window.__IS_SSR__=true
window.__INITIAL_STATE__={
"attachmentsReducer": {
"audio_0": {
"type": "attachments",
"id": "audio_0",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background0.jpg"
}
}
},
"audio_1": {
"type": "attachments",
"id": "audio_1",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background1.jpg"
}
}
},
"audio_2": {
"type": "attachments",
"id": "audio_2",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background2.jpg"
}
}
},
"audio_3": {
"type": "attachments",
"id": "audio_3",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background3.jpg"
}
}
},
"audio_4": {
"type": "attachments",
"id": "audio_4",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background4.jpg"
}
}
},
"placeholder": {
"type": "attachments",
"id": "placeholder",
"imgSizes": {
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-160x107.jpg",
"width": 160,
"height": 107,
"mimeType": "image/jpeg"
},
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-800x533.jpg",
"width": 800,
"height": 533,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-768x512.jpg",
"width": 768,
"height": 512,
"mimeType": "image/jpeg"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1020x680.jpg",
"width": 1020,
"height": 680,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1536x1024.jpg",
"width": 1536,
"height": 1024,
"mimeType": "image/jpeg"
},
"fd-lrg": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1536x1024.jpg",
"width": 1536,
"height": 1024,
"mimeType": "image/jpeg"
},
"fd-med": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1020x680.jpg",
"width": 1020,
"height": 680,
"mimeType": "image/jpeg"
},
"fd-sm": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-800x533.jpg",
"width": 800,
"height": 533,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"xxsmall": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-160x107.jpg",
"width": 160,
"height": 107,
"mimeType": "image/jpeg"
},
"xsmall": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"small": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"xlarge": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1020x680.jpg",
"width": 1020,
"height": 680,
"mimeType": "image/jpeg"
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1920x1280.jpg",
"width": 1920,
"height": 1280,
"mimeType": "image/jpeg"
},
"guest-author-32": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 32,
"height": 32,
"mimeType": "image/jpeg"
},
"guest-author-50": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 50,
"height": 50,
"mimeType": "image/jpeg"
},
"guest-author-64": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 64,
"height": 64,
"mimeType": "image/jpeg"
},
"guest-author-96": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 96,
"height": 96,
"mimeType": "image/jpeg"
},
"guest-author-128": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 128,
"height": 128,
"mimeType": "image/jpeg"
},
"detail": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 160,
"height": 160,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1.jpg",
"width": 2000,
"height": 1333
}
}
},
"arts_13992691": {
"type": "attachments",
"id": "arts_13992691",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13992691",
"found": true
},
"title": "2026-06-10_MiaWeiner_001_2000",
"publishDate": 1786485219,
"status": "inherit",
"parent": 13992688,
"modified": 1786485599,
"caption": "Mia Weiner, 'lotus feed (Bhumi Devi),' 2026.",
"credit": "Casemore Gallery",
"altTag": null,
"description": null,
"imgSizes": {
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/2026-06-10_MiaWeiner_001_2000-160x114.jpg",
"width": 160,
"height": 114,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/2026-06-10_MiaWeiner_001_2000-768x549.jpg",
"width": 768,
"height": 549,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/2026-06-10_MiaWeiner_001_2000-1536x1097.jpg",
"width": 1536,
"height": 1097,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/2026-06-10_MiaWeiner_001_2000-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/2026-06-10_MiaWeiner_001_2000-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"npr-cds-wide": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/2026-06-10_MiaWeiner_001_2000-1200x675.jpg",
"width": 1200,
"height": 675,
"mimeType": "image/jpeg"
},
"npr-cds-square": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/2026-06-10_MiaWeiner_001_2000-600x600.jpg",
"width": 600,
"height": 600,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/2026-06-10_MiaWeiner_001_2000.jpg",
"width": 2000,
"height": 1429
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13961382": {
"type": "attachments",
"id": "arts_13961382",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13961382",
"found": true
},
"title": "SFArtsBook.MAIN",
"publishDate": 1721413970,
"status": "inherit",
"parent": 0,
"modified": 1764896861,
"caption": "The crowd at the 2024 SF Art Book Fair.",
"credit": "Gabe Meline/KQED",
"altTag": null,
"description": null,
"imgSizes": {
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/SFArtsBook.MAIN_-800x450.jpg",
"width": 800,
"height": 450,
"mimeType": "image/jpeg"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/SFArtsBook.MAIN_-1020x574.jpg",
"width": 1020,
"height": 574,
"mimeType": "image/jpeg"
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/SFArtsBook.MAIN_-160x90.jpg",
"width": 160,
"height": 90,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/SFArtsBook.MAIN_-768x432.jpg",
"width": 768,
"height": 432,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/SFArtsBook.MAIN_-1536x864.jpg",
"width": 1536,
"height": 864,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/SFArtsBook.MAIN_-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/SFArtsBook.MAIN_-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/SFArtsBook.MAIN_.jpg",
"width": 1920,
"height": 1080
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13991907": {
"type": "attachments",
"id": "arts_13991907",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13991907",
"found": true
},
"title": "PlayTheHits_2000",
"publishDate": 1784737219,
"status": "inherit",
"parent": 13991902,
"modified": 1784739708,
"caption": "Mike Monterio, 'Play the Hits,' 2024; encaustic.",
"credit": "Safemart",
"altTag": "cartoon of smiling guillotine and basket, repeated three times",
"description": null,
"imgSizes": {
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/PlayTheHits_2000-160x129.jpg",
"width": 160,
"height": 129,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/PlayTheHits_2000-768x617.jpg",
"width": 768,
"height": 617,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/PlayTheHits_2000-1536x1234.jpg",
"width": 1536,
"height": 1234,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/PlayTheHits_2000-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/PlayTheHits_2000-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"npr-cds-wide": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/PlayTheHits_2000-1200x675.jpg",
"width": 1200,
"height": 675,
"mimeType": "image/jpeg"
},
"npr-cds-square": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/PlayTheHits_2000-600x600.jpg",
"width": 600,
"height": 600,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/PlayTheHits_2000.jpg",
"width": 2000,
"height": 1607
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13988051": {
"type": "attachments",
"id": "arts_13988051",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13988051",
"found": true
},
"title": "Ruth-Asawa-Photo-2_2000",
"publishDate": 1774570963,
"status": "inherit",
"parent": 13988048,
"modified": 1774571157,
"caption": "Ruth Asawa pictured with her most recognizable works, looped-wire hanging sculptures.",
"credit": "Courtesy of RAL, Inc.",
"altTag": "woman next to globular mesh hanging sculptures",
"description": null,
"imgSizes": {
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Ruth-Asawa-Photo-2_2000-160x107.jpg",
"width": 160,
"height": 107,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Ruth-Asawa-Photo-2_2000-768x512.jpg",
"width": 768,
"height": 512,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Ruth-Asawa-Photo-2_2000-1536x1025.jpg",
"width": 1536,
"height": 1025,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Ruth-Asawa-Photo-2_2000-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Ruth-Asawa-Photo-2_2000-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"npr-cds-wide": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Ruth-Asawa-Photo-2_2000-1200x675.jpg",
"width": 1200,
"height": 675,
"mimeType": "image/jpeg"
},
"npr-cds-square": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Ruth-Asawa-Photo-2_2000-600x600.jpg",
"width": 600,
"height": 600,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Ruth-Asawa-Photo-2_2000.jpg",
"width": 2000,
"height": 1334
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13986653": {
"type": "attachments",
"id": "arts_13986653",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13986653",
"found": true
},
"title": "swan",
"publishDate": 1770884079,
"status": "inherit",
"parent": 13986545,
"modified": 1770884113,
"caption": "‘The Load (2025)’ by Ayanda Mabulu.",
"credit": "Courtesy of AOCA",
"altTag": "A contemporary painting featuring a Black woman wearing a hair wrap, her back to the viewer, with a white swan draped over her front, its neck resting on her shoulder.",
"description": null,
"imgSizes": {
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/swan-1-160x113.png",
"width": 160,
"height": 113,
"mimeType": "image/png"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/swan-1-768x544.png",
"width": 768,
"height": 544,
"mimeType": "image/png"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/swan-1-672x372.png",
"width": 672,
"height": 372,
"mimeType": "image/png"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/swan-1-1038x576.png",
"width": 1038,
"height": 576,
"mimeType": "image/png"
},
"npr-cds-wide": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/swan-1-1200x675.png",
"width": 1200,
"height": 675,
"mimeType": "image/png"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/swan-1.png",
"width": 1474,
"height": 1044
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13984761": {
"type": "attachments",
"id": "arts_13984761",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13984761",
"found": true
},
"title": "MSP_Atrium",
"publishDate": 1765412645,
"status": "inherit",
"parent": 13984752,
"modified": 1765415359,
"caption": "Minnesota Street Project has now lost 25% of its gallery tenants in quick succession.",
"credit": "Courtesy of Minnesota Street Project",
"altTag": "atrium with 2nd-level walkway and wooden stairs at back of space",
"description": null,
"imgSizes": {
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/MSP_Atrium-160x98.jpg",
"width": 160,
"height": 98,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/MSP_Atrium-768x471.jpg",
"width": 768,
"height": 471,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/MSP_Atrium-1536x942.jpg",
"width": 1536,
"height": 942,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/MSP_Atrium-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/MSP_Atrium-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"npr-cds-wide": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/MSP_Atrium-1200x675.jpg",
"width": 1200,
"height": 675,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/MSP_Atrium.jpg",
"width": 1540,
"height": 944
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13984558": {
"type": "attachments",
"id": "arts_13984558",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13984558",
"found": true
},
"title": "1275-Minnesota-Street_2000",
"publishDate": 1764898132,
"status": "inherit",
"parent": 13984541,
"modified": 1764900059,
"caption": "The 1275 Minnesota Street building that houses the majority of the project's galleries.",
"credit": "Jaelynn Walls/Minnesota Street Project",
"altTag": "gray warehouse with large address painted in white",
"description": null,
"imgSizes": {
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/1275-Minnesota-Street_2000-160x107.jpg",
"width": 160,
"height": 107,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/1275-Minnesota-Street_2000-768x512.jpg",
"width": 768,
"height": 512,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/1275-Minnesota-Street_2000-1536x1024.jpg",
"width": 1536,
"height": 1024,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/1275-Minnesota-Street_2000-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/1275-Minnesota-Street_2000-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"npr-cds-wide": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/1275-Minnesota-Street_2000-1200x675.jpg",
"width": 1200,
"height": 675,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/1275-Minnesota-Street_2000.jpg",
"width": 2000,
"height": 1333
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13978576": {
"type": "attachments",
"id": "arts_13978576",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13978576",
"found": true
},
"title": "OceanEscalanti",
"publishDate": 1752167302,
"status": "inherit",
"parent": 13978572,
"modified": 1752167469,
"caption": "Oakland-based zinemaker Ocean Escalanti is one of 30 first-time exhibitors at this year’s San Francisco Art Book Fair.",
"credit": "Courtesy Ocean Escalanti",
"altTag": "A woman sites at a table full of small printed matter, in front of a wall covered in hanging printed matter",
"description": null,
"imgSizes": {
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/OceanEscalanti-160x120.jpg",
"width": 160,
"height": 120,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/OceanEscalanti-768x576.jpg",
"width": 768,
"height": 576,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/OceanEscalanti-1536x1152.jpg",
"width": 1536,
"height": 1152,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/OceanEscalanti-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/OceanEscalanti-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/OceanEscalanti.jpg",
"width": 2000,
"height": 1500
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13973332": {
"type": "attachments",
"id": "arts_13973332",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13973332",
"found": true
},
"title": "1.-di-Rosa_Mark-di-Suvero_2000",
"publishDate": 1742414003,
"status": "inherit",
"parent": 13973328,
"modified": 1742414063,
"caption": "A view of Mark di Suvero's 'For Veronica' at di Rosa Center for Contemporary Art.",
"credit": "Courtesy di Rosa",
"altTag": "red metal sculpture seen above California poppies",
"description": null,
"imgSizes": {
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/1.-di-Rosa_Mark-di-Suvero_2000-800x533.jpg",
"width": 800,
"height": 533,
"mimeType": "image/jpeg"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/1.-di-Rosa_Mark-di-Suvero_2000-1020x680.jpg",
"width": 1020,
"height": 680,
"mimeType": "image/jpeg"
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/1.-di-Rosa_Mark-di-Suvero_2000-160x107.jpg",
"width": 160,
"height": 107,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/1.-di-Rosa_Mark-di-Suvero_2000-768x512.jpg",
"width": 768,
"height": 512,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/1.-di-Rosa_Mark-di-Suvero_2000-1536x1024.jpg",
"width": 1536,
"height": 1024,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/1.-di-Rosa_Mark-di-Suvero_2000-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/1.-di-Rosa_Mark-di-Suvero_2000-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/1.-di-Rosa_Mark-di-Suvero_2000-1920x1280.jpg",
"width": 1920,
"height": 1280,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/1.-di-Rosa_Mark-di-Suvero_2000.jpg",
"width": 2000,
"height": 1333
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13937410": {
"type": "attachments",
"id": "arts_13937410",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13937410",
"found": true
},
"parent": 13937370,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/11/6_TQA-detail_COVER-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/11/6_TQA-detail_COVER-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/11/6_TQA-detail_COVER-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/11/6_TQA-detail_COVER.jpg",
"width": 2000,
"height": 1125
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/11/6_TQA-detail_COVER-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/11/6_TQA-detail_COVER-1536x864.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 864
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/11/6_TQA-detail_COVER-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/11/6_TQA-detail_COVER-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/11/6_TQA-detail_COVER-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1698880330,
"modified": 1698880438,
"caption": "Detail of Tana Quincy Arcega's 'Lazul,' 2023; wool fabric, thread, polypropylene PP liner, gouache, grout.\n",
"description": null,
"title": "6_TQA-detail_COVER",
"credit": null,
"status": "inherit",
"altTag": "Close-up of light yellow paste pushed through a white fabric, stitched to a bright blue fabric",
"isLoading": false,
"fetchFailed": false
},
"arts_13068577": {
"type": "attachments",
"id": "arts_13068577",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13068577",
"found": true
},
"parent": 13068572,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/04/FakeNewsroom_COVER-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/04/FakeNewsroom_COVER-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/04/FakeNewsroom_COVER-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/04/FakeNewsroom_COVER-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/04/FakeNewsroom_COVER-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/04/FakeNewsroom_COVER.jpg",
"width": 1000,
"height": 563
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/04/FakeNewsroom_COVER-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/04/FakeNewsroom_COVER-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/04/FakeNewsroom_COVER-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/04/FakeNewsroom_COVER-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/04/FakeNewsroom_COVER-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/04/FakeNewsroom_COVER-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/04/FakeNewsroom_COVER-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/04/FakeNewsroom_COVER-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/04/FakeNewsroom_COVER-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1492470193,
"modified": 1492470425,
"caption": "Day One of Jason Fulford at work as editor-in-chief of 'Fake Newsroom.'",
"description": "Day One of Jason Fulford at work as editor-in-chief of 'Fake Newsroom.'",
"title": "FakeNewsroom_COVER",
"credit": "Courtesy of 'Fake Newsroom' on Instagram",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
}
},
"audioPlayerReducer": {
"postId": "stream_live",
"isPaused": true,
"isPlaying": false,
"pfsActive": false,
"pledgeModalIsOpen": true,
"playerDrawerIsOpen": false,
"liveAudioPlayStartedAt": 0,
"liveAudioPlayContext": ""
},
"authorsReducer": {
"byline_arts_13992688": {
"type": "authors",
"id": "byline_arts_13992688",
"meta": {
"override": true
},
"slug": "byline_arts_13992688",
"name": "Cole Hersey",
"isLoading": false
},
"shotchkiss": {
"type": "authors",
"id": "61",
"meta": {
"index": "authors_1716337520",
"id": "61",
"found": true
},
"name": "Sarah Hotchkiss",
"firstName": "Sarah",
"lastName": "Hotchkiss",
"slug": "shotchkiss",
"email": "shotchkiss@kqed.org",
"display_author_email": true,
"staff_mastheads": [
"arts"
],
"title": "Senior Editor",
"bio": "Sarah Hotchkiss is a San Francisco \u003ca href=\"http://www.sarahhotchkiss.com\">artist\u003c/a> and arts writer. In 2019, she received the Dorothea & Leo Rabkin Foundation grant for visual art journalism and in 2020 she received a Society of Professional Journalists, Northern California award for excellence in arts and culture reporting.",
"avatar": "https://secure.gravatar.com/avatar/bc662df144b3d27fd8b1b6f1c2a420d34e91e53154d411bb7ad353cc8b6cea8d?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "",
"roles": [
"editor"
]
},
{
"site": "arts",
"roles": [
"Contributor",
"administrator"
]
},
{
"site": "artschool",
"roles": [
"administrator"
]
},
{
"site": "news",
"roles": [
"editor"
]
},
{
"site": "pop",
"roles": [
"administrator"
]
},
{
"site": "bayareabites",
"roles": [
"editor"
]
},
{
"site": "spark",
"roles": [
"editor"
]
},
{
"site": "checkplease",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Sarah Hotchkiss | KQED",
"description": "Senior Editor",
"ogImgSrc": "https://secure.gravatar.com/avatar/bc662df144b3d27fd8b1b6f1c2a420d34e91e53154d411bb7ad353cc8b6cea8d?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/bc662df144b3d27fd8b1b6f1c2a420d34e91e53154d411bb7ad353cc8b6cea8d?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/shotchkiss"
},
"gmeline": {
"type": "authors",
"id": "185",
"meta": {
"index": "authors_1716337520",
"id": "185",
"found": true
},
"name": "Gabe Meline",
"firstName": "Gabe",
"lastName": "Meline",
"slug": "gmeline",
"email": "gmeline@kqed.org",
"display_author_email": true,
"staff_mastheads": [
"arts"
],
"title": "Senior Editor, KQED Arts & Culture",
"bio": "Gabe Meline entered journalism at age 15 making photocopied zines, and has since earned awards from the Edward R. Murrow Awards, the Society for Professional Journalists, the Online Journalism Awards, the Association of Alternative Newsweeklies and the California Newspaper Publishers Association. Prior to KQED, he was the editor of the \u003cem>North Bay Bohemian\u003c/em> and a touring musician. He lives with his wife and daughter in his hometown of Santa Rosa, CA.",
"avatar": "https://secure.gravatar.com/avatar/5bebe57be0d8bc2dd318934feb47299e2d2d10cba28d09d8d7afb389a2ce2bdd?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "",
"roles": [
"editor"
]
},
{
"site": "arts",
"roles": [
"administrator"
]
},
{
"site": "artschool",
"roles": [
"editor"
]
},
{
"site": "news",
"roles": [
"author"
]
},
{
"site": "pop",
"roles": [
"editor"
]
},
{
"site": "bayareabites",
"roles": [
"editor"
]
},
{
"site": "food",
"roles": [
"editor"
]
},
{
"site": "forum",
"roles": [
"administrator"
]
},
{
"site": "liveblog",
"roles": [
"editor"
]
},
{
"site": "hiphop",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Gabe Meline | KQED",
"description": "Senior Editor, KQED Arts & Culture",
"ogImgSrc": "https://secure.gravatar.com/avatar/5bebe57be0d8bc2dd318934feb47299e2d2d10cba28d09d8d7afb389a2ce2bdd?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/5bebe57be0d8bc2dd318934feb47299e2d2d10cba28d09d8d7afb389a2ce2bdd?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/gmeline"
},
"ralexandra": {
"type": "authors",
"id": "11242",
"meta": {
"index": "authors_1716337520",
"id": "11242",
"found": true
},
"name": "Rae Alexandra",
"firstName": "Rae",
"lastName": "Alexandra",
"slug": "ralexandra",
"email": "ralexandra@kqed.org",
"display_author_email": true,
"staff_mastheads": [],
"title": "Reporter/Producer",
"bio": "Rae Alexandra is a Reporter/Producer for KQED Arts & Culture, and the creator/author of the \u003ca href=\"https://www.kqed.org/arts/program/rebel-girls-from-bay-area-history\">Rebel Girls From Bay Area History\u003c/a> and \u003ca href=\"https://www.kqed.org/bizarrebayarea\">Bizarre Bay Area\u003c/a> series. Her debut book, \u003ca href=\"https://citylights.com/politics-current-events-history/unsung-heroines35-women-who-changed/\">Unsung Heroines: 35 Women Who Changed the Bay Area\u003c/a> was published by City Lights in March 2026. In 2023, Rae was awarded an SPJ Excellence in Journalism Award for Arts & Culture. Rae was born and raised in Wales and subsequently — even after two decades in Northern California — still uses phrases that regularly baffle her coworkers.",
"avatar": "https://secure.gravatar.com/avatar/edfee8176c80cc0a382b051190f5341997df378a934a5774dcb0977732dfd401?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"subscriber"
]
},
{
"site": "news",
"roles": [
"subscriber"
]
},
{
"site": "pop",
"roles": [
"subscriber"
]
},
{
"site": "bayareabites",
"roles": [
"subscriber"
]
},
{
"site": "science",
"roles": [
"subscriber"
]
}
],
"headData": {
"title": "Rae Alexandra | KQED",
"description": "Reporter/Producer",
"ogImgSrc": "https://secure.gravatar.com/avatar/edfee8176c80cc0a382b051190f5341997df378a934a5774dcb0977732dfd401?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/edfee8176c80cc0a382b051190f5341997df378a934a5774dcb0977732dfd401?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/ralexandra"
}
},
"pagesReducer": {
"arts_tag_minnesota-street-project": {
"type": "terms",
"id": "arts_22219",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "22219",
"score": 10.405897
},
"name": "Minnesota Street Project",
"slug": "minnesota-street-project",
"taxonomy": "tag",
"description": null,
"featImg": null,
"headData": {
"title": "Minnesota Street Project | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 22231,
"isLoading": false,
"title": "Minnesota Street Project",
"pageMeta": {
"site": "arts",
"WpPageTemplate": "page-topic-editorial",
"currentPage": 1
},
"blocks": [
{
"blockName": "kqed/post-list",
"attrs": {
"layout": "cardArticle2",
"query": "posts/arts?tag=minnesota-street-project",
"seeMore": false,
"paginated": true,
"page": 1
}
},
{
"blockName": "kqed/ad"
}
]
}
},
"pfsSessionReducer": {},
"postsReducer": {
"stream_live": {
"type": "live",
"id": "stream_live",
"audioUrl": "https://streams.kqed.org/kqedradio",
"title": "Live Stream",
"excerpt": "Live Stream information currently unavailable.",
"link": "/radio",
"featImg": "",
"label": {
"name": "KQED Live",
"link": "/"
}
},
"stream_kqedNewscast": {
"type": "posts",
"id": "stream_kqedNewscast",
