 20 months ago, some of the city’s best known galleries were evicted to make room for a tech company, or gave up their leases because they couldn’t afford the soaring rents. \u003ca href=\"http://renabranstengallery.com/\" target=\"_blank\" rel=\"noopener\">Rena Bransten\u003c/a> was among them. She ran her gallery at 77 Geary Street for nearly 30 years.\u003c/p>\n\u003cp>“In the old days,” Bransten said recently, “it was much more congenial. People wanted to come to the art galleries and schmooze and talk and go to openings, and that’s not really true anymore.”\u003c/p>\n\u003cp>When I talked to Bransten the other day, she was sitting in her storefront on Market St. near Civic Center, in a temporary space too small to mount a full show.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>High rents have spun San Francisco galleries further and further from downtown, and to once unlikely neighborhoods: \u003ca href=\"http://jessicasilvermangallery.com/\" target=\"_blank\" rel=\"noopener\">Jessica Silverman\u003c/a> in the Tenderloin, \u003ca href=\"http://www.gallerywendinorris.com/index.php\" target=\"_blank\" rel=\"noopener\">Wendi Norris \u003c/a>south of Market Street, and \u003ca href=\"http://cclarkgallery.com/\" target=\"_blank\" rel=\"noopener\">Catherine Clark\u003c/a>, \u003ca href=\"http://www.jackfischergallery.com/\" target=\"_blank\" rel=\"noopener\">Jack Fischer\u003c/a>, \u003ca href=\"http://www.briangrossfineart.com/\" target=\"_blank\" rel=\"noopener\">Brian Gross\u003c/a> and \u003ca href=\"http://www.georgelawsongallery.com/\" target=\"_blank\" rel=\"noopener\">George Lawson \u003c/a>all in Potrero Flats near the Design District.\u003c/p>\n\u003cp>One of Bransten’s old neighbors at 77 Geary St., \u003ca href=\"http://georgekrevskygallery.com/\" target=\"_blank\" rel=\"noopener\">George Krevsky\u003c/a>, took a more radical approach, and moved his business to his home in the Oakland Hills.\u003c/p>\n\u003cp>“The idea is a work in progress,” said Krevsky.\u003c/p>\n\u003cp>“Here are two Milton Avery drawings,” he said while standing in the doorway to a guest bedroom during a tour, which continued through the living room and into his office, where its walls were covered with paintings consigned for sale by Lawrence Ferlinghetti and Jack Levine, and prints by Ben Shahn.\u003c/p>\n\u003cp>Occasionally Krevsky shows a buyer through the house, but he says most of his sales now are at art fairs or to clients whose experience of the work is an image delivered over the internet.\u003c/p>\n\u003cp>“It’s in there,” Krevsky said pointing to his computer. “And that’s cold. I miss the warmth of the artist being there, and the client coming in and seeing the reaction between the human being and the painting. But I think brick-and-mortar galleries are a thing of the past.”\u003c/p>\n\u003cp>What’s at stake for the Bay Area art scene may not be obvious, with museums thriving around the bay, and the San Francisco Museum of Modern Art reopening in the spring.\u003c/p>\n\u003cp>But Renny Pritikin, now chief curator at the Contemporary Jewish Museum, says galleries are essential to the Bay Area’s arts ecosystem, “Art fairs are elitist,” he said. “But anyone can come into a commercial gallery and meet the curator and the artist for free. I don’t know many fields where that’s the case. And it would be a loss if this went away.”\u003c/p>\n\u003cp>But maybe the old gallery model can still thrive in the right location at the right price.\u003c/p>\n\u003cp>That’s what Deborah Rappaport and Andrew, her venture capitalist husband, are hoping. They’re converting a huge warehouse, once the home of a cabinet maker, into a space for 10 galleries on Minnesota St. in San Francisco’s Dogpatch neighborhood.\u003c/p>\n\u003cfigure id=\"attachment_11037154\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/Eleanor-Harwood-and-Chris-Grunder-at-1275-Minnesota-Street.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11037154\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/Eleanor-Harwood-and-Chris-Grunder-at-1275-Minnesota-Street-1180x885.jpg\" alt=\"Eleanor Harwood and Chris Grunder at 1275 Minnesota Street\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Eleanor-Harwood-and-Chris-Grunder-at-1275-Minnesota-Street-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Eleanor-Harwood-and-Chris-Grunder-at-1275-Minnesota-Street-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Eleanor-Harwood-and-Chris-Grunder-at-1275-Minnesota-Street-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Eleanor-Harwood-and-Chris-Grunder-at-1275-Minnesota-Street-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Eleanor-Harwood-and-Chris-Grunder-at-1275-Minnesota-Street-960x720.jpg 960w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Eleanor Harwood and Chris Grunder at 1275 Minnesota Street \u003ccite>(Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Galleries need a physical presence,” Rappaport told me on a recent tour, “whether that’s where most of their sales come from or not. It’s the way they build careers for their artists, it’s the way they build inventory for the art fairs that they have to go to.”\u003c/p>\n\u003cp>The Rappaports are longtime arts patrons who watched with dismay as gallery after gallery lost its lease. So they came up with a business plan for this new space set to open this spring.\u003c/p>\n\u003cp>“We’re doing a for profit model, where we just want to break even,” said Rappaport.\u003c/p>\n\u003cp>Yet Rappaport says they can still offer affordable rents, a quarter to a third of what galleries are now paying around Union Square. Plus the Rappaport’s are offering free utilities, providing a room in which to show videoes, packing and shipping facilities, a café and a bar, and even showers.\u003c/p>\n\u003cp>“Nobody is happier about having showers on site than a gallerist,” Rappaport said laughing. “Because they can hang their shows until 15 minutes before the public shows up, and they don’t have to go home to change.”