"audioUrl": "https://www.kqed.org/.stream/anon/radio/RDnews/newscast.mp3?_=1",
"title": "KQED Newscast",
"featImg": "",
"label": {
"name": "88.5 FM",
"link": "/"
}
},
"arts_13992688": {
"type": "posts",
"id": "arts_13992688",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13992688",
"score": null,
"sort": [
1786489015000
]
},
"guestAuthors": [],
"slug": "automata-sigils-casemore-gallery-review",
"title": "Artists Craft Sacred Objects in a Tech-Driven World",
"publishDate": 1786489015,
"format": "standard",
"headTitle": "Artists Craft Sacred Objects in a Tech-Driven World | KQED",
"labelTerm": {},
"content": "\u003cp>Sometimes, exhibitions with a curatorial conceit of juxtaposition — AI vs. human, art vs. technology \u003cem>—\u003c/em> can fall flat, not because the artwork itself is bad, but because the juxtaposition trades nuance for shock value. Thankfully, Casemore Gallery’s \u003cem>\u003ca href=\"https://casemoregallery.com/exhibitions/69-automata-sigils-billie-ocean-kelley-oleary-sonya-rapoport-ariella-robinson/installation_shots/\">Automata Sigils\u003c/a>\u003c/em>, on view through Aug. 29, escapes this trap. \u003c/p>\n\n\n\n\u003cp>The group show, co-curated by Janie Perez-Radler, presents six women artists who explore contrasts between machines and organic, embodied or sacred material. These works, though provocative, leave room for uncertainty and exploration.\u003c/p>\n\n\n\n\u003cp>The standout piece in the show, \u003cem>Journey\u003c/em> (1976), by Sonya Rapoport, is also the linchpin of the exhibition. Over nearly 15 feet of computer printouts, Rapoport drew crosses and circles (her own opaque language) atop the hard-to-parse computing language. She was at once bothered and intrigued by the specialized language of science, parodying its rigidity while also collaborating with scientists and academics in the creation of her work. This somewhat absurd but generative pushback against convention repeats across the work throughout the show.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1500\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/AutomataS_2000b.jpg\" alt=\"gallery view with mobile, wide framed work on paper and small sculptures on narrow pedestals\" class=\"wp-image-13992693\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/AutomataS_2000b.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/AutomataS_2000b-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/AutomataS_2000b-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/AutomataS_2000b-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Installation view of ‘Automata Sigils’ with work by (L to R) Carmen Winant, Sonya Rapoport and Kelley O’Leary. (Casemore Gallery)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>In one corner of the gallery, a comically large cardboard box, over six feet tall, stands on a crate. Phrases are written on its sides, their meaning lying between practical and incantatory. “Have you spotted your 2 butterfliers?” one marker scrawl says. Another reads, “Heavy.” Get closer and a noise can be heard from the package. This is \u003cem>BUBBLE WRAP ME AND HANDLE WITH CARE\u003c/em> (2026) by Billie Ocean. \u003c/p>\n\n\n\n\u003cp>Inside the box, a missing back side reveals a blue bubble-wrapped room and a flatscreen, where a video announces that you are commencing a journey into the future. The narrator warns that it’s not so easy to time travel, later asking if you have ever bubble wrapped your heart. Overall, the experience is playful, and yet that playfulness is exactly where the darker, or heavier, bits of Ocean’s work thrive. \u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1500\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/AutomataS_2000.jpg\" alt=\"gallery view with textile work and overly large carboard box\" class=\"wp-image-13992692\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/AutomataS_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/AutomataS_2000-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/AutomataS_2000-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/AutomataS_2000-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Installation view of ‘Automata Sigils’ at Casemore Gallery with Ariella Robinson’s work at left, Billie Ocean’s ‘BUBBLEWRAP ME AND HANDLE WITH CARE,’ 2026 at right. (Casemore Gallery)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>A similar kind of uncertainty and tension exists in Ariella Robinson’s pink-hued textile work \u003cem>Aphorism and Seashell VII (Something)\u003c/em> (2026). Depicting a bouquet of red flowers, the entire work is covered in stitches, like a lavish blanket. Upon closer inspection, some of the stitching resolves into words: a recollection of a moment when a partner was too timid to pee in front of the narrator, even though they had just slept together. Reading the text creates a sense of imbalance — between an explicit, awkward love scene and an inviting, quilt-like textile. Bringing viewers into cozy proximity, Robinson wields power dynamics like another material in her arsenal.\u003c/p>\n\n\n\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Sharing a visual vibrancy with Robinson’s work are Mia Weiner’s handwoven Jacquard tapestries, based on photographs that depict the entangled, bare legs of bodies at ease. Up close, the images lose their form and become abstracted; the weavings distort, withholding clarity the closer we get to them.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-gallery has-nested-images columns-default is-cropped wp-block-gallery-3 is-layout-flex wp-block-gallery-is-layout-flex\">\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1500\" height=\"2000\" data-id=\"13992704\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/OLeary_2000.jpg\" alt=\"clear pyramid with embedded black fragment of SpaceX debris\" class=\"wp-image-13992704\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/OLeary_2000.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/OLeary_2000-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/OLeary_2000-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/OLeary_2000-1152x1536.jpg 1152w\" sizes=\"auto, (max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-element-caption\">Kelley O’Leary, ‘Starship Sigil II,’ 2025. (Casemore Gallery)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1500\" height=\"2000\" data-id=\"13992690\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/CW002_I-am-an-Instrument-in-the-shape-of-woman_2021_72.jpg\" alt=\"mobile of hanging shaped metal with images printed on them\" class=\"wp-image-13992690\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/CW002_I-am-an-Instrument-in-the-shape-of-woman_2021_72.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/CW002_I-am-an-Instrument-in-the-shape-of-woman_2021_72-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/CW002_I-am-an-Instrument-in-the-shape-of-woman_2021_72-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/CW002_I-am-an-Instrument-in-the-shape-of-woman_2021_72-1152x1536.jpg 1152w\" sizes=\"auto, (max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-element-caption\">Carmen Winant, ‘I Am an Instrument in the Shape of a Woman Trying to Translate Pulsations into Images for the Relief of the Body and the Reconstruction of the Mind,’ 2021. (Casemore Gallery)\u003c/figcaption>\u003c/figure>\n\u003c/figure>\n\n\n\n\u003cp>Meanwhile, Kelley O’Leary’s resin works are meant to flummox from any distance. Each resin piece contains either ulexite (according to the show press release a “mineral whose optical properties resemble those of fiber-optic transmission”) or fallen bits of a Space X test rocket. Preserved like rare or precious gems, the sculptures resemble objects from some futuristic, techno-romantic world. \u003c/p>\n\n\n\n\u003cp>The final works in the show, Carmen Winant’s large steel mobiles, look back rather than forward, sourcing images from 1970s instruction manuals. Images replace each other as the mobiles slowly turn, creating a moving archive of crafts made largely by women. Winant’s materials are important here: images that were once as ephemeral as the crafts they were designed to teach are now fixed to steel, giving the practices (and people pictured) permanence.\u003c/p>\n\n\n\n\u003cp>Today we use technology as a distraction, allowing its allure and usefulness to separate us from our bodily experience. The smartphone, especially, is an isolating kind of tool, however useful it may be. But at Casemore Gallery, until the end of the month, \u003cem>Automata Sigils\u003c/em> offers a reminder that sacred objects and our impermanent bodies still very much exist, even in our tech-driven world.\u003c/p>\n\n\n\n\u003chr class=\"wp-block-separator has-alpha-channel-opacity\">\n\n\n\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://casemoregallery.com/exhibitions/69-automata-sigils-billie-ocean-kelley-oleary-sonya-rapoport-ariella-robinson/installation_shots/\">Automata Sigils\u003c/a>’ is on view at Casemore Gallery (1275 Minnesota St., San Francisco) through Aug. 29, 2026.\u003c/em>\u003c/p>\n\n",
"blocks": [
{
"blockName": "core/paragraph",
"attrs": [],
"innerHTML": "\n\u003cp>Sometimes, exhibitions with a curatorial conceit of juxtaposition — AI vs. human, art vs. technology \u003cem>—\u003c/em> can fall flat, not because the artwork itself is bad, but because the juxtaposition trades nuance for shock value. Thankfully, Casemore Gallery’s \u003cem>\u003ca href=\"https://casemoregallery.com/exhibitions/69-automata-sigils-billie-ocean-kelley-oleary-sonya-rapoport-ariella-robinson/installation_shots/\">Automata Sigils\u003c/a>\u003c/em>, on view through Aug. 29, escapes this trap. \u003c/p>\n",
"innerContent": [
"\n\u003cp>Sometimes, exhibitions with a curatorial conceit of juxtaposition — AI vs. human, art vs. technology \u003cem>—\u003c/em> can fall flat, not because the artwork itself is bad, but because the juxtaposition trades nuance for shock value. Thankfully, Casemore Gallery’s \u003cem>\u003ca href=\"https://casemoregallery.com/exhibitions/69-automata-sigils-billie-ocean-kelley-oleary-sonya-rapoport-ariella-robinson/installation_shots/\">Automata Sigils\u003c/a>\u003c/em>, on view through Aug. 29, escapes this trap. \u003c/p>\n"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": [],
"innerHTML": "\n\u003cp>The group show, co-curated by Janie Perez-Radler, presents six women artists who explore contrasts between machines and organic, embodied or sacred material. These works, though provocative, leave room for uncertainty and exploration.\u003c/p>\n",
"innerContent": [
"\n\u003cp>The group show, co-curated by Janie Perez-Radler, presents six women artists who explore contrasts between machines and organic, embodied or sacred material. These works, though provocative, leave room for uncertainty and exploration.\u003c/p>\n"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": [],
"innerHTML": "\n\u003cp>The standout piece in the show, \u003cem>Journey\u003c/em> (1976), by Sonya Rapoport, is also the linchpin of the exhibition. Over nearly 15 feet of computer printouts, Rapoport drew crosses and circles (her own opaque language) atop the hard-to-parse computing language. She was at once bothered and intrigued by the specialized language of science, parodying its rigidity while also collaborating with scientists and academics in the creation of her work. This somewhat absurd but generative pushback against convention repeats across the work throughout the show.\u003c/p>\n",
"innerContent": [
"\n\u003cp>The standout piece in the show, \u003cem>Journey\u003c/em> (1976), by Sonya Rapoport, is also the linchpin of the exhibition. Over nearly 15 feet of computer printouts, Rapoport drew crosses and circles (her own opaque language) atop the hard-to-parse computing language. She was at once bothered and intrigued by the specialized language of science, parodying its rigidity while also collaborating with scientists and academics in the creation of her work. This somewhat absurd but generative pushback against convention repeats across the work throughout the show.\u003c/p>\n"
],
"innerBlocks": []
},
{
"blockName": "core/image",
"attrs": {
"id": 13992693,
"sizeSlug": "full",
"linkDestination": "none",
"imageCredit": "Casemore Gallery",
"srcset": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/AutomataS_2000b.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/AutomataS_2000b-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/AutomataS_2000b-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/AutomataS_2000b-1536x1152.jpg 1536w",
"sizes": "(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)"
},
"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/AutomataS_2000b.jpg\" alt=\"gallery view with mobile, wide framed work on paper and small sculptures on narrow pedestals\" class=\"wp-image-13992693\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/AutomataS_2000b.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/AutomataS_2000b-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/AutomataS_2000b-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/AutomataS_2000b-1536x1152.jpg 1536w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">Installation view of ‘Automata Sigils’ with work by (L to R) Carmen Winant, Sonya Rapoport and Kelley O’Leary.\u003c/figcaption>\u003c/figure>\n",
"innerContent": [
"\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/AutomataS_2000b.jpg\" alt=\"gallery view with mobile, wide framed work on paper and small sculptures on narrow pedestals\" class=\"wp-image-13992693\"/>\u003cfigcaption class=\"wp-element-caption\">Installation view of ‘Automata Sigils’ with work by (L to R) Carmen Winant, Sonya Rapoport and Kelley O’Leary.\u003c/figcaption>\u003c/figure>\n"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": [],
"innerHTML": "\n\u003cp>In one corner of the gallery, a comically large cardboard box, over six feet tall, stands on a crate. Phrases are written on its sides, their meaning lying between practical and incantatory. “Have you spotted your 2 butterfliers?” one marker scrawl says. Another reads, “Heavy.” Get closer and a noise can be heard from the package. This is \u003cem>BUBBLE WRAP ME AND HANDLE WITH CARE\u003c/em> (2026) by Billie Ocean. \u003c/p>\n",
"innerContent": [
"\n\u003cp>In one corner of the gallery, a comically large cardboard box, over six feet tall, stands on a crate. Phrases are written on its sides, their meaning lying between practical and incantatory. “Have you spotted your 2 butterfliers?” one marker scrawl says. Another reads, “Heavy.” Get closer and a noise can be heard from the package. This is \u003cem>BUBBLE WRAP ME AND HANDLE WITH CARE\u003c/em> (2026) by Billie Ocean. \u003c/p>\n"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": [],
"innerHTML": "\n\u003cp>Inside the box, a missing back side reveals a blue bubble-wrapped room and a flatscreen, where a video announces that you are commencing a journey into the future. The narrator warns that it’s not so easy to time travel, later asking if you have ever bubble wrapped your heart. Overall, the experience is playful, and yet that playfulness is exactly where the darker, or heavier, bits of Ocean’s work thrive. \u003c/p>\n",
"innerContent": [
"\n\u003cp>Inside the box, a missing back side reveals a blue bubble-wrapped room and a flatscreen, where a video announces that you are commencing a journey into the future. The narrator warns that it’s not so easy to time travel, later asking if you have ever bubble wrapped your heart. Overall, the experience is playful, and yet that playfulness is exactly where the darker, or heavier, bits of Ocean’s work thrive. \u003c/p>\n"
],
"innerBlocks": []
},
{
"blockName": "core/image",
"attrs": {
"id": 13992692,
"sizeSlug": "full",
"linkDestination": "none",
"imageCredit": "Casemore Gallery",
"srcset": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/AutomataS_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/AutomataS_2000-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/AutomataS_2000-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/AutomataS_2000-1536x1152.jpg 1536w",
"sizes": "(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)"
},
"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/AutomataS_2000.jpg\" alt=\"gallery view with textile work and overly large carboard box\" class=\"wp-image-13992692\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/AutomataS_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/AutomataS_2000-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/AutomataS_2000-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/AutomataS_2000-1536x1152.jpg 1536w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">Installation view of ‘Automata Sigils’ at Casemore Gallery with Ariella Robinson’s work at left, Billie Ocean’s ‘BUBBLEWRAP ME AND HANDLE WITH CARE,’ 2026 at right.\u003c/figcaption>\u003c/figure>\n",
"innerContent": [
"\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/AutomataS_2000.jpg\" alt=\"gallery view with textile work and overly large carboard box\" class=\"wp-image-13992692\"/>\u003cfigcaption class=\"wp-element-caption\">Installation view of ‘Automata Sigils’ at Casemore Gallery with Ariella Robinson’s work at left, Billie Ocean’s ‘BUBBLEWRAP ME AND HANDLE WITH CARE,’ 2026 at right.\u003c/figcaption>\u003c/figure>\n"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": [],
"innerHTML": "\n\u003cp>A similar kind of uncertainty and tension exists in Ariella Robinson’s pink-hued textile work \u003cem>Aphorism and Seashell VII (Something)\u003c/em> (2026). Depicting a bouquet of red flowers, the entire work is covered in stitches, like a lavish blanket. Upon closer inspection, some of the stitching resolves into words: a recollection of a moment when a partner was too timid to pee in front of the narrator, even though they had just slept together. Reading the text creates a sense of imbalance — between an explicit, awkward love scene and an inviting, quilt-like textile. Bringing viewers into cozy proximity, Robinson wields power dynamics like another material in her arsenal.\u003c/p>\n",
"innerContent": [
"\n\u003cp>A similar kind of uncertainty and tension exists in Ariella Robinson’s pink-hued textile work \u003cem>Aphorism and Seashell VII (Something)\u003c/em> (2026). Depicting a bouquet of red flowers, the entire work is covered in stitches, like a lavish blanket. Upon closer inspection, some of the stitching resolves into words: a recollection of a moment when a partner was too timid to pee in front of the narrator, even though they had just slept together. Reading the text creates a sense of imbalance — between an explicit, awkward love scene and an inviting, quilt-like textile. Bringing viewers into cozy proximity, Robinson wields power dynamics like another material in her arsenal.\u003c/p>\n"
],
"innerBlocks": []
},
{
"blockName": "kqed/ad",
"attrs": {
"format": "fullwidth"
},
"innerBlocks": [],
"innerHTML": "",
"innerContent": []
},
{
"blockName": "core/paragraph",
"attrs": [],
"innerHTML": "\n\u003cp>Sharing a visual vibrancy with Robinson’s work are Mia Weiner’s handwoven Jacquard tapestries, based on photographs that depict the entangled, bare legs of bodies at ease. Up close, the images lose their form and become abstracted; the weavings distort, withholding clarity the closer we get to them.\u003c/p>\n",
"innerContent": [
"\n\u003cp>Sharing a visual vibrancy with Robinson’s work are Mia Weiner’s handwoven Jacquard tapestries, based on photographs that depict the entangled, bare legs of bodies at ease. Up close, the images lose their form and become abstracted; the weavings distort, withholding clarity the closer we get to them.\u003c/p>\n"
],
"innerBlocks": []
},
{
"blockName": "core/gallery",
"attrs": {
"linkTo": "none",
"layout": {
"type": "flex",
"flexWrap": null
}
},
"innerHTML": "\n\u003cfigure class=\"wp-block-gallery has-nested-images columns-default is-cropped\">\n\n\u003c/figure>\n",
"innerContent": [
"\n\u003cfigure class=\"wp-block-gallery has-nested-images columns-default is-cropped\">",
null,
"\n\n",
null,
"\u003c/figure>\n"
],
"innerBlocks": [
{
"blockName": "core/image",
"attrs": {
"id": 13992704,
"sizeSlug": "full",
"linkDestination": "none"
},
"innerBlocks": [],
"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/OLeary_2000.jpg\" alt=\"clear pyramid with embedded black fragment of SpaceX debris\" class=\"wp-image-13992704\"/>\u003cfigcaption class=\"wp-element-caption\">Kelley O’Leary, ‘Starship Sigil II,’ 2025.\u003c/figcaption>\u003c/figure>\n",
"innerContent": [
"\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/OLeary_2000.jpg\" alt=\"clear pyramid with embedded black fragment of SpaceX debris\" class=\"wp-image-13992704\"/>\u003cfigcaption class=\"wp-element-caption\">Kelley O’Leary, ‘Starship Sigil II,’ 2025.\u003c/figcaption>\u003c/figure>\n"
]
},
{
"blockName": "core/image",
"attrs": {
"id": 13992690,
"sizeSlug": "large",
"linkDestination": "none"
},
"innerBlocks": [],
"innerHTML": "\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/CW002_I-am-an-Instrument-in-the-shape-of-woman_2021_72.jpg\" alt=\"mobile of hanging shaped metal with images printed on them\" class=\"wp-image-13992690\"/>\u003cfigcaption class=\"wp-element-caption\">Carmen Winant, ‘I Am an Instrument in the Shape of a Woman Trying to Translate Pulsations into Images for the Relief of the Body and the Reconstruction of the Mind,’ 2021.\u003c/figcaption>\u003c/figure>\n",
"innerContent": [
"\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/CW002_I-am-an-Instrument-in-the-shape-of-woman_2021_72.jpg\" alt=\"mobile of hanging shaped metal with images printed on them\" class=\"wp-image-13992690\"/>\u003cfigcaption class=\"wp-element-caption\">Carmen Winant, ‘I Am an Instrument in the Shape of a Woman Trying to Translate Pulsations into Images for the Relief of the Body and the Reconstruction of the Mind,’ 2021.\u003c/figcaption>\u003c/figure>\n"
]
}
]
},
{
"blockName": "core/paragraph",
"attrs": [],
"innerHTML": "\n\u003cp>Meanwhile, Kelley O’Leary’s resin works are meant to flummox from any distance. Each resin piece contains either ulexite (according to the show press release a “mineral whose optical properties resemble those of fiber-optic transmission”) or fallen bits of a Space X test rocket. Preserved like rare or precious gems, the sculptures resemble objects from some futuristic, techno-romantic world. \u003c/p>\n",
"innerContent": [
"\n\u003cp>Meanwhile, Kelley O’Leary’s resin works are meant to flummox from any distance. Each resin piece contains either ulexite (according to the show press release a “mineral whose optical properties resemble those of fiber-optic transmission”) or fallen bits of a Space X test rocket. Preserved like rare or precious gems, the sculptures resemble objects from some futuristic, techno-romantic world. \u003c/p>\n"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": [],
"innerHTML": "\n\u003cp>The final works in the show, Carmen Winant’s large steel mobiles, look back rather than forward, sourcing images from 1970s instruction manuals. Images replace each other as the mobiles slowly turn, creating a moving archive of crafts made largely by women. Winant’s materials are important here: images that were once as ephemeral as the crafts they were designed to teach are now fixed to steel, giving the practices (and people pictured) permanence.\u003c/p>\n",
"innerContent": [
"\n\u003cp>The final works in the show, Carmen Winant’s large steel mobiles, look back rather than forward, sourcing images from 1970s instruction manuals. Images replace each other as the mobiles slowly turn, creating a moving archive of crafts made largely by women. Winant’s materials are important here: images that were once as ephemeral as the crafts they were designed to teach are now fixed to steel, giving the practices (and people pictured) permanence.\u003c/p>\n"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": [],
"innerHTML": "\n\u003cp>Today we use technology as a distraction, allowing its allure and usefulness to separate us from our bodily experience. The smartphone, especially, is an isolating kind of tool, however useful it may be. But at Casemore Gallery, until the end of the month, \u003cem>Automata Sigils\u003c/em> offers a reminder that sacred objects and our impermanent bodies still very much exist, even in our tech-driven world.\u003c/p>\n",
"innerContent": [
"\n\u003cp>Today we use technology as a distraction, allowing its allure and usefulness to separate us from our bodily experience. The smartphone, especially, is an isolating kind of tool, however useful it may be. But at Casemore Gallery, until the end of the month, \u003cem>Automata Sigils\u003c/em> offers a reminder that sacred objects and our impermanent bodies still very much exist, even in our tech-driven world.\u003c/p>\n"
],
"innerBlocks": []
},
{
"blockName": "core/separator",
"attrs": [],
"innerHTML": "\n\u003chr class=\"wp-block-separator has-alpha-channel-opacity\"/>\n",
"innerContent": [
"\n\u003chr class=\"wp-block-separator has-alpha-channel-opacity\"/>\n"
],
"innerBlocks": []
},
{
"blockName": "kqed/ad",
"attrs": {
"format": "floatright"
},
"innerBlocks": [],
"innerHTML": "",
"innerContent": []
},
{
"blockName": "core/paragraph",
"attrs": [],
"innerHTML": "\n\u003cp>\u003cem>‘\u003ca href=\"https://casemoregallery.com/exhibitions/69-automata-sigils-billie-ocean-kelley-oleary-sonya-rapoport-ariella-robinson/installation_shots/\">Automata Sigils\u003c/a>’ is on view at Casemore Gallery (1275 Minnesota St., San Francisco) through Aug. 29, 2026.\u003c/em>\u003c/p>\n",
"innerContent": [
"\n\u003cp>\u003cem>‘\u003ca href=\"https://casemoregallery.com/exhibitions/69-automata-sigils-billie-ocean-kelley-oleary-sonya-rapoport-ariella-robinson/installation_shots/\">Automata Sigils\u003c/a>’ is on view at Casemore Gallery (1275 Minnesota St., San Francisco) through Aug. 29, 2026.\u003c/em>\u003c/p>\n"
],
"innerBlocks": []
}
],
"excerpt": "‘Automata Sigils’ at Casemore Gallery presents six artists who push back against an isolating future.",
"status": "publish",
"parent": 0,
"modified": 1786489026,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 13,
"wordCount": 816
},
"headData": {
"title": "‘Automata Sigils’ at Casemore: Sacred Objects Amid Technology | KQED",
"description": "‘Automata Sigils’ at Casemore Gallery presents six artists who push back against an isolating future.",
"ogTitle": "Artists Craft Sacred Objects in a Tech-Driven World",
"ogDescription": "",
"ogImgId": "",
"twTitle": "Artists Craft Sacred Objects in a Tech-Driven World",
"twDescription": "",
"twImgId": "",
"socialTitle": "‘Automata Sigils’ at Casemore: Sacred Objects Amid Technology %%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Artists Craft Sacred Objects in a Tech-Driven World",
"datePublished": "2026-08-11T15:56:55-07:00",
"dateModified": "2026-08-11T15:57:06-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"primaryCategory": {
"termId": 1,
"slug": "arts",
"name": "Arts"
},
"source": "The Do List",
"sourceUrl": "https://www.kqed.org/thedolist",
"sticky": false,
"nprByline": "Cole Hersey",
"nprStoryId": "kqed-13992688",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"path": "/arts/13992688/automata-sigils-casemore-gallery-review",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Sometimes, exhibitions with a curatorial conceit of juxtaposition — AI vs. human, art vs. technology \u003cem>—\u003c/em> can fall flat, not because the artwork itself is bad, but because the juxtaposition trades nuance for shock value. Thankfully, Casemore Gallery’s \u003cem>\u003ca href=\"https://casemoregallery.com/exhibitions/69-automata-sigils-billie-ocean-kelley-oleary-sonya-rapoport-ariella-robinson/installation_shots/\">Automata Sigils\u003c/a>\u003c/em>, on view through Aug. 29, escapes this trap. \u003c/p>\n\n\n\n\u003cp>The group show, co-curated by Janie Perez-Radler, presents six women artists who explore contrasts between machines and organic, embodied or sacred material. These works, though provocative, leave room for uncertainty and exploration.\u003c/p>\n\n\n\n\u003cp>The standout piece in the show, \u003cem>Journey\u003c/em> (1976), by Sonya Rapoport, is also the linchpin of the exhibition. Over nearly 15 feet of computer printouts, Rapoport drew crosses and circles (her own opaque language) atop the hard-to-parse computing language. She was at once bothered and intrigued by the specialized language of science, parodying its rigidity while also collaborating with scientists and academics in the creation of her work. This somewhat absurd but generative pushback against convention repeats across the work throughout the show.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1500\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/AutomataS_2000b.jpg\" alt=\"gallery view with mobile, wide framed work on paper and small sculptures on narrow pedestals\" class=\"wp-image-13992693\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/AutomataS_2000b.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/AutomataS_2000b-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/AutomataS_2000b-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/AutomataS_2000b-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Installation view of ‘Automata Sigils’ with work by (L to R) Carmen Winant, Sonya Rapoport and Kelley O’Leary. (Casemore Gallery)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>In one corner of the gallery, a comically large cardboard box, over six feet tall, stands on a crate. Phrases are written on its sides, their meaning lying between practical and incantatory. “Have you spotted your 2 butterfliers?” one marker scrawl says. Another reads, “Heavy.” Get closer and a noise can be heard from the package. This is \u003cem>BUBBLE WRAP ME AND HANDLE WITH CARE\u003c/em> (2026) by Billie Ocean. \u003c/p>\n\n\n\n\u003cp>Inside the box, a missing back side reveals a blue bubble-wrapped room and a flatscreen, where a video announces that you are commencing a journey into the future. The narrator warns that it’s not so easy to time travel, later asking if you have ever bubble wrapped your heart. Overall, the experience is playful, and yet that playfulness is exactly where the darker, or heavier, bits of Ocean’s work thrive. \u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1500\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/AutomataS_2000.jpg\" alt=\"gallery view with textile work and overly large carboard box\" class=\"wp-image-13992692\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/AutomataS_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/AutomataS_2000-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/AutomataS_2000-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/AutomataS_2000-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Installation view of ‘Automata Sigils’ at Casemore Gallery with Ariella Robinson’s work at left, Billie Ocean’s ‘BUBBLEWRAP ME AND HANDLE WITH CARE,’ 2026 at right. (Casemore Gallery)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>A similar kind of uncertainty and tension exists in Ariella Robinson’s pink-hued textile work \u003cem>Aphorism and Seashell VII (Something)\u003c/em> (2026). Depicting a bouquet of red flowers, the entire work is covered in stitches, like a lavish blanket. Upon closer inspection, some of the stitching resolves into words: a recollection of a moment when a partner was too timid to pee in front of the narrator, even though they had just slept together. Reading the text creates a sense of imbalance — between an explicit, awkward love scene and an inviting, quilt-like textile. Bringing viewers into cozy proximity, Robinson wields power dynamics like another material in her arsenal.\u003c/p>\n\n\n\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Sharing a visual vibrancy with Robinson’s work are Mia Weiner’s handwoven Jacquard tapestries, based on photographs that depict the entangled, bare legs of bodies at ease. Up close, the images lose their form and become abstracted; the weavings distort, withholding clarity the closer we get to them.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-gallery has-nested-images columns-default is-cropped wp-block-gallery-3 is-layout-flex wp-block-gallery-is-layout-flex\">\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1500\" height=\"2000\" data-id=\"13992704\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/OLeary_2000.jpg\" alt=\"clear pyramid with embedded black fragment of SpaceX debris\" class=\"wp-image-13992704\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/OLeary_2000.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/OLeary_2000-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/OLeary_2000-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/OLeary_2000-1152x1536.jpg 1152w\" sizes=\"auto, (max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-element-caption\">Kelley O’Leary, ‘Starship Sigil II,’ 2025. (Casemore Gallery)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1500\" height=\"2000\" data-id=\"13992690\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/CW002_I-am-an-Instrument-in-the-shape-of-woman_2021_72.jpg\" alt=\"mobile of hanging shaped metal with images printed on them\" class=\"wp-image-13992690\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/CW002_I-am-an-Instrument-in-the-shape-of-woman_2021_72.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/CW002_I-am-an-Instrument-in-the-shape-of-woman_2021_72-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/CW002_I-am-an-Instrument-in-the-shape-of-woman_2021_72-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/CW002_I-am-an-Instrument-in-the-shape-of-woman_2021_72-1152x1536.jpg 1152w\" sizes=\"auto, (max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-element-caption\">Carmen Winant, ‘I Am an Instrument in the Shape of a Woman Trying to Translate Pulsations into Images for the Relief of the Body and the Reconstruction of the Mind,’ 2021. (Casemore Gallery)\u003c/figcaption>\u003c/figure>\n\u003c/figure>\n\n\n\n\u003cp>Meanwhile, Kelley O’Leary’s resin works are meant to flummox from any distance. Each resin piece contains either ulexite (according to the show press release a “mineral whose optical properties resemble those of fiber-optic transmission”) or fallen bits of a Space X test rocket. Preserved like rare or precious gems, the sculptures resemble objects from some futuristic, techno-romantic world. \u003c/p>\n\n\n\n\u003cp>The final works in the show, Carmen Winant’s large steel mobiles, look back rather than forward, sourcing images from 1970s instruction manuals. Images replace each other as the mobiles slowly turn, creating a moving archive of crafts made largely by women. Winant’s materials are important here: images that were once as ephemeral as the crafts they were designed to teach are now fixed to steel, giving the practices (and people pictured) permanence.\u003c/p>\n\n\n\n\u003cp>Today we use technology as a distraction, allowing its allure and usefulness to separate us from our bodily experience. The smartphone, especially, is an isolating kind of tool, however useful it may be. But at Casemore Gallery, until the end of the month, \u003cem>Automata Sigils\u003c/em> offers a reminder that sacred objects and our impermanent bodies still very much exist, even in our tech-driven world.\u003c/p>\n\n\n\n\u003chr class=\"wp-block-separator has-alpha-channel-opacity\">\n\n\n\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://casemoregallery.com/exhibitions/69-automata-sigils-billie-ocean-kelley-oleary-sonya-rapoport-ariella-robinson/installation_shots/\">Automata Sigils\u003c/a>’ is on view at Casemore Gallery (1275 Minnesota St., San Francisco) through Aug. 29, 2026.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13992688/automata-sigils-casemore-gallery-review",
"authors": [
"byline_arts_13992688"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_22313",
"arts_70"
],
"tags": [
"arts_10278",
"arts_22219",
"arts_769",
"arts_1146",
"arts_585"
],
"featImg": "arts_13992691",
"label": "source_arts_13992688"
},
"arts_13991955": {
"type": "posts",
"id": "arts_13991955",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13991955",
"score": null,
"sort": [
1784848620000
]
},
"guestAuthors": [],
"slug": "sf-art-book-fair-susan-omalley-daria-loard-2026",
"title": "There’s a Zillion Things to See at the SF Art Book Fair",
"publishDate": 1784848620,
"format": "standard",
"headTitle": "There’s a Zillion Things to See at the SF Art Book Fair | KQED",
"labelTerm": {},
"content": "\u003cp>The SF Art Book Fair can be a little overwhelming. Books, \u003ca href=\"https://www.kqed.org/arts/tag/zines\">zines\u003c/a>, stickers and prints blanket folding tables as far as the eye can see, if one is not looking instead at a giant crowd of people. As the annual event takes over the \u003ca href=\"https://www.kqed.org/arts/tag/minnesota-street-project\">Minnesota Street Project\u003c/a> this weekend, two of the literal thousands of items for sale illustrate the diversity of the fair’s wares.\u003c/p>\n\n\n\n\u003cp>One is a major publisher’s retrospective of a well-known artist. Christina Amini’s \u003cem>It Will Be More Beautiful Than You Could Ever Imagine\u003c/em>, published by \u003ca href=\"https://www.kqed.org/arts/13401706/born-in-the-summer-of-love-chronicle-books-celebrates-50-years\">Chronicle Books\u003c/a>, spans the life and work of \u003ca href=\"https://www.kqed.org/arts/10436300/celebrating-the-life-of-artist-and-curator-susan-omalley-1976-2015\">Susan O’Malley\u003c/a>. The average person may mostly know O’Malley from her inspirational phrases presented on colorful backgrounds, thanks to very public displays (along Market Street, at the San Francisco Museum of Modern Art) of her series \u003cem>Advice From My 80 Year-Old Self\u003c/em>. Indeed, one of these is the book’s cover.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1586\" height=\"2000\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/It-Will-Be-More-Beautiful-Than-You-Could-Ever-Imagine-front-cover.jpg\" alt=\"\" class=\"wp-image-13991958\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/It-Will-Be-More-Beautiful-Than-You-Could-Ever-Imagine-front-cover.jpg 1586w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/It-Will-Be-More-Beautiful-Than-You-Could-Ever-Imagine-front-cover-160x202.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/It-Will-Be-More-Beautiful-Than-You-Could-Ever-Imagine-front-cover-768x968.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/It-Will-Be-More-Beautiful-Than-You-Could-Ever-Imagine-front-cover-1218x1536.jpg 1218w\" sizes=\"auto, (max-width: 1586px) 100vw, 1586px\">\u003cfigcaption class=\"wp-element-caption\">‘It Will Be More Beautiful Than You Could Ever Imagine,’ by Christina Amini. (Susan O’Malley/Chronicle Books)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>But as \u003cem>It Will Be More Beautiful\u003c/em> makes clear, over the course of 23 essays by friends and colleagues, O’Malley’s life work was so much more than uplifting, corporate breakroom-ready signage. Optimism was a constant for O’Malley, but, as just one example, it took the form of rearranging items on people’s lawns in her well-off San José neighborhood to make the world a little more interesting. \u003c/p>\n\n\n\n\u003cp>Organizing a “Pep Talk Squad.” Listening to grandmothers. Sending files to a photocopy store in Houston to print and hang in the front window. These projects of O’Malley’s fell under the then-newish rubric of social practice, which centers the surrounding environment and its people, and which O’Malley furthered in her work as one of the first graduates of the Social Practice program at CCA.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1000\" height=\"609\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/Omalley.Msgs_.jpg\" alt=\"\" class=\"wp-image-13991957\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/Omalley.Msgs_.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/Omalley.Msgs_-160x97.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/Omalley.Msgs_-768x468.jpg 768w\" sizes=\"auto, (max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-element-caption\">‘What Is Your Secret Hope and Dream?,’ a 2004–05 project for which Susan O’Malley asked participants to write down their secret hopes and dreams, and then photograph her holding them. (Susan O’Malley/Chronicle Books)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>A sad coda from the present day is that CCA is now shutting down, and \u003ca href=\"https://www.kqed.org/arts/13991866/cca-vanderbilt-nvidia-jensen-huang-new-art-school\">the seventh-wealthiest man in the world has just pledged millions\u003c/a> toward a plan to replace the school with one geared toward art, design, AI and technology. It’s safe to say that O’Malley’s work, which has been revered, and inspired similar projects around the world, would find no home there. \u003c/p>\n\n\n\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>If a new visual artist working in an untraversed field like O’Malley were to come along in 2026, their work would find a suitable soundtrack in the electronic music of \u003ca href=\"https://boredlord.bandcamp.com/\">Daria Lourd\u003c/a>. The Oakland-based producer’s work may be more obscure than O’Malley’s, both in visibility and method, but it’s just as welcoming for those open to its embrace.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1200\" height=\"1200\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/DariaLoard.jpg\" alt=\"\" class=\"wp-image-13991959\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/DariaLoard.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/DariaLoard-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/DariaLoard-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/DariaLoard-600x600.jpg 600w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-element-caption\">Daria Lourd’s ‘Spiritual Surveillance’ EP. (Cone Shape Top)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>Released in an edition of 100 at the SF Art Book Fair, Lourd’s new 12” EP, \u003cem>\u003ca href=\"https://boredlord.bandcamp.com/album/spiritual-surveillance\">Spiritual Surveillance\u003c/a>\u003c/em>, conjures very human scenes. Opener “Backburner” cuts up synths over a bugged-out beat, as if someone handed the Invisibl Skratch Piklz an Enya record mid-set. “I Wasn’t Invited” is the sound of new age composer Ray Lynch and a Motown bassist hopping onstage during a 2000s London warehouse party.\u003c/p>\n\n\n\n\u003cp>The EP, complete with a hand-sewn fabric cover, marks an evolution for Lourd, who’s releasing \u003cem>Spiritual Surveillance\u003c/em> under her own name instead of her longtime moniker Bored Lord. Marking 10 years of living in Oakland after an upbringing in Memphis, it’s also the latest in a discography spanning more than two dozen releases, including the exhilarating EP \u003cem>For The New Moon On November 30th 2024\u003c/em>. \u003c/p>\n\n\n\n\u003cp>\u003ciframe style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=496891789/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=1794945397/transparent=true/\" seamless=\"\">\u003ca href=\"https://boredlord.bandcamp.com/album/spiritual-surveillance\">Spiritual Surveillance by Daria Lourd\u003c/a>\u003c/iframe>\u003c/p>\n\n\n\n\u003cp>Lourd’s record is released by \u003ca href=\"https://coneshapetop.com/\">Cone Shape Top\u003c/a>, an Oakland storefront and distributor decidedly more renegade and grassroots than Chronicle Books, and which reflects the underground with a passionate, robust spirit. Of the Bay Area’s legacy of similar collectives, radio stations and DIY spaces, Lourd once \u003ca href=\"https://whitecrate.org/in-the-bay-its-up-to-people-who-really-care-interview-with-daria-lourd-aka-bored-lord/\">told an interviewer\u003c/a> that “no matter how hard people try to change that, it always lives on in between the cracks.”\u003c/p>\n\n\n\n\u003cp>For a glimpse into those exciting, active cracks, the SF Art Book Fair is a sterling place to start.\u003c/p>\n\n\n\n\u003chr class=\"wp-block-separator has-alpha-channel-opacity\">\n\n\n\n\u003cp>\u003c/p>\n\u003cp>\u003cem>A signing and launch of ‘It Will Be More Beautiful Than You Could Ever Imagine’ takes place during the SF Art Book Fair, each day from Friday–Sunday, from 12 p.m.–2 p.m. A record-release performance for ‘Spiritual Surveillance’ takes place Saturday, July 25, from 7–10 p.m. Both events are held in the warehouse at 1201 Minnesota Street, San Francisco. \u003c/em>\u003c/p>\n\n",
"blocks": [
{
"blockName": "core/paragraph",
"attrs": [],
"innerHTML": "\n\u003cp>The SF Art Book Fair can be a little overwhelming. Books, \u003ca href=\"https://www.kqed.org/arts/tag/zines\">zines\u003c/a>, stickers and prints blanket folding tables as far as the eye can see, if one is not looking instead at a giant crowd of people. As the annual event takes over the \u003ca href=\"https://www.kqed.org/arts/tag/minnesota-street-project\">Minnesota Street Project\u003c/a> this weekend, two of the literal thousands of items for sale illustrate the diversity of the fair’s wares.\u003c/p>\n",
"innerContent": [
"\n\u003cp>The SF Art Book Fair can be a little overwhelming. Books, \u003ca href=\"https://www.kqed.org/arts/tag/zines\">zines\u003c/a>, stickers and prints blanket folding tables as far as the eye can see, if one is not looking instead at a giant crowd of people. As the annual event takes over the \u003ca href=\"https://www.kqed.org/arts/tag/minnesota-street-project\">Minnesota Street Project\u003c/a> this weekend, two of the literal thousands of items for sale illustrate the diversity of the fair’s wares.\u003c/p>\n"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": [],
"innerHTML": "\n\u003cp>One is a major publisher’s retrospective of a well-known artist. Christina Amini’s \u003cem>It Will Be More Beautiful Than You Could Ever Imagine\u003c/em>, published by \u003ca href=\"https://www.kqed.org/arts/13401706/born-in-the-summer-of-love-chronicle-books-celebrates-50-years\">Chronicle Books\u003c/a>, spans the life and work of \u003ca href=\"https://www.kqed.org/arts/10436300/celebrating-the-life-of-artist-and-curator-susan-omalley-1976-2015\">Susan O’Malley\u003c/a>. The average person may mostly know O’Malley from her inspirational phrases presented on colorful backgrounds, thanks to very public displays (along Market Street, at the San Francisco Museum of Modern Art) of her series \u003cem>Advice From My 80 Year-Old Self\u003c/em>. Indeed, one of these is the book’s cover.\u003c/p>\n",
"innerContent": [
"\n\u003cp>One is a major publisher’s retrospective of a well-known artist. Christina Amini’s \u003cem>It Will Be More Beautiful Than You Could Ever Imagine\u003c/em>, published by \u003ca href=\"https://www.kqed.org/arts/13401706/born-in-the-summer-of-love-chronicle-books-celebrates-50-years\">Chronicle Books\u003c/a>, spans the life and work of \u003ca href=\"https://www.kqed.org/arts/10436300/celebrating-the-life-of-artist-and-curator-susan-omalley-1976-2015\">Susan O’Malley\u003c/a>. The average person may mostly know O’Malley from her inspirational phrases presented on colorful backgrounds, thanks to very public displays (along Market Street, at the San Francisco Museum of Modern Art) of her series \u003cem>Advice From My 80 Year-Old Self\u003c/em>. Indeed, one of these is the book’s cover.\u003c/p>\n"
],
"innerBlocks": []
},
{
"blockName": "core/image",
"attrs": {
"id": 13991958,
"sizeSlug": "full",
"linkDestination": "none",
"imageCredit": "Susan O’Malley/Chronicle Books",
"srcset": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/It-Will-Be-More-Beautiful-Than-You-Could-Ever-Imagine-front-cover.jpg 1586w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/It-Will-Be-More-Beautiful-Than-You-Could-Ever-Imagine-front-cover-160x202.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/It-Will-Be-More-Beautiful-Than-You-Could-Ever-Imagine-front-cover-768x968.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/It-Will-Be-More-Beautiful-Than-You-Could-Ever-Imagine-front-cover-1218x1536.jpg 1218w",
"sizes": "(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)"
},
"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/It-Will-Be-More-Beautiful-Than-You-Could-Ever-Imagine-front-cover.jpg\" alt=\"\" class=\"wp-image-13991958\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/It-Will-Be-More-Beautiful-Than-You-Could-Ever-Imagine-front-cover.jpg 1586w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/It-Will-Be-More-Beautiful-Than-You-Could-Ever-Imagine-front-cover-160x202.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/It-Will-Be-More-Beautiful-Than-You-Could-Ever-Imagine-front-cover-768x968.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/It-Will-Be-More-Beautiful-Than-You-Could-Ever-Imagine-front-cover-1218x1536.jpg 1218w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">‘It Will Be More Beautiful Than You Could Ever Imagine,’ by Christina Amini.\u003c/figcaption>\u003c/figure>\n",
"innerContent": [
"\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/It-Will-Be-More-Beautiful-Than-You-Could-Ever-Imagine-front-cover.jpg\" alt=\"\" class=\"wp-image-13991958\"/>\u003cfigcaption class=\"wp-element-caption\">‘It Will Be More Beautiful Than You Could Ever Imagine,’ by Christina Amini.\u003c/figcaption>\u003c/figure>\n"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": [],
"innerHTML": "\n\u003cp>But as \u003cem>It Will Be More Beautiful\u003c/em> makes clear, over the course of 23 essays by friends and colleagues, O’Malley’s life work was so much more than uplifting, corporate breakroom-ready signage. Optimism was a constant for O’Malley, but, as just one example, it took the form of rearranging items on people’s lawns in her well-off San José neighborhood to make the world a little more interesting. \u003c/p>\n",
"innerContent": [
"\n\u003cp>But as \u003cem>It Will Be More Beautiful\u003c/em> makes clear, over the course of 23 essays by friends and colleagues, O’Malley’s life work was so much more than uplifting, corporate breakroom-ready signage. Optimism was a constant for O’Malley, but, as just one example, it took the form of rearranging items on people’s lawns in her well-off San José neighborhood to make the world a little more interesting. \u003c/p>\n"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": [],
"innerHTML": "\n\u003cp>Organizing a “Pep Talk Squad.” Listening to grandmothers. Sending files to a photocopy store in Houston to print and hang in the front window. These projects of O’Malley’s fell under the then-newish rubric of social practice, which centers the surrounding environment and its people, and which O’Malley furthered in her work as one of the first graduates of the Social Practice program at CCA.\u003c/p>\n",
"innerContent": [
"\n\u003cp>Organizing a “Pep Talk Squad.” Listening to grandmothers. Sending files to a photocopy store in Houston to print and hang in the front window. These projects of O’Malley’s fell under the then-newish rubric of social practice, which centers the surrounding environment and its people, and which O’Malley furthered in her work as one of the first graduates of the Social Practice program at CCA.\u003c/p>\n"
],
"innerBlocks": []
},
{