\u003c/p>\n\u003cp>\u003ca href=\"http://www.minnesotastreetproject.com/\" target=\"_blank\" rel=\"noopener\">The Minnesota Street Project\u003c/a>, as it’s called, has attracted younger gallery owners like Chris Grunder.\u003c/p>\n\u003cp>“If this didn’t exist,” he said recently, while sidestepping construction workers and a forklift piled high with steel beams, “we probably would not have continued as a gallery.”\u003c/p>\n\u003cp>Grunder’s gallery,\u003ca href=\"http://www.bassandreiner.com/\" target=\"_blank\" rel=\"noopener\"> Bass and Reiner\u003c/a>, is losing its Mission District space to — no surprise — a tech company.\u003c/p>\n\u003cp>Grunder’s and his future neighbors hope Minnesota St. will become a community, a destination for art lovers and artists to gather, drink and schmooze.\u003c/p>\n\u003cp>“I’m really looking forward to that,” said Trish Bransten, Rena Bransten’s daughter and gallery director.\u003c/p>\n\u003cp>Yup. The Branstens are moving their gallery to Rappaport’s Minnesota Street Project.\u003c/p>\n\u003cp>“The parallel to Union Square,” Trish Bransten said, “is that the people who come from out of town, will have a place to go.”\u003c/p>\n\u003cp>So score one for the city’s art galleries. But how do you save artists’ studios, which are falling in numbers due to rents increasing at a rapid pace?\u003c/p>\n\u003cp>Deborah Rappaport and her husband are also working on that, with plans to convert another 20,000-square-foot warehouse on Minnesota St. into art studios.\u003c/p>\n\u003cp>Another obliging landlord turned down higher offers to make room for North Beach Bauhaus, a five-artist studio and gallery collective in North Beach, one of the city’s highest rent neighborhoods.\u003c/p>\n\u003cp>“Our plan is to make rent the first year,” said photographer and collective member James Cha, “break even the second year, and be profitable the third year.”\u003c/p>\n\u003cfigure id=\"attachment_11037151\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/James-Cha-at-North-Beach-Bauhaus.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11037151\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/James-Cha-at-North-Beach-Bauhaus-1180x885.jpg\" alt=\"James Cha at North Beach Bauhaus\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/James-Cha-at-North-Beach-Bauhaus-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/James-Cha-at-North-Beach-Bauhaus-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/James-Cha-at-North-Beach-Bauhaus-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/James-Cha-at-North-Beach-Bauhaus-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/James-Cha-at-North-Beach-Bauhaus-960x720.jpg 960w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">James Cha at North Beach Bauhaus \u003ccite>(Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cha said he and his fellow artists consider themselves very lucky. They had a gallery on Green St. but lost the lease when the landlord raised the rent.\u003c/p>\n\u003cfigure id=\"attachment_11037152\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/Earl-Thibodeau-at-North-Beach-Bauhaus.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11037152\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/Earl-Thibodeau-at-North-Beach-Bauhaus-1180x885.jpg\" alt=\"Earl Thibodeau at North Beach Bauhaus\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Earl-Thibodeau-at-North-Beach-Bauhaus-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Earl-Thibodeau-at-North-Beach-Bauhaus-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Earl-Thibodeau-at-North-Beach-Bauhaus-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Earl-Thibodeau-at-North-Beach-Bauhaus-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Earl-Thibodeau-at-North-Beach-Bauhaus-960x720.jpg 960w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Earl Thibodeau at North Beach Bauhaus \u003ccite>(Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cha shares the space with Earl Thibodeau, who makes colorful hipster hats in the large basement studio they all share. Thibodeau offers this reminder of why it’s worth saving space for local artists to make and show their work.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"airtime": "SUN 7:30pm-8pm",
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"title": "Live from Here Highlights",
"info": "Chris Thile steps to the mic as the host of Live from Here (formerly A Prairie Home Companion), a live public radio variety show. Download Chris’s Song of the Week plus other highlights from the broadcast. Produced by American Public Media.",
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"meta": {
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"rss": "https://feeds.publicradio.org/public_feeds/a-prairie-home-companion-highlights/rss/rss"
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 13
},
"link": "/podcasts/mindshift",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"order": 12
},
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"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",
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"our-body-politic": {
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"title": "Our Body Politic",
"info": "Presented by KQED, KCRW and KPCC, and created and hosted by award-winning journalist Farai Chideya, Our Body Politic is unapologetically centered on reporting on not just how women of color experience the major political events of today, but how they’re impacting those very issues.",
"airtime": "SAT 6pm-7pm, SUN 1am-2am",
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},
"link": "/radio/program/our-body-politic",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5zaW1wbGVjYXN0LmNvbS9feGFQaHMxcw",
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"officialWebsiteLink": "/perspectives/",
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"order": 15
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"planet-money": {
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"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
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