"blockName": "core/image",
"attrs": {
"id": 13991957,
"sizeSlug": "full",
"linkDestination": "none",
"imageCredit": "Susan O’Malley/Chronicle Books",
"srcset": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/Omalley.Msgs_.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/Omalley.Msgs_-160x97.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/Omalley.Msgs_-768x468.jpg 768w",
"sizes": "(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)"
},
"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/Omalley.Msgs_.jpg\" alt=\"\" class=\"wp-image-13991957\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/Omalley.Msgs_.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/Omalley.Msgs_-160x97.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/Omalley.Msgs_-768x468.jpg 768w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">‘What Is Your Secret Hope and Dream?,’ a 2004–05 project for which Susan O’Malley asked participants to write down their secret hopes and dreams, and then photograph her holding them.\u003c/figcaption>\u003c/figure>\n",
"innerContent": [
"\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/Omalley.Msgs_.jpg\" alt=\"\" class=\"wp-image-13991957\"/>\u003cfigcaption class=\"wp-element-caption\">‘What Is Your Secret Hope and Dream?,’ a 2004–05 project for which Susan O’Malley asked participants to write down their secret hopes and dreams, and then photograph her holding them.\u003c/figcaption>\u003c/figure>\n"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": [],
"innerHTML": "\n\u003cp>A sad coda from the present day is that CCA is now shutting down, and \u003ca href=\"https://www.kqed.org/arts/13991866/cca-vanderbilt-nvidia-jensen-huang-new-art-school\">the seventh-wealthiest man in the world has just pledged millions\u003c/a> toward a plan to replace the school with one geared toward art, design, AI and technology. It’s safe to say that O’Malley’s work, which has been revered, and inspired similar projects around the world, would find no home there. \u003c/p>\n",
"innerContent": [
"\n\u003cp>A sad coda from the present day is that CCA is now shutting down, and \u003ca href=\"https://www.kqed.org/arts/13991866/cca-vanderbilt-nvidia-jensen-huang-new-art-school\">the seventh-wealthiest man in the world has just pledged millions\u003c/a> toward a plan to replace the school with one geared toward art, design, AI and technology. It’s safe to say that O’Malley’s work, which has been revered, and inspired similar projects around the world, would find no home there. \u003c/p>\n"
],
"innerBlocks": []
},
{
"blockName": "kqed/ad",
"attrs": {
"format": "fullwidth"
},
"innerBlocks": [],
"innerHTML": "",
"innerContent": []
},
{
"blockName": "core/paragraph",
"attrs": [],
"innerHTML": "\n\u003cp>If a new visual artist working in an untraversed field like O’Malley were to come along in 2026, their work would find a suitable soundtrack in the electronic music of \u003ca href=\"https://boredlord.bandcamp.com/\">Daria Lourd\u003c/a>. The Oakland-based producer’s work may be more obscure than O’Malley’s, both in visibility and method, but it’s just as welcoming for those open to its embrace.\u003c/p>\n",
"innerContent": [
"\n\u003cp>If a new visual artist working in an untraversed field like O’Malley were to come along in 2026, their work would find a suitable soundtrack in the electronic music of \u003ca href=\"https://boredlord.bandcamp.com/\">Daria Lourd\u003c/a>. The Oakland-based producer’s work may be more obscure than O’Malley’s, both in visibility and method, but it’s just as welcoming for those open to its embrace.\u003c/p>\n"
],
"innerBlocks": []
},
{
"blockName": "core/image",
"attrs": {
"id": 13991959,
"sizeSlug": "full",
"linkDestination": "none",
"imageCredit": "Cone Shape Top",
"srcset": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/DariaLoard.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/DariaLoard-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/DariaLoard-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/DariaLoard-600x600.jpg 600w",
"sizes": "(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)"
},
"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/DariaLoard.jpg\" alt=\"\" class=\"wp-image-13991959\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/DariaLoard.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/DariaLoard-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/DariaLoard-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/DariaLoard-600x600.jpg 600w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">Daria Lourd’s ‘Spiritual Surveillance’ EP.\u003c/figcaption>\u003c/figure>\n",
"innerContent": [
"\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/DariaLoard.jpg\" alt=\"\" class=\"wp-image-13991959\"/>\u003cfigcaption class=\"wp-element-caption\">Daria Lourd’s ‘Spiritual Surveillance’ EP.\u003c/figcaption>\u003c/figure>\n"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": [],
"innerHTML": "\n\u003cp>Released in an edition of 100 at the SF Art Book Fair, Lourd’s new 12” EP, \u003cem>\u003ca href=\"https://boredlord.bandcamp.com/album/spiritual-surveillance\">Spiritual Surveillance\u003c/a>\u003c/em>, conjures very human scenes. Opener “Backburner” cuts up synths over a bugged-out beat, as if someone handed the Invisibl Skratch Piklz an Enya record mid-set. “I Wasn’t Invited” is the sound of new age composer Ray Lynch and a Motown bassist hopping onstage during a 2000s London warehouse party.\u003c/p>\n",
"innerContent": [
"\n\u003cp>Released in an edition of 100 at the SF Art Book Fair, Lourd’s new 12” EP, \u003cem>\u003ca href=\"https://boredlord.bandcamp.com/album/spiritual-surveillance\">Spiritual Surveillance\u003c/a>\u003c/em>, conjures very human scenes. Opener “Backburner” cuts up synths over a bugged-out beat, as if someone handed the Invisibl Skratch Piklz an Enya record mid-set. “I Wasn’t Invited” is the sound of new age composer Ray Lynch and a Motown bassist hopping onstage during a 2000s London warehouse party.\u003c/p>\n"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": [],
"innerHTML": "\n\u003cp>The EP, complete with a hand-sewn fabric cover, marks an evolution for Lourd, who’s releasing \u003cem>Spiritual Surveillance\u003c/em> under her own name instead of her longtime moniker Bored Lord. Marking 10 years of living in Oakland after an upbringing in Memphis, it’s also the latest in a discography spanning more than two dozen releases, including the exhilarating EP \u003cem>For The New Moon On November 30th 2024\u003c/em>. \u003c/p>\n",
"innerContent": [
"\n\u003cp>The EP, complete with a hand-sewn fabric cover, marks an evolution for Lourd, who’s releasing \u003cem>Spiritual Surveillance\u003c/em> under her own name instead of her longtime moniker Bored Lord. Marking 10 years of living in Oakland after an upbringing in Memphis, it’s also the latest in a discography spanning more than two dozen releases, including the exhilarating EP \u003cem>For The New Moon On November 30th 2024\u003c/em>. \u003c/p>\n"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": [],
"innerHTML": "\n\u003cp>\u003ciframe style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=496891789/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=1794945397/transparent=true/\" seamless=\"\">\u003ca href=\"https://boredlord.bandcamp.com/album/spiritual-surveillance\">Spiritual Surveillance by Daria Lourd\u003c/a>\u003c/iframe>\u003c/p>\n",
"innerContent": [
"\n\u003cp>\u003ciframe style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=496891789/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=1794945397/transparent=true/\" seamless=\"\">\u003ca href=\"https://boredlord.bandcamp.com/album/spiritual-surveillance\">Spiritual Surveillance by Daria Lourd\u003c/a>\u003c/iframe>\u003c/p>\n"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": [],
"innerHTML": "\n\u003cp>Lourd’s record is released by \u003ca href=\"https://coneshapetop.com/\">Cone Shape Top\u003c/a>, an Oakland storefront and distributor decidedly more renegade and grassroots than Chronicle Books, and which reflects the underground with a passionate, robust spirit. Of the Bay Area’s legacy of similar collectives, radio stations and DIY spaces, Lourd once \u003ca href=\"https://whitecrate.org/in-the-bay-its-up-to-people-who-really-care-interview-with-daria-lourd-aka-bored-lord/\">told an interviewer\u003c/a> that “no matter how hard people try to change that, it always lives on in between the cracks.”\u003c/p>\n",
"innerContent": [
"\n\u003cp>Lourd’s record is released by \u003ca href=\"https://coneshapetop.com/\">Cone Shape Top\u003c/a>, an Oakland storefront and distributor decidedly more renegade and grassroots than Chronicle Books, and which reflects the underground with a passionate, robust spirit. Of the Bay Area’s legacy of similar collectives, radio stations and DIY spaces, Lourd once \u003ca href=\"https://whitecrate.org/in-the-bay-its-up-to-people-who-really-care-interview-with-daria-lourd-aka-bored-lord/\">told an interviewer\u003c/a> that “no matter how hard people try to change that, it always lives on in between the cracks.”\u003c/p>\n"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": [],
"innerHTML": "\n\u003cp>For a glimpse into those exciting, active cracks, the SF Art Book Fair is a sterling place to start.\u003c/p>\n",
"innerContent": [
"\n\u003cp>For a glimpse into those exciting, active cracks, the SF Art Book Fair is a sterling place to start.\u003c/p>\n"
],
"innerBlocks": []
},
{
"blockName": "core/separator",
"attrs": [],
"innerHTML": "\n\u003chr class=\"wp-block-separator has-alpha-channel-opacity\"/>\n",
"innerContent": [
"\n\u003chr class=\"wp-block-separator has-alpha-channel-opacity\"/>\n"
],
"innerBlocks": []
},
{
"blockName": "kqed/ad",
"attrs": {
"format": "floatright"
},
"innerBlocks": [],
"innerHTML": "",
"innerContent": []
},
{
"blockName": "core/paragraph",
"attrs": [],
"innerHTML": "\n\u003cp>\u003cem>A signing and launch of ‘It Will Be More Beautiful Than You Could Ever Imagine’ takes place during the SF Art Book Fair, each day from Friday–Sunday, from 12 p.m.–2 p.m. A record-release performance for ‘Spiritual Surveillance’ takes place Saturday, July 25, from 7–10 p.m. Both events are held in the warehouse at 1201 Minnesota Street, San Francisco. \u003c/em>\u003c/p>\n",
"innerContent": [
"\n\u003cp>\u003cem>A signing and launch of ‘It Will Be More Beautiful Than You Could Ever Imagine’ takes place during the SF Art Book Fair, each day from Friday–Sunday, from 12 p.m.–2 p.m. A record-release performance for ‘Spiritual Surveillance’ takes place Saturday, July 25, from 7–10 p.m. Both events are held in the warehouse at 1201 Minnesota Street, San Francisco. \u003c/em>\u003c/p>\n"
],
"innerBlocks": []
}
],
"excerpt": "A major publisher’s Susan O’Malley retrospective, Daria Lourd’s new DIY 12\" record, and much, much more.",
"status": "publish",
"parent": 0,
"modified": 1784930505,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": true,
"iframeSrcs": [
"https://bandcamp.com/EmbeddedPlayer/album=496891789/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=1794945397/transparent=true/"
],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 14,
"wordCount": 849
},
"headData": {
"title": "There’s a Zillion Things to See at the SF Art Book Fair | KQED",
"description": "A major publisher’s Susan O’Malley retrospective, Daria Lourd’s new DIY 12" record, and much, much more.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "There’s a Zillion Things to See at the SF Art Book Fair",
"datePublished": "2026-07-23T16:17:00-07:00",
"dateModified": "2026-07-24T15:01:45-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"primaryCategory": {
"termId": 1,
"slug": "arts",
"name": "Arts"
},
"source": "The Do List",
"sourceUrl": "https://www.kqed.org/thedolist",
"sticky": false,
"nprStoryId": "kqed-13991955",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13991955/sf-art-book-fair-susan-omalley-daria-loard-2026",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The SF Art Book Fair can be a little overwhelming. Books, \u003ca href=\"https://www.kqed.org/arts/tag/zines\">zines\u003c/a>, stickers and prints blanket folding tables as far as the eye can see, if one is not looking instead at a giant crowd of people. As the annual event takes over the \u003ca href=\"https://www.kqed.org/arts/tag/minnesota-street-project\">Minnesota Street Project\u003c/a> this weekend, two of the literal thousands of items for sale illustrate the diversity of the fair’s wares.\u003c/p>\n\n\n\n\u003cp>One is a major publisher’s retrospective of a well-known artist. Christina Amini’s \u003cem>It Will Be More Beautiful Than You Could Ever Imagine\u003c/em>, published by \u003ca href=\"https://www.kqed.org/arts/13401706/born-in-the-summer-of-love-chronicle-books-celebrates-50-years\">Chronicle Books\u003c/a>, spans the life and work of \u003ca href=\"https://www.kqed.org/arts/10436300/celebrating-the-life-of-artist-and-curator-susan-omalley-1976-2015\">Susan O’Malley\u003c/a>. The average person may mostly know O’Malley from her inspirational phrases presented on colorful backgrounds, thanks to very public displays (along Market Street, at the San Francisco Museum of Modern Art) of her series \u003cem>Advice From My 80 Year-Old Self\u003c/em>. Indeed, one of these is the book’s cover.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1586\" height=\"2000\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/It-Will-Be-More-Beautiful-Than-You-Could-Ever-Imagine-front-cover.jpg\" alt=\"\" class=\"wp-image-13991958\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/It-Will-Be-More-Beautiful-Than-You-Could-Ever-Imagine-front-cover.jpg 1586w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/It-Will-Be-More-Beautiful-Than-You-Could-Ever-Imagine-front-cover-160x202.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/It-Will-Be-More-Beautiful-Than-You-Could-Ever-Imagine-front-cover-768x968.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/It-Will-Be-More-Beautiful-Than-You-Could-Ever-Imagine-front-cover-1218x1536.jpg 1218w\" sizes=\"auto, (max-width: 1586px) 100vw, 1586px\">\u003cfigcaption class=\"wp-element-caption\">‘It Will Be More Beautiful Than You Could Ever Imagine,’ by Christina Amini. (Susan O’Malley/Chronicle Books)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>But as \u003cem>It Will Be More Beautiful\u003c/em> makes clear, over the course of 23 essays by friends and colleagues, O’Malley’s life work was so much more than uplifting, corporate breakroom-ready signage. Optimism was a constant for O’Malley, but, as just one example, it took the form of rearranging items on people’s lawns in her well-off San José neighborhood to make the world a little more interesting. \u003c/p>\n\n\n\n\u003cp>Organizing a “Pep Talk Squad.” Listening to grandmothers. Sending files to a photocopy store in Houston to print and hang in the front window. These projects of O’Malley’s fell under the then-newish rubric of social practice, which centers the surrounding environment and its people, and which O’Malley furthered in her work as one of the first graduates of the Social Practice program at CCA.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1000\" height=\"609\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/Omalley.Msgs_.jpg\" alt=\"\" class=\"wp-image-13991957\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/Omalley.Msgs_.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/Omalley.Msgs_-160x97.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/Omalley.Msgs_-768x468.jpg 768w\" sizes=\"auto, (max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-element-caption\">‘What Is Your Secret Hope and Dream?,’ a 2004–05 project for which Susan O’Malley asked participants to write down their secret hopes and dreams, and then photograph her holding them. (Susan O’Malley/Chronicle Books)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>A sad coda from the present day is that CCA is now shutting down, and \u003ca href=\"https://www.kqed.org/arts/13991866/cca-vanderbilt-nvidia-jensen-huang-new-art-school\">the seventh-wealthiest man in the world has just pledged millions\u003c/a> toward a plan to replace the school with one geared toward art, design, AI and technology. It’s safe to say that O’Malley’s work, which has been revered, and inspired similar projects around the world, would find no home there. \u003c/p>\n\n\n\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>If a new visual artist working in an untraversed field like O’Malley were to come along in 2026, their work would find a suitable soundtrack in the electronic music of \u003ca href=\"https://boredlord.bandcamp.com/\">Daria Lourd\u003c/a>. The Oakland-based producer’s work may be more obscure than O’Malley’s, both in visibility and method, but it’s just as welcoming for those open to its embrace.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1200\" height=\"1200\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/DariaLoard.jpg\" alt=\"\" class=\"wp-image-13991959\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/DariaLoard.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/DariaLoard-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/DariaLoard-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/DariaLoard-600x600.jpg 600w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-element-caption\">Daria Lourd’s ‘Spiritual Surveillance’ EP. (Cone Shape Top)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>Released in an edition of 100 at the SF Art Book Fair, Lourd’s new 12” EP, \u003cem>\u003ca href=\"https://boredlord.bandcamp.com/album/spiritual-surveillance\">Spiritual Surveillance\u003c/a>\u003c/em>, conjures very human scenes. Opener “Backburner” cuts up synths over a bugged-out beat, as if someone handed the Invisibl Skratch Piklz an Enya record mid-set. “I Wasn’t Invited” is the sound of new age composer Ray Lynch and a Motown bassist hopping onstage during a 2000s London warehouse party.\u003c/p>\n\n\n\n\u003cp>The EP, complete with a hand-sewn fabric cover, marks an evolution for Lourd, who’s releasing \u003cem>Spiritual Surveillance\u003c/em> under her own name instead of her longtime moniker Bored Lord. Marking 10 years of living in Oakland after an upbringing in Memphis, it’s also the latest in a discography spanning more than two dozen releases, including the exhilarating EP \u003cem>For The New Moon On November 30th 2024\u003c/em>. \u003c/p>\n\n\n\n\u003cp>\u003ciframe style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=496891789/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=1794945397/transparent=true/\" seamless=\"\">\u003ca href=\"https://boredlord.bandcamp.com/album/spiritual-surveillance\">Spiritual Surveillance by Daria Lourd\u003c/a>\u003c/iframe>\u003c/p>\n\n\n\n\u003cp>Lourd’s record is released by \u003ca href=\"https://coneshapetop.com/\">Cone Shape Top\u003c/a>, an Oakland storefront and distributor decidedly more renegade and grassroots than Chronicle Books, and which reflects the underground with a passionate, robust spirit. Of the Bay Area’s legacy of similar collectives, radio stations and DIY spaces, Lourd once \u003ca href=\"https://whitecrate.org/in-the-bay-its-up-to-people-who-really-care-interview-with-daria-lourd-aka-bored-lord/\">told an interviewer\u003c/a> that “no matter how hard people try to change that, it always lives on in between the cracks.”\u003c/p>\n\n\n\n\u003cp>For a glimpse into those exciting, active cracks, the SF Art Book Fair is a sterling place to start.\u003c/p>\n\n\n\n\u003chr class=\"wp-block-separator has-alpha-channel-opacity\">\n\n\n\n\u003cp>\u003c/p>\n\u003cp>\u003cem>A signing and launch of ‘It Will Be More Beautiful Than You Could Ever Imagine’ takes place during the SF Art Book Fair, each day from Friday–Sunday, from 12 p.m.–2 p.m. A record-release performance for ‘Spiritual Surveillance’ takes place Saturday, July 25, from 7–10 p.m. Both events are held in the warehouse at 1201 Minnesota Street, San Francisco. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13991955/sf-art-book-fair-susan-omalley-daria-loard-2026",
"authors": [
"185"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_73",
"arts_69",
"arts_235",
"arts_22313"
],
"tags": [
"arts_1501",
"arts_22068",
"arts_22219",
"arts_1146",
"arts_585",
"arts_914"
],
"featImg": "arts_13961382",
"label": "source_arts_13991955"
},
"arts_13991902": {
"type": "posts",
"id": "arts_13991902",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13991902",
"score": null,
"sort": [
1784747752000
]
},
"guestAuthors": [],
"slug": "mike-monteiro-play-the-hits-safemart-review",
"title": "We’ve Been Lookin’ for Art in All the Wrong Places",
"publishDate": 1784747752,
"format": "standard",
"headTitle": "We’ve Been Lookin’ for Art in All the Wrong Places | KQED",
"labelTerm": {},
"content": "\u003cp>To visit \u003ca href=\"http://www.safemart.org/index.html\">Safemart\u003c/a> (usually styled in all caps), you must first make an appointment with Jonathan Runcio. Then, at the appointed time, Runcio will poke his head out of a doorway on a corner in the Dogpatch, where trucks drive by at alarming speeds. \u003c/p>\n\n\n\n\u003cp>You will enter a warehouse that was once home to Hermann Associates, Inc. — a manufacturer of heavy steel safes and bank vaults. Inside, an old vault door still proudly bears the hand-painted company name. \u003c/p>\n\n\n\n\u003cp>This is the “low-key, high-security artist-run project space” Safemart, which opened its first show in January 2025. Visiting requires real commitment on a viewer’s part. Over the past year and a half, Safemart has shown mostly local artists, or artists with local ties. It has shown sculptures and rubbings, drawings and ceramics. Safemart shows are intimate by necessity, experimental by invitation.\u003c/p>\n\n\n\n\u003cp>The latest exhibition, Mike Monteiro’s \u003cem>Play the Hits\u003c/em>, is no different. Across the old vault’s short walls, Monteiro has hung seven paintings made with layers upon layers of pigmented wax. Colored drips pour down the sides of his panels, but the surfaces are carved smooth with razor blades. The effect is gauzy, dreamy, even as the images he depicts and the language he deploys evoke violence — state sanctioned and otherwise.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1990\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/LOLMagellan_2000.jpg\" alt=\"blue and white tile-like painting of man in armor being stabbed\" class=\"wp-image-13991909\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/LOLMagellan_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/LOLMagellan_2000-160x159.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/LOLMagellan_2000-768x764.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/LOLMagellan_2000-1536x1528.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Mike Monteiro, ‘LOL Magellan,’ 2023; encaustic. (Safemart)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>The piece which lends the show its name is six connected panels that form three guillotine blade shapes. A repeated image of a cartoon guillotine (“Gilly,” its blade a smiling face) holds a smiling, empty basket, ready to receive a head. According to Runcio, Monteiro commissioned the illustration from a Disney animator, which feels almost too perfect to be true.\u003c/p>\n\n\n\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The show’s two largest pieces are patterned after blue-and-white Portuguese tile: \u003cem>LOL Magellan \u003c/em>depicts the explorer’s death in the Philippines; \u003cem>All Portuguese Ships Are Slave Ships\u003c/em> is bordered by shackles.\u003c/p>\n\n\n\u003cdiv class=\"wp-block-image\">\n\u003cfigure class=\"alignleft size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1920\" height=\"2560\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/FuckICE_2000-scaled.jpg\" alt=\"painting of burning waymo with 'fuck ICE' graffiti\" class=\"wp-image-13991908\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/FuckICE_2000-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/FuckICE_2000-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/FuckICE_2000-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/FuckICE_2000-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/FuckICE_2000-1536x2048.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-element-caption\">Mike Monteiro, ‘Waymo on Fire,’ 2025; encaustic. (Safemart)\u003c/figcaption>\u003c/figure>\n\u003c/div>\n\n\n\u003cp>\u003cem>Play the Hits\u003c/em> contains not one but three paintings of burning Waymos graffitied with “Fuck ICE.” It’s pop art with an earnest, emphatic intent; Monteiro repeats symbols until they’re burned into a viewer’s retina. There’s a neat contrast between some of the imagery (jokey words, cartoons, emojis) and the serious effort Monteiro puts into making the work. \u003cem>Yes, we’re having fun\u003c/em>, the images say, \u003cem>but listen closely\u003c/em>.\u003c/p>\n\n\n\n\u003cp>On \u003ca href=\"https://www.instagram.com/mikemonteiro/\">his Instagram\u003c/a>, he details a labor-intensive process that involves carving into wax surfaces, brushing on molten layers of color, then shaving the pieces down, over and over again. Up close, the paintings smell sweetly of beeswax.\u003c/p>\n\n\n\n\u003cp>Monteiro is a graphic designer by trade, as well as an author. His latest book, \u003ca href=\"https://www.mulebooks.com/store/how-to-die-and-other-stories\">\u003cem>How to Die (and Other Stories)\u003c/em>\u003c/a>, is a collection of essays from his \u003ca href=\"https://buttondown.com/monteiro\">newsletter\u003c/a>, in which he answers queries like “How to use NO as a complete sentence,” “How to get out of bed,” and “How to feel wonderful.”\u003c/p>\n\n\n\n\u003cp>It’s clear Monteiro truly wants to help people make things better, despite the ways in which this world is set up to oppose that impulse. If someone is interested in buying one of Monteiro’s pieces, he offers it on an income-based sliding scale.\u003c/p>\n\n\n\n\u003cp>There are many ways to be an artist, and many ways to make opportunities for people to show their art to others. In Safemart, with Monteiro’s \u003cem>Play the Hits\u003c/em>, we find a rather perfect merger of a sometimes-space with someone who isn’t interested in playing into the conventions of exhibition making. \u003c/p>\n\n\n\n\u003cp>“We give our hearts to people and places that do not deserve them,” reads his exhibition announcement, which at no point talks about the paintings on view. “We should stop, because there are people and places that do deserve them. And we should fill each other’s homes with drawings and love letters.”\u003c/p>\n\n\n\n\u003cp>Hear, hear.\u003c/p>\n\n\n\n\u003chr class=\"wp-block-separator has-alpha-channel-opacity\">\n\n\n\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"http://www.safemart.org/index.html\">Play the Hits\u003c/a>’ is on view by appointment through Aug. 9, 2026 at Safemart (contact for address). \u003ca href=\"https://www.instagram.com/p/DbEdfTVgSdh/?img_index=1\">Mike Monteiro will read\u003c/a> from ‘How to Die (and Other Stories)’ at the exhibition on July 25 and 26, 2–4 p.m.\u003c/em>\u003c/p>\n\n",
"blocks": [
{
"blockName": "core/paragraph",
"attrs": [],
"innerHTML": "\n\u003cp>To visit \u003ca href=\"http://www.safemart.org/index.html\">Safemart\u003c/a> (usually styled in all caps), you must first make an appointment with Jonathan Runcio. Then, at the appointed time, Runcio will poke his head out of a doorway on a corner in the Dogpatch, where trucks drive by at alarming speeds. \u003c/p>\n",
"innerContent": [
"\n\u003cp>To visit \u003ca href=\"http://www.safemart.org/index.html\">Safemart\u003c/a> (usually styled in all caps), you must first make an appointment with Jonathan Runcio. Then, at the appointed time, Runcio will poke his head out of a doorway on a corner in the Dogpatch, where trucks drive by at alarming speeds. \u003c/p>\n"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": [],
"innerHTML": "\n\u003cp>You will enter a warehouse that was once home to Hermann Associates, Inc. — a manufacturer of heavy steel safes and bank vaults. Inside, an old vault door still proudly bears the hand-painted company name. \u003c/p>\n",
"innerContent": [
"\n\u003cp>You will enter a warehouse that was once home to Hermann Associates, Inc. — a manufacturer of heavy steel safes and bank vaults. Inside, an old vault door still proudly bears the hand-painted company name. \u003c/p>\n"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": [],
"innerHTML": "\n\u003cp>This is the “low-key, high-security artist-run project space” Safemart, which opened its first show in January 2025. Visiting requires real commitment on a viewer’s part. Over the past year and a half, Safemart has shown mostly local artists, or artists with local ties. It has shown sculptures and rubbings, drawings and ceramics. Safemart shows are intimate by necessity, experimental by invitation.\u003c/p>\n",
"innerContent": [
"\n\u003cp>This is the “low-key, high-security artist-run project space” Safemart, which opened its first show in January 2025. Visiting requires real commitment on a viewer’s part. Over the past year and a half, Safemart has shown mostly local artists, or artists with local ties. It has shown sculptures and rubbings, drawings and ceramics. Safemart shows are intimate by necessity, experimental by invitation.\u003c/p>\n"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": [],
"innerHTML": "\n\u003cp>The latest exhibition, Mike Monteiro’s \u003cem>Play the Hits\u003c/em>, is no different. Across the old vault’s short walls, Monteiro has hung seven paintings made with layers upon layers of pigmented wax. Colored drips pour down the sides of his panels, but the surfaces are carved smooth with razor blades. The effect is gauzy, dreamy, even as the images he depicts and the language he deploys evoke violence — state sanctioned and otherwise.\u003c/p>\n",
"innerContent": [
"\n\u003cp>The latest exhibition, Mike Monteiro’s \u003cem>Play the Hits\u003c/em>, is no different. Across the old vault’s short walls, Monteiro has hung seven paintings made with layers upon layers of pigmented wax. Colored drips pour down the sides of his panels, but the surfaces are carved smooth with razor blades. The effect is gauzy, dreamy, even as the images he depicts and the language he deploys evoke violence — state sanctioned and otherwise.\u003c/p>\n"
],
"innerBlocks": []
},
{
"blockName": "core/image",
"attrs": {
"id": 13991909,
"sizeSlug": "full",
"linkDestination": "none",
"imageCredit": "Safemart",
"srcset": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/LOLMagellan_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/LOLMagellan_2000-160x159.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/LOLMagellan_2000-768x764.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/LOLMagellan_2000-1536x1528.jpg 1536w",
"sizes": "(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)"
},
"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/LOLMagellan_2000.jpg\" alt=\"blue and white tile-like painting of man in armor being stabbed\" class=\"wp-image-13991909\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/LOLMagellan_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/LOLMagellan_2000-160x159.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/LOLMagellan_2000-768x764.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/LOLMagellan_2000-1536x1528.jpg 1536w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">Mike Monteiro, ‘LOL Magellan,’ 2023; encaustic.\u003c/figcaption>\u003c/figure>\n",
"innerContent": [
"\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/LOLMagellan_2000.jpg\" alt=\"blue and white tile-like painting of man in armor being stabbed\" class=\"wp-image-13991909\"/>\u003cfigcaption class=\"wp-element-caption\">Mike Monteiro, ‘LOL Magellan,’ 2023; encaustic.\u003c/figcaption>\u003c/figure>\n"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": [],
"innerHTML": "\n\u003cp>The piece which lends the show its name is six connected panels that form three guillotine blade shapes. A repeated image of a cartoon guillotine (“Gilly,” its blade a smiling face) holds a smiling, empty basket, ready to receive a head. According to Runcio, Monteiro commissioned the illustration from a Disney animator, which feels almost too perfect to be true.\u003c/p>\n",
"innerContent": [
"\n\u003cp>The piece which lends the show its name is six connected panels that form three guillotine blade shapes. A repeated image of a cartoon guillotine (“Gilly,” its blade a smiling face) holds a smiling, empty basket, ready to receive a head. According to Runcio, Monteiro commissioned the illustration from a Disney animator, which feels almost too perfect to be true.\u003c/p>\n"
],
"innerBlocks": []
},
{
"blockName": "kqed/ad",
"attrs": {
"format": "fullwidth"
},
"innerBlocks": [],
"innerHTML": "",
"innerContent": []
},
{
"blockName": "core/paragraph",
"attrs": [],
"innerHTML": "\n\u003cp>The show’s two largest pieces are patterned after blue-and-white Portuguese tile: \u003cem>LOL Magellan \u003c/em>depicts the explorer’s death in the Philippines; \u003cem>All Portuguese Ships Are Slave Ships\u003c/em> is bordered by shackles.\u003c/p>\n",
"innerContent": [
"\n\u003cp>The show’s two largest pieces are patterned after blue-and-white Portuguese tile: \u003cem>LOL Magellan \u003c/em>depicts the explorer’s death in the Philippines; \u003cem>All Portuguese Ships Are Slave Ships\u003c/em> is bordered by shackles.\u003c/p>\n"
],
"innerBlocks": []
},
{
"blockName": "core/image",
"attrs": {
"id": 13991908,
"sizeSlug": "full",
"linkDestination": "none",
"align": "left",
"imageCredit": "Safemart",
"srcset": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/FuckICE_2000-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/FuckICE_2000-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/FuckICE_2000-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/FuckICE_2000-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/FuckICE_2000-1536x2048.jpg 1536w",
"sizes": "(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)"
},
"innerHTML": "\n\u003cfigure class=\"wp-block-image alignleft size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/FuckICE_2000-scaled.jpg\" alt=\"painting of burning waymo with 'fuck ICE' graffiti\" class=\"wp-image-13991908\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/FuckICE_2000-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/FuckICE_2000-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/FuckICE_2000-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/FuckICE_2000-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/FuckICE_2000-1536x2048.jpg 1536w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">Mike Monteiro, ‘Waymo on Fire,’ 2025; encaustic.\u003c/figcaption>\u003c/figure>\n",
"innerContent": [
"\n\u003cfigure class=\"wp-block-image alignleft size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/FuckICE_2000-scaled.jpg\" alt=\"painting of burning waymo with 'fuck ICE' graffiti\" class=\"wp-image-13991908\"/>\u003cfigcaption class=\"wp-element-caption\">Mike Monteiro, ‘Waymo on Fire,’ 2025; encaustic.\u003c/figcaption>\u003c/figure>\n"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": [],
"innerHTML": "\n\u003cp>\u003cem>Play the Hits\u003c/em> contains not one but three paintings of burning Waymos graffitied with “Fuck ICE.” It’s pop art with an earnest, emphatic intent; Monteiro repeats symbols until they’re burned into a viewer’s retina. There’s a neat contrast between some of the imagery (jokey words, cartoons, emojis) and the serious effort Monteiro puts into making the work. \u003cem>Yes, we’re having fun\u003c/em>, the images say, \u003cem>but listen closely\u003c/em>.\u003c/p>\n",
"innerContent": [
"\n\u003cp>\u003cem>Play the Hits\u003c/em> contains not one but three paintings of burning Waymos graffitied with “Fuck ICE.” It’s pop art with an earnest, emphatic intent; Monteiro repeats symbols until they’re burned into a viewer’s retina. There’s a neat contrast between some of the imagery (jokey words, cartoons, emojis) and the serious effort Monteiro puts into making the work. \u003cem>Yes, we’re having fun\u003c/em>, the images say, \u003cem>but listen closely\u003c/em>.\u003c/p>\n"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": [],
"innerHTML": "\n\u003cp>On \u003ca href=\"https://www.instagram.com/mikemonteiro/\">his Instagram\u003c/a>, he details a labor-intensive process that involves carving into wax surfaces, brushing on molten layers of color, then shaving the pieces down, over and over again. Up close, the paintings smell sweetly of beeswax.\u003c/p>\n",
"innerContent": [
"\n\u003cp>On \u003ca href=\"https://www.instagram.com/mikemonteiro/\">his Instagram\u003c/a>, he details a labor-intensive process that involves carving into wax surfaces, brushing on molten layers of color, then shaving the pieces down, over and over again. Up close, the paintings smell sweetly of beeswax.\u003c/p>\n"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": [],
"innerHTML": "\n\u003cp>Monteiro is a graphic designer by trade, as well as an author. His latest book, \u003ca href=\"https://www.mulebooks.com/store/how-to-die-and-other-stories\">\u003cem>How to Die (and Other Stories)\u003c/em>\u003c/a>, is a collection of essays from his \u003ca href=\"https://buttondown.com/monteiro\">newsletter\u003c/a>, in which he answers queries like “How to use NO as a complete sentence,” “How to get out of bed,” and “How to feel wonderful.”\u003c/p>\n",
"innerContent": [
"\n\u003cp>Monteiro is a graphic designer by trade, as well as an author. His latest book, \u003ca href=\"https://www.mulebooks.com/store/how-to-die-and-other-stories\">\u003cem>How to Die (and Other Stories)\u003c/em>\u003c/a>, is a collection of essays from his \u003ca href=\"https://buttondown.com/monteiro\">newsletter\u003c/a>, in which he answers queries like “How to use NO as a complete sentence,” “How to get out of bed,” and “How to feel wonderful.”\u003c/p>\n"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": [],
"innerHTML": "\n\u003cp>It’s clear Monteiro truly wants to help people make things better, despite the ways in which this world is set up to oppose that impulse. If someone is interested in buying one of Monteiro’s pieces, he offers it on an income-based sliding scale.\u003c/p>\n",
"innerContent": [
"\n\u003cp>It’s clear Monteiro truly wants to help people make things better, despite the ways in which this world is set up to oppose that impulse. If someone is interested in buying one of Monteiro’s pieces, he offers it on an income-based sliding scale.\u003c/p>\n"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": [],
"innerHTML": "\n\u003cp>There are many ways to be an artist, and many ways to make opportunities for people to show their art to others. In Safemart, with Monteiro’s \u003cem>Play the Hits\u003c/em>, we find a rather perfect merger of a sometimes-space with someone who isn’t interested in playing into the conventions of exhibition making. \u003c/p>\n",
"innerContent": [
"\n\u003cp>There are many ways to be an artist, and many ways to make opportunities for people to show their art to others. In Safemart, with Monteiro’s \u003cem>Play the Hits\u003c/em>, we find a rather perfect merger of a sometimes-space with someone who isn’t interested in playing into the conventions of exhibition making. \u003c/p>\n"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": [],
"innerHTML": "\n\u003cp>“We give our hearts to people and places that do not deserve them,” reads his exhibition announcement, which at no point talks about the paintings on view. “We should stop, because there are people and places that do deserve them. And we should fill each other’s homes with drawings and love letters.”\u003c/p>\n",
"innerContent": [
"\n\u003cp>“We give our hearts to people and places that do not deserve them,” reads his exhibition announcement, which at no point talks about the paintings on view. “We should stop, because there are people and places that do deserve them. And we should fill each other’s homes with drawings and love letters.”\u003c/p>\n"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": [],
"innerHTML": "\n\u003cp>Hear, hear.\u003c/p>\n",
"innerContent": [
"\n\u003cp>Hear, hear.\u003c/p>\n"
],
"innerBlocks": []
},
{
"blockName": "core/separator",
"attrs": [],
"innerHTML": "\n\u003chr class=\"wp-block-separator has-alpha-channel-opacity\"/>\n",
"innerContent": [
"\n\u003chr class=\"wp-block-separator has-alpha-channel-opacity\"/>\n"
],
"innerBlocks": []
},
{
"blockName": "kqed/ad",
"attrs": {
"format": "floatright"
},
"innerBlocks": [],
"innerHTML": "",
"innerContent": []
},
{
"blockName": "core/paragraph",
"attrs": [],
"innerHTML": "\n\u003cp>\u003cem>‘\u003ca href=\"http://www.safemart.org/index.html\">Play the Hits\u003c/a>’ is on view by appointment through Aug. 9, 2026 at Safemart (contact for address). \u003ca href=\"https://www.instagram.com/p/DbEdfTVgSdh/?img_index=1\">Mike Monteiro will read\u003c/a> from ‘How to Die (and Other Stories)’ at the exhibition on July 25 and 26, 2–4 p.m.\u003c/em>\u003c/p>\n",
"innerContent": [
"\n\u003cp>\u003cem>‘\u003ca href=\"http://www.safemart.org/index.html\">Play the Hits\u003c/a>’ is on view by appointment through Aug. 9, 2026 at Safemart (contact for address). \u003ca href=\"https://www.instagram.com/p/DbEdfTVgSdh/?img_index=1\">Mike Monteiro will read\u003c/a> from ‘How to Die (and Other Stories)’ at the exhibition on July 25 and 26, 2–4 p.m.\u003c/em>\u003c/p>\n"
],
"innerBlocks": []
}
],
"excerpt": "It’s not easy to visit Mike Monteiro’s anti-capitalist paintings, but not all art-viewing should be easy.",
"status": "publish",
"parent": 0,
"modified": 1784748617,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 16,
"wordCount": 731
},
"headData": {
"title": "Appointment-Worthy: Mike Monteiro’s Paintings at Safemart | KQED",
"description": "It’s not easy to visit Mike Monteiro’s anti-capitalist paintings, but not all art-viewing should be easy.",
"ogTitle": "We’ve Been Lookin’ for Art in All the Wrong Places",
"ogDescription": "",
"ogImgId": "",
"twTitle": "We’ve Been Lookin’ for Art in All the Wrong Places",
"twDescription": "",
"twImgId": "",
"socialTitle": "Appointment-Worthy: Mike Monteiro’s Paintings at Safemart %%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "We’ve Been Lookin’ for Art in All the Wrong Places",
"datePublished": "2026-07-22T12:15:52-07:00",
"dateModified": "2026-07-22T12:30:17-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"primaryCategory": {
"termId": 1,
"slug": "arts",
"name": "Arts"
},
"source": "The Do List",
"sourceUrl": "https://www.kqed.org/thedolist",
"sticky": false,
"nprStoryId": "kqed-13991902",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13991902/mike-monteiro-play-the-hits-safemart-review",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>To visit \u003ca href=\"http://www.safemart.org/index.html\">Safemart\u003c/a> (usually styled in all caps), you must first make an appointment with Jonathan Runcio. Then, at the appointed time, Runcio will poke his head out of a doorway on a corner in the Dogpatch, where trucks drive by at alarming speeds. \u003c/p>\n\n\n\n\u003cp>You will enter a warehouse that was once home to Hermann Associates, Inc. — a manufacturer of heavy steel safes and bank vaults. Inside, an old vault door still proudly bears the hand-painted company name. \u003c/p>\n\n\n\n\u003cp>This is the “low-key, high-security artist-run project space” Safemart, which opened its first show in January 2025. Visiting requires real commitment on a viewer’s part. Over the past year and a half, Safemart has shown mostly local artists, or artists with local ties. It has shown sculptures and rubbings, drawings and ceramics. Safemart shows are intimate by necessity, experimental by invitation.\u003c/p>\n\n\n\n\u003cp>The latest exhibition, Mike Monteiro’s \u003cem>Play the Hits\u003c/em>, is no different. Across the old vault’s short walls, Monteiro has hung seven paintings made with layers upon layers of pigmented wax. Colored drips pour down the sides of his panels, but the surfaces are carved smooth with razor blades. The effect is gauzy, dreamy, even as the images he depicts and the language he deploys evoke violence — state sanctioned and otherwise.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1990\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/LOLMagellan_2000.jpg\" alt=\"blue and white tile-like painting of man in armor being stabbed\" class=\"wp-image-13991909\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/LOLMagellan_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/LOLMagellan_2000-160x159.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/LOLMagellan_2000-768x764.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/LOLMagellan_2000-1536x1528.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Mike Monteiro, ‘LOL Magellan,’ 2023; encaustic. (Safemart)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>The piece which lends the show its name is six connected panels that form three guillotine blade shapes. A repeated image of a cartoon guillotine (“Gilly,” its blade a smiling face) holds a smiling, empty basket, ready to receive a head. According to Runcio, Monteiro commissioned the illustration from a Disney animator, which feels almost too perfect to be true.\u003c/p>\n\n\n\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The show’s two largest pieces are patterned after blue-and-white Portuguese tile: \u003cem>LOL Magellan \u003c/em>depicts the explorer’s death in the Philippines; \u003cem>All Portuguese Ships Are Slave Ships\u003c/em> is bordered by shackles.\u003c/p>\n\n\n\u003cdiv class=\"wp-block-image\">\n\u003cfigure class=\"alignleft size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1920\" height=\"2560\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/FuckICE_2000-scaled.jpg\" alt=\"painting of burning waymo with 'fuck ICE' graffiti\" class=\"wp-image-13991908\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/FuckICE_2000-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/FuckICE_2000-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/FuckICE_2000-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/FuckICE_2000-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/FuckICE_2000-1536x2048.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-element-caption\">Mike Monteiro, ‘Waymo on Fire,’ 2025; encaustic. (Safemart)\u003c/figcaption>\u003c/figure>\n\u003c/div>\n\n\n\u003cp>\u003cem>Play the Hits\u003c/em> contains not one but three paintings of burning Waymos graffitied with “Fuck ICE.” It’s pop art with an earnest, emphatic intent; Monteiro repeats symbols until they’re burned into a viewer’s retina. There’s a neat contrast between some of the imagery (jokey words, cartoons, emojis) and the serious effort Monteiro puts into making the work. \u003cem>Yes, we’re having fun\u003c/em>, the images say, \u003cem>but listen closely\u003c/em>.\u003c/p>\n\n\n\n\u003cp>On \u003ca href=\"https://www.instagram.com/mikemonteiro/\">his Instagram\u003c/a>, he details a labor-intensive process that involves carving into wax surfaces, brushing on molten layers of color, then shaving the pieces down, over and over again. Up close, the paintings smell sweetly of beeswax.\u003c/p>\n\n\n\n\u003cp>Monteiro is a graphic designer by trade, as well as an author. His latest book, \u003ca href=\"https://www.mulebooks.com/store/how-to-die-and-other-stories\">\u003cem>How to Die (and Other Stories)\u003c/em>\u003c/a>, is a collection of essays from his \u003ca href=\"https://buttondown.com/monteiro\">newsletter\u003c/a>, in which he answers queries like “How to use NO as a complete sentence,” “How to get out of bed,” and “How to feel wonderful.”\u003c/p>\n\n\n\n\u003cp>It’s clear Monteiro truly wants to help people make things better, despite the ways in which this world is set up to oppose that impulse. If someone is interested in buying one of Monteiro’s pieces, he offers it on an income-based sliding scale.\u003c/p>\n\n\n\n\u003cp>There are many ways to be an artist, and many ways to make opportunities for people to show their art to others. In Safemart, with Monteiro’s \u003cem>Play the Hits\u003c/em>, we find a rather perfect merger of a sometimes-space with someone who isn’t interested in playing into the conventions of exhibition making. \u003c/p>\n\n\n\n\u003cp>“We give our hearts to people and places that do not deserve them,” reads his exhibition announcement, which at no point talks about the paintings on view. “We should stop, because there are people and places that do deserve them. And we should fill each other’s homes with drawings and love letters.”\u003c/p>\n\n\n\n\u003cp>Hear, hear.\u003c/p>\n\n\n\n\u003chr class=\"wp-block-separator has-alpha-channel-opacity\">\n\n\n\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"http://www.safemart.org/index.html\">Play the Hits\u003c/a>’ is on view by appointment through Aug. 9, 2026 at Safemart (contact for address). \u003ca href=\"https://www.instagram.com/p/DbEdfTVgSdh/?img_index=1\">Mike Monteiro will read\u003c/a> from ‘How to Die (and Other Stories)’ at the exhibition on July 25 and 26, 2–4 p.m.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13991902/mike-monteiro-play-the-hits-safemart-review",
"authors": [
"61"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_22313",
"arts_70"
],
"tags": [
"arts_10278",
"arts_22219",
"arts_769",
"arts_1146",
"arts_585"
],
"featImg": "arts_13991907",
"label": "source_arts_13991902"
},
"arts_13988048": {
"type": "posts",
"id": "arts_13988048",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13988048",
"score": null,
"sort": [
1774630801000
]
},
"guestAuthors": [],
"slug": "ruth-asawa-exhibition-space-minnesota-street-project",
"title": "Soon, You Can Visit Ruth Asawa’s Art Whenever You Like",
"publishDate": 1774630801,
"format": "standard",
"headTitle": "Soon, You Can Visit Ruth Asawa’s Art Whenever You Like | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>For those who visited the \u003ca href=\"https://www.kqed.org/arts/13974032/sfmomas-ruth-asawa-retrospective-honors-the-patron-saint-of-san-francisco-arts\">Ruth Asawa retrospective\u003c/a> at the San Francisco Museum of Modern Art and left awestruck, wishing they could partake in the artist’s work more frequently, I have good news.\u003c/p>\n\u003cp>On May 9, Ruth Asawa Lanier, Inc., “a family-run entity” that manages the artist’s estate, will open a new exhibition space at the Minnesota Street Project. RAL, Inc. will move into the downstairs gallery last occupied by \u003ca href=\"https://www.kqed.org/arts/13984541/anglim-trimble-closing-minnesota-street-project-rena-bransten-altman-siegel\">Anglim/Trimble\u003c/a>, which closed at the end of December 2025.\u003c/p>\n\u003cp>The 1,714-square-foot gallery will be the first permanent venue to provide public access to the artist’s works. Rotating exhibitions will showcase the full extent of Asawa’s looped-wire sculptures, paintings, drawings, prints and community projects. The space launches with \u003ci>Ruth Asawa: Untitled\u003c/i>, a show curated by Asawa’s daughters Aiko Cuneo and Addie Lanier, that speaks to Asawa’s tendency to leave much of her art untitled. For her, today’s announcement explains, naming was far less important than the process of making.\u003c/p>\n\u003cp>It’s the kind of mentality Asawa fans have come to expect from the artist responsible for indelible pieces of \u003ca href=\"https://ruthasawa.com/ruth-asawas-public-art-tour/\">public art\u003c/a>. She also helped found our \u003ca href=\"https://www.sfusd.edu/school/ruth-asawa-san-francisco-school-arts\">public arts high school\u003c/a>, now named for her; the \u003ca href=\"https://www.sfartsed.org/\">San Francisco Arts Education Project\u003c/a> (also housed at MSP), which offers hands-on arts instruction by working artists; and the creative reuse center \u003ca href=\"https://www.scrap-sf.org/home\">SCRAP\u003c/a>, a beloved depot of affordable art materials.\u003c/p>\n\u003cp>“When asked in 2002 why she never pursued a career in a major art market like New York, she replied, ‘It’s better for me to invest in San Francisco,’” said Henry Weverka, president RAL, Inc., in today’s announcement. Weverka is also one of Asawa’s grandchildren.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We hope that by continuing to share Asawa’s story, we will encourage others to pursue their own creative endeavors and inspire the next generation of artists and makers here in San Francisco,” Weverka said.\u003c/p>\n\u003cp>RAL, Inc. is the second new tenant to move into the MSP building after \u003ca href=\"https://www.kqed.org/arts/13984752/jack-fischer-gallery-closing-minnesota-street-project\">four galleries announced their closure\u003c/a> at the end of the last year. \u003ca href=\"https://www.kqed.org/arts/13986545/afropop-review-art-of-contemporary-africa-gallery-minnesota-st-project-sf\">Art of Contemporary Africa\u003c/a>, another newcomer, now occupies the former Rena Bransten Gallery space; it opened on Feb. 12.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In addition to shows of Asawa’s work, RAL, Inc. plans to exhibit art by her friends and contemporaries, including Imogen Cunningham, Ray Johnson and Josef and Anni Albers (Asawa studied under Josef Albers at Black Mountain College). The space will also host an annual exhibition for Ruth Asawa San Francisco School of the Arts students and faculty.\u003c/p>\n\n",
"blocks": [],
"excerpt": "The family-run Ruth Asawa Lanier, Inc. will open a permanent exhibition space at Minnesota Street Project on May 9.",
"status": "publish",
"parent": 0,
"modified": 1775071066,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 10,
"wordCount": 447
},
"headData": {
"title": "Soon, You Can Visit Ruth Asawa’s Art Whenever You Like | KQED",
"description": "The family-run Ruth Asawa Lanier, Inc. will open a permanent exhibition space at Minnesota Street Project on May 9.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Soon, You Can Visit Ruth Asawa’s Art Whenever You Like",
"datePublished": "2026-03-27T10:00:01-07:00",
"dateModified": "2026-04-01T12:17:46-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"primaryCategory": {
"termId": 1,
"slug": "arts",
"name": "Arts"
},
"sticky": false,
"nprStoryId": "kqed-13988048",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13988048/ruth-asawa-exhibition-space-minnesota-street-project",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For those who visited the \u003ca href=\"https://www.kqed.org/arts/13974032/sfmomas-ruth-asawa-retrospective-honors-the-patron-saint-of-san-francisco-arts\">Ruth Asawa retrospective\u003c/a> at the San Francisco Museum of Modern Art and left awestruck, wishing they could partake in the artist’s work more frequently, I have good news.\u003c/p>\n\u003cp>On May 9, Ruth Asawa Lanier, Inc., “a family-run entity” that manages the artist’s estate, will open a new exhibition space at the Minnesota Street Project. RAL, Inc. will move into the downstairs gallery last occupied by \u003ca href=\"https://www.kqed.org/arts/13984541/anglim-trimble-closing-minnesota-street-project-rena-bransten-altman-siegel\">Anglim/Trimble\u003c/a>, which closed at the end of December 2025.\u003c/p>\n\u003cp>The 1,714-square-foot gallery will be the first permanent venue to provide public access to the artist’s works. Rotating exhibitions will showcase the full extent of Asawa’s looped-wire sculptures, paintings, drawings, prints and community projects. The space launches with \u003ci>Ruth Asawa: Untitled\u003c/i>, a show curated by Asawa’s daughters Aiko Cuneo and Addie Lanier, that speaks to Asawa’s tendency to leave much of her art untitled. For her, today’s announcement explains, naming was far less important than the process of making.\u003c/p>\n\u003cp>It’s the kind of mentality Asawa fans have come to expect from the artist responsible for indelible pieces of \u003ca href=\"https://ruthasawa.com/ruth-asawas-public-art-tour/\">public art\u003c/a>. She also helped found our \u003ca href=\"https://www.sfusd.edu/school/ruth-asawa-san-francisco-school-arts\">public arts high school\u003c/a>, now named for her; the \u003ca href=\"https://www.sfartsed.org/\">San Francisco Arts Education Project\u003c/a> (also housed at MSP), which offers hands-on arts instruction by working artists; and the creative reuse center \u003ca href=\"https://www.scrap-sf.org/home\">SCRAP\u003c/a>, a beloved depot of affordable art materials.\u003c/p>\n\u003cp>“When asked in 2002 why she never pursued a career in a major art market like New York, she replied, ‘It’s better for me to invest in San Francisco,’” said Henry Weverka, president RAL, Inc., in today’s announcement. Weverka is also one of Asawa’s grandchildren.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We hope that by continuing to share Asawa’s story, we will encourage others to pursue their own creative endeavors and inspire the next generation of artists and makers here in San Francisco,” Weverka said.\u003c/p>\n\u003cp>RAL, Inc. is the second new tenant to move into the MSP building after \u003ca href=\"https://www.kqed.org/arts/13984752/jack-fischer-gallery-closing-minnesota-street-project\">four galleries announced their closure\u003c/a> at the end of the last year. \u003ca href=\"https://www.kqed.org/arts/13986545/afropop-review-art-of-contemporary-africa-gallery-minnesota-st-project-sf\">Art of Contemporary Africa\u003c/a>, another newcomer, now occupies the former Rena Bransten Gallery space; it opened on Feb. 12.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In addition to shows of Asawa’s work, RAL, Inc. plans to exhibit art by her friends and contemporaries, including Imogen Cunningham, Ray Johnson and Josef and Anni Albers (Asawa studied under Josef Albers at Black Mountain College). The space will also host an annual exhibition for Ruth Asawa San Francisco School of the Arts students and faculty.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13988048/ruth-asawa-exhibition-space-minnesota-street-project",
"authors": [
"61"
],
"categories": [
"arts_1",
"arts_235",
"arts_70"
],
"tags": [
"arts_10278",
"arts_22219",
"arts_10561"
],
"featImg": "arts_13988051",
"label": "arts"
},
"arts_13986545": {
"type": "posts",
"id": "arts_13986545",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13986545",
"score": null,
"sort": [
1770936153000
]
},
"guestAuthors": [],
"slug": "afropop-review-art-of-contemporary-africa-gallery-minnesota-st-project-sf",
"title": "San Francisco Gets a Brand New Gallery — With a Focus on African Artists",
"publishDate": 1770936153,
"format": "aside",
"headTitle": "San Francisco Gets a Brand New Gallery — With a Focus on African Artists | KQED",
"labelTerm": {},
"content": "\u003cfigure id=\"attachment_13986618\" class=\"wp-caption aligncenter\" style=\"max-width: 1667px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13986618 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/swan.png\" alt=\"A contemporary painting featuring a Black woman wearing a hair wrap, her back to the viewer, with a white swan draped over her front, its neck resting on her shoulder. She is wearing blue jeans. \" width=\"1667\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/swan.png 1667w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/swan-160x192.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/swan-768x921.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/swan-1280x1536.png 1280w\" sizes=\"auto, (max-width: 1667px) 100vw, 1667px\">\u003cfigcaption class=\"wp-caption-text\">Ayanda Mabulu, ‘The Load,’ 2025. \u003ccite>(Courtesy of AOCA )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The first thing you see when you enter \u003ca href=\"https://www.aocaart.com/\">Art of Contemporary Africa\u003c/a> (AOCA) — a brand new gallery at the \u003ca href=\"https://www.kqed.org/arts/tag/minnesota-street-project\">Minnesota Street Project\u003c/a> — are three stunning, large scale, oil and gold leaf portraits of Black women by Ayanda Mabulu. In his own country, Mabulu is a controversial figure known for unflinching depictions of South Africa’s political landscape, from the apartheid era to the present day. His work often inspires heated discussion, outrage and discomfort.\u003c/p>\n\u003cp>The three pieces Mabulu contributes to AOCA’s inaugural exhibition \u003cem>Afropop\u003c/em>, however, are unexpectedly serene. \u003cem>The Load\u003c/em>, \u003cem>The Hunt\u003c/em> and \u003cem>Nongqawuse\u003c/em> each focus on African women as holders of cultural memory, power and adaptability. Mabulu’s work here is a stunning start to a show that offers a mixed bag of contemporary talent, brought together as a means to display work by artists from as many corners of the African continent as possible.\u003c/p>\n\u003cp>[aside postid='arts_13985813']AOCA has been three years in the making, a sister gallery to Johannesburg’s \u003ca href=\"https://themelrosegallery.com/\">The Melrose\u003c/a>, started by Craig Mark and fine art photographer Clint Strydom eight years ago. Mark and Strydom have long been focused on bringing contemporary African art to American audiences whenever art fairs around the country — in Miami, Los Angeles, Palm Beach, Chicago and others — presented the opportunity.\u003c/p>\n\u003cp>The decision to open a permanent gallery in San Francisco arose after Mark’s three children moved to the Bay Area to study at \u003ca href=\"https://www.kqed.org/news/tag/university-of-san-francisco\">University of San Francisco\u003c/a> and \u003ca href=\"https://www.kqed.org/news/tag/uc-berkeley\">UC Berkeley\u003c/a>. Mark says he immediately felt at home in San Francisco, where he is now based full-time.\u003c/p>\n\u003cp>“I felt similarities with Capetown,” he tells KQED Arts. “The vibes, the geography, the community engagement, the beautiful mix of different genres. There’s always something going on in the city.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>AOCA moves into the Minnesota Street Project space that was previously home to Rena Bransten Gallery. Mark is the first new tenant in the complex after \u003ca href=\"https://www.kqed.org/arts/13984752/jack-fischer-gallery-closing-minnesota-street-project\">four galleries announced their closure\u003c/a> in late 2025.\u003c/p>\n\u003cfigure id=\"attachment_13986651\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986651\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/battle-of-choice.png\" alt=\"A piece of contemporary art, dark with several glowing elements depicts a distorted view of humanity, twisted and blended with animals.\" width=\"2000\" height=\"1721\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/battle-of-choice.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/battle-of-choice-160x138.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/battle-of-choice-768x661.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/battle-of-choice-1536x1322.png 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Mwass Githinji, ‘The Battle of Choice.’ \u003ccite>(Courtesy of AOCA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The artists featured in \u003cem>Afropop\u003c/em> hail from Uganda, Kenya, Ivory Coast, Cameroon, Democratic Republic of Congo, South Africa, Costa Rica and Barbados. They range in age from 25 to 90. And though the work in the show doesn’t always feel unified in style or theme, one gets the impression that Mark and Strydom are simply keen to show the Bay, right out of the gate, the wide range of what the contemporary African art world has to offer.\u003c/p>\n\u003cp>“A lot of the \u003cem>Afropop\u003c/em> works have traditional elements to them but also have a modern, contemporary feel that gives the show an interesting energy,” Mark says. “[\u003cem>Afropop\u003c/em> is] not supposed to be a representation of Africa as a whole. There’s one and a half billion people there! But by 2030, it’s estimated that 42% of the world’s youth will be in Africa. Their voice becomes extremely important globally. So I think you’re going to see more and more African [art] shows [in the U.S.]”\u003c/p>\n\u003cp>[aside postid='arts_13986355']Other standout pieces featured in \u003cem>Afropop\u003c/em> include \u003cem>The Battle of Choice\u003c/em> and \u003cem>Doomed\u003c/em> by Mwass Githinji. The 31-year-old Kenyan artist explores mythological underworlds and ongoing skirmishes between man and nature. So dimly lit and disorienting are his oil and pastel works, the viewer can’t help but think of the Mariana Trench’s deep sea creatures, both monstrous and fascinating to the human eye.\u003c/p>\n\u003cp>Elsewhere, Marcel Tchopwe explores the dearth of professional jobs in his native Cameroon, for even the most qualified candidates. \u003cem>Docteur de call box\u003c/em> depicts a man in scrubs, stethoscope slung around his neck, hawking cell phones on a street corner, seated dejectedly on a plastic chair.\u003c/p>\n\u003cfigure id=\"attachment_13986652\" class=\"wp-caption aligncenter\" style=\"max-width: 1882px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986652\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/calls-50.png\" alt=\"A predominantly lilac and purple painting depicting a Black man in doctor's scrubs seated on a plastic chair underneath a white umbrella. A sign at his right reads CALLS 50.\" width=\"1882\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/calls-50.png 1882w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/calls-50-160x170.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/calls-50-768x816.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/calls-50-1445x1536.png 1445w\" sizes=\"auto, (max-width: 1882px) 100vw, 1882px\">\u003cfigcaption class=\"wp-caption-text\">Marcel Tchopwe, ‘Docteur de call box.’ \u003ccite>(Courtesy of AOCA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Other artists on display include Akilah Watts, Dr. Willie Bester, Mederic Turay, Aza Mansongi, Edozie Anedu and Pascal Konan.\u003c/p>\n\u003cp>[aside postid='arts_13986135']In the future, Mark is hoping that AOCA can bring together African and African American artists for collaborations and panel discussions at the gallery. In the meantime, after \u003cem>Afropop\u003c/em> opens, Mark and Strydom will work with the \u003ca href=\"https://www.amfedarts.org/\">American Federation of Arts\u003c/a> to tour an exhibition of pieces by Dr. Esther Mahlangu, whose striking work also appears in \u003cem>Afropop\u003c/em>. The 90-year-old artist explores her heritage in large-scale paintings and pottery inspired by the murals of the Ndebele people.\u003c/p>\n\u003cp>“There has been a traditional underrepresentation of African artists in the U.S. Very few of them have done museum shows,” Mark notes. “Artists from Africa need this kind of international exposure.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Afropop’ is on view at \u003ca href=\"https://www.aocaart.com/\">Art of Contemporary Africa\u003c/a> (1275 Minnesota St., San Francisco) Feb. 12–March 29, 2026. The opening reception takes place Thursday, Feb. 12, 6:30–9:30 p.m.\u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "Art of Contemporary Africa opens with a group show in one of Minnesota Street Project’s recently vacated galleries.",
"status": "publish",
"parent": 0,
"modified": 1770937827,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 16,
"wordCount": 844
},
"headData": {
"title": "New Gallery Brings Art of Contemporary Africa to SF | KQED",
"description": "Art of Contemporary Africa opens with a group show in one of Minnesota Street Project’s recently vacated galleries.",
"ogTitle": "San Francisco Gets a Brand New Gallery — With a Focus on African Artists",
"ogDescription": "",
"ogImgId": "",
"twTitle": "San Francisco Gets a Brand New Gallery — With a Focus on African Artists",
"twDescription": "",
"twImgId": "",
"socialTitle": "New Gallery Brings Art of Contemporary Africa to SF %%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "San Francisco Gets a Brand New Gallery — With a Focus on African Artists",
"datePublished": "2026-02-12T14:42:33-08:00",
"dateModified": "2026-02-12T15:10:27-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"primaryCategory": {
"termId": 1,
"slug": "arts",
"name": "Arts"
},
"source": "The Do List",
"sourceUrl": "https://www.kqed.org/thedolist",
"sticky": false,
"nprStoryId": "kqed-13986545",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13986545/afropop-review-art-of-contemporary-africa-gallery-minnesota-st-project-sf",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13986618\" class=\"wp-caption aligncenter\" style=\"max-width: 1667px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13986618 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/swan.png\" alt=\"A contemporary painting featuring a Black woman wearing a hair wrap, her back to the viewer, with a white swan draped over her front, its neck resting on her shoulder. She is wearing blue jeans. \" width=\"1667\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/swan.png 1667w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/swan-160x192.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/swan-768x921.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/swan-1280x1536.png 1280w\" sizes=\"auto, (max-width: 1667px) 100vw, 1667px\">\u003cfigcaption class=\"wp-caption-text\">Ayanda Mabulu, ‘The Load,’ 2025. \u003ccite>(Courtesy of AOCA )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The first thing you see when you enter \u003ca href=\"https://www.aocaart.com/\">Art of Contemporary Africa\u003c/a> (AOCA) — a brand new gallery at the \u003ca href=\"https://www.kqed.org/arts/tag/minnesota-street-project\">Minnesota Street Project\u003c/a> — are three stunning, large scale, oil and gold leaf portraits of Black women by Ayanda Mabulu. In his own country, Mabulu is a controversial figure known for unflinching depictions of South Africa’s political landscape, from the apartheid era to the present day. His work often inspires heated discussion, outrage and discomfort.\u003c/p>\n\u003cp>The three pieces Mabulu contributes to AOCA’s inaugural exhibition \u003cem>Afropop\u003c/em>, however, are unexpectedly serene. \u003cem>The Load\u003c/em>, \u003cem>The Hunt\u003c/em> and \u003cem>Nongqawuse\u003c/em> each focus on African women as holders of cultural memory, power and adaptability. Mabulu’s work here is a stunning start to a show that offers a mixed bag of contemporary talent, brought together as a means to display work by artists from as many corners of the African continent as possible.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13985813",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>AOCA has been three years in the making, a sister gallery to Johannesburg’s \u003ca href=\"https://themelrosegallery.com/\">The Melrose\u003c/a>, started by Craig Mark and fine art photographer Clint Strydom eight years ago. Mark and Strydom have long been focused on bringing contemporary African art to American audiences whenever art fairs around the country — in Miami, Los Angeles, Palm Beach, Chicago and others — presented the opportunity.\u003c/p>\n\u003cp>The decision to open a permanent gallery in San Francisco arose after Mark’s three children moved to the Bay Area to study at \u003ca href=\"https://www.kqed.org/news/tag/university-of-san-francisco\">University of San Francisco\u003c/a> and \u003ca href=\"https://www.kqed.org/news/tag/uc-berkeley\">UC Berkeley\u003c/a>. Mark says he immediately felt at home in San Francisco, where he is now based full-time.\u003c/p>\n\u003cp>“I felt similarities with Capetown,” he tells KQED Arts. “The vibes, the geography, the community engagement, the beautiful mix of different genres. There’s always something going on in the city.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>AOCA moves into the Minnesota Street Project space that was previously home to Rena Bransten Gallery. Mark is the first new tenant in the complex after \u003ca href=\"https://www.kqed.org/arts/13984752/jack-fischer-gallery-closing-minnesota-street-project\">four galleries announced their closure\u003c/a> in late 2025.\u003c/p>\n\u003cfigure id=\"attachment_13986651\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986651\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/battle-of-choice.png\" alt=\"A piece of contemporary art, dark with several glowing elements depicts a distorted view of humanity, twisted and blended with animals.\" width=\"2000\" height=\"1721\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/battle-of-choice.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/battle-of-choice-160x138.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/battle-of-choice-768x661.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/battle-of-choice-1536x1322.png 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Mwass Githinji, ‘The Battle of Choice.’ \u003ccite>(Courtesy of AOCA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The artists featured in \u003cem>Afropop\u003c/em> hail from Uganda, Kenya, Ivory Coast, Cameroon, Democratic Republic of Congo, South Africa, Costa Rica and Barbados. They range in age from 25 to 90. And though the work in the show doesn’t always feel unified in style or theme, one gets the impression that Mark and Strydom are simply keen to show the Bay, right out of the gate, the wide range of what the contemporary African art world has to offer.\u003c/p>\n\u003cp>“A lot of the \u003cem>Afropop\u003c/em> works have traditional elements to them but also have a modern, contemporary feel that gives the show an interesting energy,” Mark says. “[\u003cem>Afropop\u003c/em> is] not supposed to be a representation of Africa as a whole. There’s one and a half billion people there! But by 2030, it’s estimated that 42% of the world’s youth will be in Africa. Their voice becomes extremely important globally. So I think you’re going to see more and more African [art] shows [in the U.S.]”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13986355",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Other standout pieces featured in \u003cem>Afropop\u003c/em> include \u003cem>The Battle of Choice\u003c/em> and \u003cem>Doomed\u003c/em> by Mwass Githinji. The 31-year-old Kenyan artist explores mythological underworlds and ongoing skirmishes between man and nature. So dimly lit and disorienting are his oil and pastel works, the viewer can’t help but think of the Mariana Trench’s deep sea creatures, both monstrous and fascinating to the human eye.\u003c/p>\n\u003cp>Elsewhere, Marcel Tchopwe explores the dearth of professional jobs in his native Cameroon, for even the most qualified candidates. \u003cem>Docteur de call box\u003c/em> depicts a man in scrubs, stethoscope slung around his neck, hawking cell phones on a street corner, seated dejectedly on a plastic chair.\u003c/p>\n\u003cfigure id=\"attachment_13986652\" class=\"wp-caption aligncenter\" style=\"max-width: 1882px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986652\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/calls-50.png\" alt=\"A predominantly lilac and purple painting depicting a Black man in doctor's scrubs seated on a plastic chair underneath a white umbrella. A sign at his right reads CALLS 50.\" width=\"1882\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/calls-50.png 1882w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/calls-50-160x170.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/calls-50-768x816.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/calls-50-1445x1536.png 1445w\" sizes=\"auto, (max-width: 1882px) 100vw, 1882px\">\u003cfigcaption class=\"wp-caption-text\">Marcel Tchopwe, ‘Docteur de call box.’ \u003ccite>(Courtesy of AOCA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Other artists on display include Akilah Watts, Dr. Willie Bester, Mederic Turay, Aza Mansongi, Edozie Anedu and Pascal Konan.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13986135",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>In the future, Mark is hoping that AOCA can bring together African and African American artists for collaborations and panel discussions at the gallery. In the meantime, after \u003cem>Afropop\u003c/em> opens, Mark and Strydom will work with the \u003ca href=\"https://www.amfedarts.org/\">American Federation of Arts\u003c/a> to tour an exhibition of pieces by Dr. Esther Mahlangu, whose striking work also appears in \u003cem>Afropop\u003c/em>. The 90-year-old artist explores her heritage in large-scale paintings and pottery inspired by the murals of the Ndebele people.\u003c/p>\n\u003cp>“There has been a traditional underrepresentation of African artists in the U.S. Very few of them have done museum shows,” Mark notes. “Artists from Africa need this kind of international exposure.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Afropop’ is on view at \u003ca href=\"https://www.aocaart.com/\">Art of Contemporary Africa\u003c/a> (1275 Minnesota St., San Francisco) Feb. 12–March 29, 2026. The opening reception takes place Thursday, Feb. 12, 6:30–9:30 p.m.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13986545/afropop-review-art-of-contemporary-africa-gallery-minnesota-st-project-sf",
"authors": [
"11242"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_75",
"arts_22313",
"arts_70"
],
"tags": [
"arts_4976",
"arts_2438",
"arts_10278",
"arts_22219",
"arts_585"
],
"featImg": "arts_13986653",
"label": "source_arts_13986545"
},
"arts_13984752": {
"type": "posts",
"id": "arts_13984752",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13984752",
"score": null,
"sort": [
1765415412000
]
},
"guestAuthors": [],
"slug": "jack-fischer-gallery-closing-minnesota-street-project",
"title": "Jack Fischer Is Fourth Gallery to Close at Minnesota Street Project",
"publishDate": 1765415412,
"format": "standard",
"headTitle": "Jack Fischer Is Fourth Gallery to Close at Minnesota Street Project | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>Just a week after Anglim/Trimble became the third gallery at Minnesota Street Project to \u003ca href=\"https://www.kqed.org/arts/13984541/anglim-trimble-closing-minnesota-street-project-rena-bransten-altman-siegel\">announce its closure\u003c/a>, a fourth has joined the list. \u003ca href=\"https://www.jackfischergallery.com/\">Jack Fischer Gallery\u003c/a>, established in 2002, will close at the end of January 2026.\u003c/p>\n\u003cp>[aside postID='arts_13984541']“The reasons are many, but suffice to say that it has become unsustainable from the personal to the existing gallery model,” today’s email announcement reads. Fischer notes that he is not retiring, but moving to a different venue he did not identify, “one with a smaller profile that is more sustainable.” He will continue to represent gallery artists. \u003c/p>\n\u003cp>From the start of his career, Fischer championed artists with disabilities, exhibiting work by Judith Scott, \u003ca href=\"https://www.kqed.org/arts/13967216/marlon-mullen-richmond-niad-new-york-moma-solo-show\">Marlon Mullen\u003c/a> and Camille Holvoet, and collaborating with organizations like Creativity Explored, Creative Growth and NIAD. “The common ground of every work is based on intuition, vision and heart,” Fischer’s website states. “One of the most important factors in the program is that the hand of the artist be readily apparent.”\u003c/p>\n\u003cp>Before he had a fixed location, Fischer operated as a private dealer. Jack Fischer Gallery opened in the Union Square-adjacent 49 Geary building in the early 2000s and moved to 311 Potrero Ave. in 2013. In 2016, Fischer was one of the “founding” tenants at Minnesota Street Project. He gave up the gallery’s Potrero Avenue location in 2020.\u003c/p>\n\u003cp>The news comes after the announcement of Anglim/Trimble’s upcoming closure at the end of December, and the Nov. 22 closures of \u003ca href=\"https://renabranstengallery.com/\">Rena Bransten\u003c/a> and \u003ca href=\"https://altmansiegel.com/\">Altman Siegel\u003c/a>; all are part of the Dogpatch arts complex established by Deborah and Andy Rappaport just under a decade ago. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Prior to this, the Minnesota Street Project had 16 tenants — a mix of commercial galleries, nonprofit art spaces and one museum. This year’s closures represent 25% of the complex’s occupants.\u003c/p>\n\u003cp>In a recent interview with KQED, Andy Rappaport said the project has some gallery tenants already lined up to fill the soon-to-be vacant spaces. Other galleries will remain unoccupied, to allow for short-term projects and rentals.\u003c/p>\n\u003cp>Rappaport pointed out that it has become difficult for galleries to sell work outside of art fairs. Without sales, even in a building that offers tenants below-market-rate rent, expenses can easily outpace revenue.\u003c/p>\n\u003cp>“We have said to some, just as kind of a thought experiment, ‘What if your gallery was free? Would that solve the problem?’” Rappaport said. “And in this case the answer is no, because it’s a demand and an industry structure problem much more than than it’s simply a gallery cost problem.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Jack Fischer Gallery’s current show, \u003ci>\u003ca href=\"https://www.jackfischergallery.com/\">Timelines\u003c/a>\u003c/i>, featuring watercolors of found books by Ian Everard and drawings by Chris Whitefield, will remain on view through Jan. 30, 2026.\u003c/p>\n\n",
"blocks": [],
"excerpt": "Jack Fischer Gallery will move out at the end of January for a yet-to-be-announced smaller venue.",
"status": "publish",
"parent": 0,
"modified": 1765416794,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 12,
"wordCount": 491
},
"headData": {
"title": "Jack Fischer Gallery to Close at Minnesota Street Project | KQED",
"description": "Jack Fischer Gallery will move out at the end of January for a yet-to-be-announced smaller venue.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"socialTitle": "Jack Fischer Gallery to Close at Minnesota Street Project %%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Jack Fischer Is Fourth Gallery to Close at Minnesota Street Project",
"datePublished": "2025-12-10T17:10:12-08:00",
"dateModified": "2025-12-10T17:33:14-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"primaryCategory": {
"termId": 1,
"slug": "arts",
"name": "Arts"
},
"sticky": false,
"nprStoryId": "kqed-13984752",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13984752/jack-fischer-gallery-closing-minnesota-street-project",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Just a week after Anglim/Trimble became the third gallery at Minnesota Street Project to \u003ca href=\"https://www.kqed.org/arts/13984541/anglim-trimble-closing-minnesota-street-project-rena-bransten-altman-siegel\">announce its closure\u003c/a>, a fourth has joined the list. \u003ca href=\"https://www.jackfischergallery.com/\">Jack Fischer Gallery\u003c/a>, established in 2002, will close at the end of January 2026.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13984541",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>“The reasons are many, but suffice to say that it has become unsustainable from the personal to the existing gallery model,” today’s email announcement reads. Fischer notes that he is not retiring, but moving to a different venue he did not identify, “one with a smaller profile that is more sustainable.” He will continue to represent gallery artists. \u003c/p>\n\u003cp>From the start of his career, Fischer championed artists with disabilities, exhibiting work by Judith Scott, \u003ca href=\"https://www.kqed.org/arts/13967216/marlon-mullen-richmond-niad-new-york-moma-solo-show\">Marlon Mullen\u003c/a> and Camille Holvoet, and collaborating with organizations like Creativity Explored, Creative Growth and NIAD. “The common ground of every work is based on intuition, vision and heart,” Fischer’s website states. “One of the most important factors in the program is that the hand of the artist be readily apparent.”\u003c/p>\n\u003cp>Before he had a fixed location, Fischer operated as a private dealer. Jack Fischer Gallery opened in the Union Square-adjacent 49 Geary building in the early 2000s and moved to 311 Potrero Ave. in 2013. In 2016, Fischer was one of the “founding” tenants at Minnesota Street Project. He gave up the gallery’s Potrero Avenue location in 2020.\u003c/p>\n\u003cp>The news comes after the announcement of Anglim/Trimble’s upcoming closure at the end of December, and the Nov. 22 closures of \u003ca href=\"https://renabranstengallery.com/\">Rena Bransten\u003c/a> and \u003ca href=\"https://altmansiegel.com/\">Altman Siegel\u003c/a>; all are part of the Dogpatch arts complex established by Deborah and Andy Rappaport just under a decade ago. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Prior to this, the Minnesota Street Project had 16 tenants — a mix of commercial galleries, nonprofit art spaces and one museum. This year’s closures represent 25% of the complex’s occupants.\u003c/p>\n\u003cp>In a recent interview with KQED, Andy Rappaport said the project has some gallery tenants already lined up to fill the soon-to-be vacant spaces. Other galleries will remain unoccupied, to allow for short-term projects and rentals.\u003c/p>\n\u003cp>Rappaport pointed out that it has become difficult for galleries to sell work outside of art fairs. Without sales, even in a building that offers tenants below-market-rate rent, expenses can easily outpace revenue.\u003c/p>\n\u003cp>“We have said to some, just as kind of a thought experiment, ‘What if your gallery was free? Would that solve the problem?’” Rappaport said. “And in this case the answer is no, because it’s a demand and an industry structure problem much more than than it’s simply a gallery cost problem.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Jack Fischer Gallery’s current show, \u003ci>\u003ca href=\"https://www.jackfischergallery.com/\">Timelines\u003c/a>\u003c/i>, featuring watercolors of found books by Ian Everard and drawings by Chris Whitefield, will remain on view through Jan. 30, 2026.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13984752/jack-fischer-gallery-closing-minnesota-street-project",
"authors": [
"61"
],
"categories": [
"arts_1",
"arts_70"
],
"tags": [
"arts_10278",
"arts_3649",
"arts_22219"
],
"featImg": "arts_13984761",
"label": "arts"
},
"arts_13984541": {
"type": "posts",
"id": "arts_13984541",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13984541",
"score": null,
"sort": [
1764946805000
]
},
"guestAuthors": [],
"slug": "anglim-trimble-closing-minnesota-street-project-rena-bransten-altman-siegel",
"title": "A Third Gallery to Close at Minnesota Street Project",
"publishDate": 1764946805,
"format": "standard",
"headTitle": "A Third Gallery to Close at Minnesota Street Project | KQED",
"labelTerm": {
"site": "arts"
},
"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",
"blocks": [],
"excerpt": "Anglim/Trimble will close at the end of December, following Rena Bransten and Altman Siegel. ",
"status": "publish",
"parent": 0,
"modified": 1764913289,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 22,
"wordCount": 1115
},
"headData": {
"title": "A Third Minnesota Street Project Gallery Shutters | KQED",
"description": "Anglim/Trimble will close at the end of December, following Rena Bransten and Altman Siegel. ",
"ogTitle": "A Third Gallery to Close at Minnesota Street Project",
"ogDescription": "",
"ogImgId": "",
"twTitle": "A Third Gallery to Close at Minnesota Street Project",
"twDescription": "",
"twImgId": "",
"socialTitle": "A Third Minnesota Street Project Gallery Shutters %%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "A Third Gallery to Close at Minnesota Street Project",
"datePublished": "2025-12-05T07:00:05-08:00",
"dateModified": "2025-12-04T21:41:29-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"primaryCategory": {
"termId": 1,
"slug": "arts",
"name": "Arts"
},
"sticky": false,
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13984541/anglim-trimble-closing-minnesota-street-project-rena-bransten-altman-siegel",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"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>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_11406035",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"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>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"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>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"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>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13984541/anglim-trimble-closing-minnesota-street-project-rena-bransten-altman-siegel",
"authors": [
"61"
],
"categories": [
"arts_1",
"arts_235",
"arts_70"
],
"tags": [
"arts_10278",
"arts_22219"
],
"featImg": "arts_13984558",
"label": "arts"
},
"arts_13978572": {
"type": "posts",
"id": "arts_13978572",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13978572",
"score": null,
"sort": [
1752173081000
]
},
"guestAuthors": [],
"slug": "sf-art-book-fair-2025-minnesota-street-project-san-francisco",
"title": "Bigger Than Ever, the SF Art Book Fair Returns With Zines and Small Presses Galore",
"publishDate": 1752173081,
"format": "standard",
"headTitle": "Bigger Than Ever, the SF Art Book Fair Returns With Zines and Small Presses Galore | KQED",
"labelTerm": {},
"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",
"blocks": [],
"excerpt": "Panels, on-site presses and even a celebrity dog add to the DIY offerings at this annual print soirée.",
"status": "publish",
"parent": 0,
"modified": 1752173081,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 12,
"wordCount": 567
},
"headData": {
"title": "SF Art Book Fair Returns With Zines, Small Presses Galore | KQED",
"description": "Panels, on-site presses and even a celebrity dog add to the DIY offerings at this annual print soirée.",
"ogTitle": "Bigger Than Ever, the SF Art Book Fair Returns With Zines and Small Presses Galore",
"ogDescription": "",
"ogImgId": "",
"twTitle": "Bigger Than Ever, the SF Art Book Fair Returns With Zines and Small Presses Galore",
"twDescription": "",
"twImgId": "",
"socialTitle": "SF Art Book Fair Returns With Zines, Small Presses Galore %%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Bigger Than Ever, the SF Art Book Fair Returns With Zines and Small Presses Galore",
"datePublished": "2025-07-10T11:44:41-07:00",
"dateModified": "2025-07-10T11:44:41-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"primaryCategory": {
"termId": 1,
"slug": "arts",
"name": "Arts"
},
"source": "The Do List",
"sourceUrl": "https://www.kqed.org/thedolist",
"sticky": false,
"nprStoryId": "kqed-13978572",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13978572/sf-art-book-fair-2025-minnesota-street-project-san-francisco",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"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>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\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>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13961341",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"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>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13978572/sf-art-book-fair-2025-minnesota-street-project-san-francisco",
"authors": [
"185"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_73",
"arts_22313",
"arts_70"
],
"tags": [
"arts_10278",
"arts_22219",
"arts_1146",
"arts_914"
],
"featImg": "arts_13978576",
"label": "source_arts_13978572"
},
"arts_13973328": {
"type": "posts",
"id": "arts_13973328",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13973328",
"score": null,
"sort": [
1742414849000
]
},
"guestAuthors": [],
"slug": "di-rosa-napa-rental-closure-san-francisco-incorrect-museum",
"title": "di Rosa to Open Exhibition Space in San Francisco, Lay Off Staff",
"publishDate": 1742414849,
"format": "standard",
"headTitle": "di Rosa to Open Exhibition Space in San Francisco, Lay Off Staff | KQED",
"labelTerm": {
"site": "arts"
},
"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",
"blocks": [],
"excerpt": "The Napa art museum will convert galleries to permanent rental spaces in an effort to become financially stable.",
"status": "publish",
"parent": 0,
"modified": 1764894381,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 8,
"wordCount": 348
},
"headData": {
"title": "di Rosa to Open Space in San Francisco, Lay Off Staff | KQED",
"description": "The Napa art museum will convert galleries to permanent rental spaces in an effort to become financially stable.",
"ogTitle": "di Rosa to Open Exhibition Space in San Francisco, Lay Off Staff",
"ogDescription": "",
"ogImgId": "",
"twTitle": "di Rosa to Open Exhibition Space in San Francisco, Lay Off Staff",
"twDescription": "",
"twImgId": "",
"socialTitle": "di Rosa to Open Space in San Francisco, Lay Off Staff %%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "di Rosa to Open Exhibition Space in San Francisco, Lay Off Staff",
"datePublished": "2025-03-19T13:07:29-07:00",
"dateModified": "2025-12-04T16:26:21-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"primaryCategory": {
"termId": 1,
"slug": "arts",
"name": "Arts"
},
"sticky": false,
"nprStoryId": "kqed-13973328",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13973328/di-rosa-napa-rental-closure-san-francisco-incorrect-museum",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"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>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\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\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13973328/di-rosa-napa-rental-closure-san-francisco-incorrect-museum",
"authors": [
"61"
],
"categories": [
"arts_1",
"arts_235",
"arts_70"
],
"tags": [
"arts_2225",
"arts_10278",
"arts_22219",
"arts_1855"
],
"featImg": "arts_13973332",
"label": "arts"
},
"arts_13961341": {
"type": "posts",
"id": "arts_13961341",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13961341",
"score": null,
"sort": [
1721414023000
]
},
"guestAuthors": [],
"slug": "sf-art-book-fair-zines-underground-small-press-review",
"title": "8 of the Coolest Things We Saw at the SF Art Book Fair",
"publishDate": 1721414023,
"format": "standard",
"headTitle": "8 of the Coolest Things We Saw at the SF Art Book Fair | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"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",
"blocks": [],
"excerpt": "1980s lowrider art! Cool Emeryville facts! Bay Area DIY show photos! We found all of this and more.",
"status": "publish",
"parent": 0,
"modified": 1727809929,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 22,
"wordCount": 1521
},
"headData": {
"title": "8 of the Coolest Things We Saw at the SF Art Book Fair | KQED",
"description": "1980s lowrider art! Cool Emeryville facts! Bay Area DIY show photos! We found all of this and more.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "8 of the Coolest Things We Saw at the SF Art Book Fair",
"datePublished": "2024-07-19T11:33:43-07:00",
"dateModified": "2024-10-01T12:12:09-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprStoryId": "kqed-13961341",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13961341/sf-art-book-fair-zines-underground-small-press-review",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"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>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"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>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"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>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13961341/sf-art-book-fair-zines-underground-small-press-review",
"authors": [
"185"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_73",
"arts_70"
],
"tags": [
"arts_928",
"arts_10278",
"arts_22219",
"arts_1146",
"arts_585",
"arts_914"
],
"featImg": "arts_13961382",
"label": "arts_140"
},
"arts_13937370": {
"type": "posts",
"id": "arts_13937370",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13937370",
"score": null,
"sort": [
1698873728000
]
},
"guestAuthors": [],
"slug": "tana-quincy-arcega-spirit-of-scrappiness-re-riddle",
"title": "‘Spirit of Scrappiness’ Revels in a Material Squish at re.riddle",
"publishDate": 1698873728,
"format": "standard",
"headTitle": "‘Spirit of Scrappiness’ Revels in a Material Squish at re.riddle | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"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",
"blocks": [],
"excerpt": "Tana Quincy Arcega’s solo show blends taut fabrics with delightfully goopy grout and spackle extrusions. ",
"status": "publish",
"parent": 0,
"modified": 1764897597,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 9,
"wordCount": 436
},
"headData": {
"title": "‘Spirit of Scrappiness’ Revels in a Material Squish at re.riddle | KQED",
"description": "Tana Quincy Arcega’s solo show blends taut fabrics with delightfully goopy grout and spackle extrusions. ",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "‘Spirit of Scrappiness’ Revels in a Material Squish at re.riddle",
"datePublished": "2023-11-01T14:22:08-07:00",
"dateModified": "2025-12-04T17:19:57-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"primaryCategory": {
"termId": 1,
"slug": "arts",
"name": "Arts"
},
"sticky": false,
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13937370/tana-quincy-arcega-spirit-of-scrappiness-re-riddle",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"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>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"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>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13937370/tana-quincy-arcega-spirit-of-scrappiness-re-riddle",
"authors": [
"61"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_70"
],
"tags": [
"arts_22219",
"arts_585",
"arts_901"
],
"featImg": "arts_13937410",
"label": "arts_140"
},
"arts_13068572": {
"type": "posts",
"id": "arts_13068572",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13068572",
"score": null,
"sort": [
1492542007000
]
},
"guestAuthors": [],
"slug": "fake-newsroom-reimagines-1983-photo-project-about-truth-and-media",
"title": "'Fake Newsroom' Reimagines 1983 Photo Project About Truth and Media",
"publishDate": 1492542007,
"format": "standard",
"headTitle": "‘Fake Newsroom’ Reimagines 1983 Photo Project About Truth and Media | KQED",
"labelTerm": {
"site": "arts"
},
"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",
"blocks": [],
"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.",
"status": "publish",
"parent": 0,
"modified": 1764897559,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 17,
"wordCount": 985
},
"headData": {
"title": "'Fake Newsroom' Reimagines 1983 Photo Project About Truth and Media | KQED",
"description": "To examine hidden biases of the media in the age of "fake news," contemporary photographers restage an installation by Larry Sultan and Mike Mandel.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "'Fake Newsroom' Reimagines 1983 Photo Project About Truth and Media",
"datePublished": "2017-04-18T12:00:07-07:00",
"dateModified": "2025-12-04T17:19:19-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"primaryCategory": {
"termId": 70,
"slug": "visualarts",
"name": "Visual Arts"
},
"sticky": false,
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13068572/fake-newsroom-reimagines-1983-photo-project-about-truth-and-media",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"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>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"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>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13068572/fake-newsroom-reimagines-1983-photo-project-about-truth-and-media",
"authors": [
"61"
],
"categories": [
"arts_70"
],
"tags": [
"arts_1642",
"arts_1118",
"arts_22219",
"arts_596",
"arts_769"
],
"featImg": "arts_13068577",
"label": "arts"
}
},
"podcastsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"podcasts": {}
},
"radioProgramsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"radioPrograms": {}
},
"radioSearchSegmentsReducer": {},
"programsReducer": {
"all-things-considered": {
"id": "all-things-considered",
"title": "All Things Considered",
"info": "Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. Michel Martin hosts on the weekends.",
"airtime": "MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/all-things-considered/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/all-things-considered"
},
"american-suburb-podcast": {
"id": "american-suburb-podcast",
"title": "American Suburb: The Podcast",
"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg",
"officialWebsiteLink": "/news/series/american-suburb-podcast",
"meta": {
"site": "news",
"source": "kqed",
"order": 19
},
"link": "/news/series/american-suburb-podcast/",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/RBrW",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328",
"tuneIn": "https://tunein.com/radio/American-Suburb-p1086805/",
"rss": "https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"
}
},
"baycurious": {
"id": "baycurious",
"title": "Bay Curious",
"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Bay Curious",
"officialWebsiteLink": "/news/series/baycurious",
"meta": {
"site": "news",
"source": "kqed",
"order": 3
},
"link": "/podcasts/baycurious",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/bay-curious/id1172473406",
"npr": "https://www.npr.org/podcasts/500557090/bay-curious",
"rss": "https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast",
"amazon": "https://music.amazon.com/podcasts/9a90d476-aa04-455d-9a4c-0871ed6216d4/bay-curious",
"stitcher": "https://www.stitcher.com/podcast/kqed/bay-curious",
"spotify": "https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"
}
},
"bbc-world-service": {
"id": "bbc-world-service",
"title": "BBC World Service",
"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
"airtime": "MON-FRI 9pm-10pm, TUE-FRI 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.bbc.co.uk/sounds/play/live:bbc_world_service",
"meta": {
"site": "news",
"source": "BBC World Service"
},
"link": "/radio/program/bbc-world-service",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2",
"tuneIn": "https://tunein.com/radio/BBC-World-Service-p455581/",
"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report",
"officialWebsiteLink": "/californiareport",
"meta": {
"site": "news",
"source": "kqed",
"order": 8
},
"link": "/californiareport",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-the-california-report/id79681292",
"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
"npr": "https://www.npr.org/podcasts/432285393/the-california-report",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-the-california-report-podcast-8838",
"rss": "https://ww2.kqed.org/news/tag/tcram/feed/podcast"
}
},
"californiareportmagazine": {
"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Magazine-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report Magazine",
"officialWebsiteLink": "/californiareportmagazine",
"meta": {
"site": "news",
"source": "kqed",
"order": 10
},
"link": "/californiareportmagazine",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-california-report-magazine/id1314750545",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
"npr": "https://www.npr.org/podcasts/564733126/the-california-report-magazine",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-california-report-magazine",
"rss": "https://ww2.kqed.org/news/tag/tcrmag/feed/podcast"
}
},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
"tagline": "Your irreverent guide to the trends redefining our world",
"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/02/CAT_2_Tile-scaled.jpg",
"imageAlt": "KQED Close All Tabs",
"officialWebsiteLink": "/podcasts/closealltabs",
"meta": {
"site": "news",
"source": "kqed",
"order": 1
},
"link": "/podcasts/closealltabs",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/close-all-tabs/id214663465",
"rss": "https://feeds.megaphone.fm/KQINC6993880386",
"amazon": "https://music.amazon.com/podcasts/92d9d4ac-67a3-4eed-b10a-fb45d45b1ef2/close-all-tabs",
"spotify": "https://open.spotify.com/show/6LAJFHnGK1pYXYzv6SIol6?si=deb0cae19813417c"
}
},
"code-switch-life-kit": {
"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
"airtime": "SUN 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/code-switch-life-kit",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
"spotify": "https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV",
"rss": "https://feeds.npr.org/510312/podcast.xml"
}
},
"commonwealth-club": {
"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
"tuneIn": "https://tunein.com/radio/Commonwealth-Club-of-California-p1060/"
}
},
"forum": {
"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
"officialWebsiteLink": "/forum",
"meta": {
"site": "news",
"source": "kqed",
"order": 9
},
"link": "/forum",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-forum/id73329719",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
"npr": "https://www.npr.org/podcasts/432307980/forum",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-forum-podcast",
"rss": "https://feeds.megaphone.fm/KQINC9557381633"
}
},
"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
"airtime": "MON-FRI 7pm-8pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Fresh-Air-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/fresh-air/",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/fresh-air",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Fresh-Air-p17/",
"rss": "https://feeds.npr.org/381444908/podcast.xml"
}
},
"here-and-now": {
"id": "here-and-now",
"title": "Here & Now",
"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
"airtime": "MON-THU 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Here-And-Now-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://www.wbur.org/hereandnow",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/here-and-now",
"subsdcribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=426698661",
"tuneIn": "https://tunein.com/radio/Here--Now-p211/",
"rss": "https://feeds.npr.org/510051/podcast.xml"
}
},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/hiddenbrain.jpg",
"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/hidden-brain/id1028908750?mt=2",
"tuneIn": "https://tunein.com/podcasts/Science-Podcasts/Hidden-Brain-p787503/",
"rss": "https://feeds.npr.org/510308/podcast.xml"
}
},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
"tuneIn": "https://tunein.com/podcasts/Arts--Culture-Podcasts/How-I-Built-This-p910896/",
"rss": "https://feeds.npr.org/510313/podcast.xml"
}
},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
"site": "news",
"source": "kqed",
"order": 15
},
"link": "/podcasts/hyphenacion",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/hyphenaci%C3%B3n/id1191591838",
"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
"youtube": "https://www.youtube.com/c/kqedarts",
"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
"site": "news",
"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
"subscribe": {
"npr": "https://www.npr.org/podcasts/790253322/the-political-mind-of-jerry-brown",
"apple": "https://itunes.apple.com/us/podcast/id1492194549",
"rss": "https://ww2.kqed.org/news/series/jerrybrown/feed/podcast/",
"tuneIn": "http://tun.in/pjGcK",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-political-mind-of-jerry-brown",
"spotify": "https://open.spotify.com/show/54C1dmuyFyKMFttY6X2j6r?si=K8SgRCoISNK6ZbjpXrX5-w",
"amazon": "https://music.amazon.com/podcasts/44420f75-3b0e-4301-ab3b-16da6b09e543/the-political-mind-of-jerry-brown"
}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/xtTd",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Latino-USA-p621/",
"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201853034&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/APM-Marketplace-p88/",
"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
"site": "news",
"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
"spotify": "https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"
}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
"npr": "https://rpb3r.app.goo.gl/onourwatch",
"spotify": "https://open.spotify.com/show/0OLWoyizopu6tY1XiuX70x",
"tuneIn": "https://tunein.com/radio/On-Our-Watch-p1436229/",
"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
"site": "news",
"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
"site": "radio",
"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
}
},
"planet-money": {
"id": "planet-money",
"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",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
"site": "radio",
"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/political-breakdown/id1327641087",
"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
"stitcher": "https://www.stitcher.com/podcast/kqed/political-breakdown",
"spotify": "https://open.spotify.com/show/07RVyIjIdk2WDuVehvBMoN",
"rss": "https://ww2.kqed.org/news/tag/political-breakdown/feed/podcast"
}
},
"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
"meta": {
"site": "news",
"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/possible/id1677184070",
"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
}
},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pri.org/programs/the-world",
"meta": {
"site": "news",
"source": "PRI"
},
"link": "/radio/program/pri-the-world",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pris-the-world-latest-edition/id278196007?mt=2",
"tuneIn": "https://tunein.com/podcasts/News--Politics-Podcasts/PRIs-The-World-p24/",
"rss": "http://feeds.feedburner.com/pri/theworld"
}
},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
"airtime": "SUN 12am-1am, SAT 2pm-3pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/radiolab1400.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/radiolab/",
"meta": {
"site": "science",
"source": "WNYC"
},
"link": "/radio/program/radiolab",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/radiolab/id152249110?mt=2",
"tuneIn": "https://tunein.com/radio/RadioLab-p68032/",
"rss": "https://feeds.wnyc.org/radiolab"
}
},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png",
"officialWebsiteLink": "https://www.revealnews.org/episodes/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/reveal",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/reveal/id886009669",
"tuneIn": "https://tunein.com/radio/Reveal-p679597/",
"rss": "http://feeds.revealradio.org/revealpodcast"
}
},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Rightnowish-Podcast-Tile-500x500-1.jpg",
"imageAlt": "KQED Rightnowish with Pendarvis Harshaw",
"officialWebsiteLink": "/podcasts/rightnowish",
"meta": {
"site": "arts",
"source": "kqed",
"order": 16
},
"link": "/podcasts/rightnowish",
"subscribe": {
"npr": "https://www.npr.org/podcasts/721590300/rightnowish",
"rss": "https://ww2.kqed.org/arts/programs/rightnowish/feed/podcast",
"apple": "https://podcasts.apple.com/us/podcast/rightnowish/id1482187648",
"stitcher": "https://www.stitcher.com/podcast/kqed/rightnowish",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMxMjU5MTY3NDc4",
"spotify": "https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I"
}
},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
"airtime": "FRI 11am-1pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Science-Friday-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/science-friday",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/science-friday",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=73329284&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Science-Friday-p394/",
"rss": "http://feeds.wnyc.org/science-friday"
}
},
"snap-judgment": {
"id": "snap-judgment",
"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
"airtime": "SAT 1pm-2pm, 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/05/Snap-Judgment-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Snap Judgment",
"officialWebsiteLink": "https://snapjudgment.org",
"meta": {
"site": "arts",
"source": "kqed",
"order": 4
},
"link": "https://snapjudgment.org",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/snap-judgment/id283657561",
"npr": "https://www.npr.org/podcasts/449018144/snap-judgment",
"stitcher": "https://www.pandora.com/podcast/snap-judgment/PC:241?source=stitcher-sunset",
"spotify": "https://open.spotify.com/show/3Cct7ZWmxHNAtLgBTqjC5v",
"rss": "https://snap.feed.snapjudgment.org/"
}
},
"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Sold-Out-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Sold Out: Rethinking Housing in America",
"officialWebsiteLink": "/podcasts/soldout",
"meta": {
"site": "news",
"source": "kqed",
"order": 13
},
"link": "/podcasts/soldout",
"subscribe": {
"npr": "https://www.npr.org/podcasts/911586047/s-o-l-d-o-u-t-a-new-future-for-housing",
"apple": "https://podcasts.apple.com/us/podcast/introducing-sold-out-rethinking-housing-in-america/id1531354937",
"rss": "https://feeds.megaphone.fm/soldout",
"spotify": "https://open.spotify.com/show/38dTBSk2ISFoPiyYNoKn1X",
"stitcher": "https://www.stitcher.com/podcast/kqed/sold-out-rethinking-housing-in-america",
"tunein": "https://tunein.com/radio/SOLD-OUT-Rethinking-Housing-in-America-p1365871/"
}
},
"spooked": {
"id": "spooked",
"title": "Spooked",
"tagline": "True-life supernatural stories",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/10/Spooked-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Spooked",
"officialWebsiteLink": "https://spookedpodcast.org/",
"meta": {
"site": "news",
"source": "kqed",
"order": 7
},
"link": "https://spookedpodcast.org/",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/spooked/id1279361017",
"npr": "https://www.npr.org/podcasts/549547848/snap-judgment-presents-spooked",
"spotify": "https://open.spotify.com/show/76571Rfl3m7PLJQZKQIGCT",
"rss": "https://feeds.simplecast.com/TBotaapn"
}
},
"tech-nation": {
"id": "tech-nation",
"title": "Tech Nation Radio Podcast",
"info": "Tech Nation is a weekly public radio program, hosted by Dr. Moira Gunn. Founded in 1993, it has grown from a simple interview show to a multi-faceted production, featuring conversations with noted technology and science leaders, and a weekly science and technology-related commentary.",
"airtime": "FRI 10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Tech-Nation-Radio-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://technation.podomatic.com/",
"meta": {
"site": "science",
"source": "Tech Nation Media"
},
"link": "/radio/program/tech-nation",
"subscribe": {
"rss": "https://technation.podomatic.com/rss2.xml"
}
},
"ted-radio-hour": {
"id": "ted-radio-hour",
"title": "TED Radio Hour",
"info": "The TED Radio Hour is a journey through fascinating ideas, astonishing inventions, fresh approaches to old problems, and new ways to think and create.",
"airtime": "SUN 3pm-4pm, SAT 10pm-11pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/tedRadioHour.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/ted-radio-hour/?showDate=2018-06-22",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/ted-radio-hour",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/8vsS",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=523121474&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/TED-Radio-Hour-p418021/",
"rss": "https://feeds.npr.org/510298/podcast.xml"
}
},
"thebay": {
"id": "thebay",
"title": "The Bay",
"tagline": "Local news to keep you rooted",
"info": "Host Devin Katayama walks you through the biggest story of the day with reporters and newsmakers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Bay-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Bay",
"officialWebsiteLink": "/podcasts/thebay",
"meta": {
"site": "radio",
"source": "kqed",
"order": 2
},
"link": "/podcasts/thebay",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-bay/id1350043452",
"amazon": "https://music.amazon.com/podcasts/d800ea4c-7a2c-42f2-b861-edaf78a5db0b/the-bay",
"npr": "https://www.npr.org/podcasts/586725995/the-bay",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-bay",
"spotify": "https://open.spotify.com/show/4BIKBKIujizLHlIlBNaAqQ",
"rss": "https://feeds.megaphone.fm/KQINC8259786327"
}
},
"thelatest": {
"id": "thelatest",
"title": "The Latest",
"tagline": "Trusted local news in real time",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/05/The-Latest-2025-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Latest",
"officialWebsiteLink": "/thelatest",
"meta": {
"site": "news",
"source": "kqed",
"order": 6
},
"link": "/thelatest",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-latest-from-kqed/id1197721799",
"npr": "https://www.npr.org/podcasts/1257949365/the-latest-from-k-q-e-d",
"spotify": "https://open.spotify.com/show/5KIIXMgM9GTi5AepwOYvIZ?si=bd3053fec7244dba",
"rss": "https://feeds.megaphone.fm/KQINC9137121918"
}
},
"theleap": {
"id": "theleap",
"title": "The Leap",
"tagline": "What if you closed your eyes, and jumped?",
"info": "Stories about people making dramatic, risky changes, told by award-winning public radio reporter Judy Campbell.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Leap-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Leap",
"officialWebsiteLink": "/podcasts/theleap",
"meta": {
"site": "news",
"source": "kqed",
"order": 17
},
"link": "/podcasts/theleap",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-leap/id1046668171",
"npr": "https://www.npr.org/podcasts/447248267/the-leap",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-leap",
"spotify": "https://open.spotify.com/show/3sSlVHHzU0ytLwuGs1SD1U",
"rss": "https://ww2.kqed.org/news/programs/the-leap/feed/podcast"
}
},
"the-moth-radio-hour": {
"id": "the-moth-radio-hour",
"title": "The Moth Radio Hour",
"info": "Since its launch in 1997, The Moth has presented thousands of true stories, told live and without notes, to standing-room-only crowds worldwide. Moth storytellers stand alone, under a spotlight, with only a microphone and a roomful of strangers. The storyteller and the audience embark on a high-wire act of shared experience which is both terrifying and exhilarating. Since 2008, The Moth podcast has featured many of our favorite stories told live on Moth stages around the country. For information on all of our programs and live events, visit themoth.org.",
"airtime": "SAT 8pm-9pm and SUN 11am-12pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/theMoth.jpg",
"officialWebsiteLink": "https://themoth.org/",
"meta": {
"site": "arts",
"source": "prx"
},
"link": "/radio/program/the-moth-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/the-moth-podcast/id275699983?mt=2",
"tuneIn": "https://tunein.com/radio/The-Moth-p273888/",
"rss": "http://feeds.themoth.org/themothpodcast"
}
},
"the-new-yorker-radio-hour": {
"id": "the-new-yorker-radio-hour",
"title": "The New Yorker Radio Hour",
"info": "The New Yorker Radio Hour is a weekly program presented by the magazine's editor, David Remnick, and produced by WNYC Studios and The New Yorker. Each episode features a diverse mix of interviews, profiles, storytelling, and an occasional burst of humor inspired by the magazine, and shaped by its writers, artists, and editors. This isn't a radio version of a magazine, but something all its own, reflecting the rich possibilities of audio storytelling and conversation. Theme music for the show was composed and performed by Merrill Garbus of tUnE-YArDs.",
"airtime": "SAT 10am-11am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-New-Yorker-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/tnyradiohour",
"meta": {
"site": "arts",
"source": "WNYC"
},
"link": "/radio/program/the-new-yorker-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/id1050430296",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/New-Yorker-Radio-Hour-p803804/",
"rss": "https://feeds.feedburner.com/newyorkerradiohour"
}
},
"the-sam-sanders-show": {
"id": "the-sam-sanders-show",
"title": "The Sam Sanders Show",
"info": "One of public radio's most dynamic voices, Sam Sanders helped launch The NPR Politics Podcast and hosted NPR's hit show It's Been A Minute. Now, the award-winning host returns with something brand new, The Sam Sanders Show. Every week, Sam Sanders and friends dig into the culture that shapes our lives: what's driving the biggest trends, how artists really think, and even the memes you can't stop scrolling past. Sam is beloved for his way of unpacking the world and bringing you up close to fresh currents and engaging conversations. The Sam Sanders Show is smart, funny and always a good time.",
"airtime": "FRI 12-1pm AND SAT 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/11/The-Sam-Sanders-Show-Podcast-Tile-400x400-1.jpg",
"officialWebsiteLink": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"meta": {
"site": "arts",
"source": "KCRW"
},
"link": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"subscribe": {
"rss": "https://feed.cdnstream1.com/zjb/feed/download/ac/28/59/ac28594c-e1d0-4231-8728-61865cdc80e8.xml"
}
},
"the-splendid-table": {
"id": "the-splendid-table",
"title": "The Splendid Table",
"info": "\u003cem>The Splendid Table\u003c/em> hosts our nation's conversations about cooking, sustainability and food culture.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Splendid-Table-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.splendidtable.org/",
"airtime": "SUN 10-11 pm",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/the-splendid-table"
},
"this-american-life": {
"id": "this-american-life",
"title": "This American Life",
"info": "This American Life is a weekly public radio show, heard by 2.2 million people on more than 500 stations. Another 2.5 million people download the weekly podcast. It is hosted by Ira Glass, produced in collaboration with Chicago Public Media, delivered to stations by PRX The Public Radio Exchange, and has won all of the major broadcasting awards.",
"airtime": "SAT 12pm-1pm, 7pm-8pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/thisAmericanLife.png",
"officialWebsiteLink": "https://www.thisamericanlife.org/",
"meta": {
"site": "news",
"source": "wbez"
},
"link": "/radio/program/this-american-life",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201671138&at=11l79Y&ct=nprdirectory",
"rss": "https://www.thisamericanlife.org/podcast/rss.xml"
}
},
"tinydeskradio": {
"id": "tinydeskradio",
"title": "Tiny Desk Radio",
"info": "We're bringing the best of Tiny Desk to the airwaves, only on public radio.",
"airtime": "SUN 8pm and SAT 9pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/04/300x300-For-Member-Station-Logo-Tiny-Desk-Radio-@2x.png",
"officialWebsiteLink": "https://www.npr.org/series/g-s1-52030/tiny-desk-radio",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/tinydeskradio",
"subscribe": {
"rss": "https://feeds.npr.org/g-s1-52030/rss.xml"
}
},
"wait-wait-dont-tell-me": {
"id": "wait-wait-dont-tell-me",
"title": "Wait Wait... Don't Tell Me!",
"info": "Peter Sagal and Bill Kurtis host the weekly NPR News quiz show alongside some of the best and brightest news and entertainment personalities.",
"airtime": "SUN 10am-11am, SAT 11am-12pm, SAT 6pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Wait-Wait-Podcast-Tile-300x300-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/wait-wait-dont-tell-me/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/wait-wait-dont-tell-me",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/Xogv",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=121493804&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Wait-Wait-Dont-Tell-Me-p46/",
"rss": "https://feeds.npr.org/344098539/podcast.xml"
}
},
"weekend-edition-saturday": {
"id": "weekend-edition-saturday",
"title": "Weekend Edition Saturday",
"info": "Weekend Edition Saturday wraps up the week's news and offers a mix of analysis and features on a wide range of topics, including arts, sports, entertainment, and human interest stories. The two-hour program is hosted by NPR's Peabody Award-winning Scott Simon.",
"airtime": "SAT 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-saturday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-saturday"
},
"weekend-edition-sunday": {
"id": "weekend-edition-sunday",
"title": "Weekend Edition Sunday",
"info": "Weekend Edition Sunday features interviews with newsmakers, artists, scientists, politicians, musicians, writers, theologians and historians. The program has covered news events from Nelson Mandela's 1990 release from a South African prison to the capture of Saddam Hussein.",
"airtime": "SUN 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-sunday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-sunday"
}
},
"racesReducer": {},
"racesGenElectionReducer": {},
"racesGenElection2026Reducer": {},
"racesGenElection2026PresidentialReducer": {},
"radioSchedulesReducer": {},
"listsReducer": {
"posts/arts?tag=minnesota-street-project": {
"isFetching": false,
"latestQuery": {
"from": 0,
"size": 12
},
"vitalsOnly": false,
"totalRequested": 12,
"isLoading": false,
"isLoadingMore": true,
"total": {
"value": 15,
"relation": "eq"
},
"items": [
"arts_13992688",
"arts_13991955",
"arts_13991902",
"arts_13988048",
"arts_13986545",
"arts_13984752",
"arts_13984541",
"arts_13978572",
"arts_13973328",
"arts_13961341",
"arts_13937370",
"arts_13068572"
],
"complete": true
}
},
"recallGuideReducer": {
"intros": {},
"policy": {},
"candidates": {}
},
"savedArticleReducer": {
"articles": [],
"status": {}
},
"newslettersReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"newsletters": {},
"isSubscribing": false,
"isUnsubscribing": false,
"subscribedNewsletters": {}
},
"termsReducer": {
"about": {
"name": "About",
"type": "terms",
"id": "about",
"slug": "about",
"link": "/about",
"taxonomy": "site"
},
"arts": {
"name": "Arts & Culture",
"grouping": [
"arts",
"pop",
"trulyca"
],
"description": "KQED Arts provides daily in-depth coverage of the Bay Area's music, art, film, performing arts, literature and arts news, as well as cultural commentary and criticism.",
"type": "terms",
"id": "arts",
"slug": "arts",
"link": "/arts",
"taxonomy": "site"
},
"artschool": {
"name": "Art School",
"parent": "arts",
"type": "terms",
"id": "artschool",
"slug": "artschool",
"link": "/artschool",
"taxonomy": "site"
},
"bayareabites": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"parent": "food",
"type": "terms",
"id": "bayareabites",
"slug": "bayareabites",
"link": "/food",
"taxonomy": "site"
},
"bayareahiphop": {
"name": "Bay Area Hiphop",
"type": "terms",
"id": "bayareahiphop",
"slug": "bayareahiphop",
"link": "/bayareahiphop",
"taxonomy": "site"
},
"campaign21": {
"name": "Campaign 21",
"type": "terms",
"id": "campaign21",
"slug": "campaign21",
"link": "/campaign21",
"taxonomy": "site"
},
"careers": {
"name": "Careers",
"type": "terms",
"id": "careers",
"slug": "careers",
"link": "/careers",
"taxonomy": "site"
},
"checkplease": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"parent": "food",
"type": "terms",
"id": "checkplease",
"slug": "checkplease",
"link": "/food",
"taxonomy": "site"
},
"education": {
"name": "Education",
"grouping": [
"education"
],
"type": "terms",
"id": "education",
"slug": "education",
"link": "/education",
"taxonomy": "site"
},
"elections": {
"name": "Elections",
"type": "terms",
"id": "elections",
"slug": "elections",
"link": "/elections",
"taxonomy": "site"
},
"events": {
"name": "Events",
"type": "terms",
"id": "events",
"slug": "events",
"link": "/events",
"taxonomy": "site"
},
"event": {
"name": "Event",
"alias": "events",
"type": "terms",
"id": "event",
"slug": "event",
"link": "/event",
"taxonomy": "site"
},
"filmschoolshorts": {
"name": "Film School Shorts",
"type": "terms",
"id": "filmschoolshorts",
"slug": "filmschoolshorts",
"link": "/filmschoolshorts",
"taxonomy": "site"
},
"food": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"type": "terms",
"id": "food",
"slug": "food",
"link": "/food",
"taxonomy": "site"
},
"forum": {
"name": "Forum",
"relatedContentQuery": "posts/forum?",
"parent": "news",
"type": "terms",
"id": "forum",
"slug": "forum",
"link": "/forum",
"taxonomy": "site"
},
"futureofyou": {
"name": "Future of You",
"grouping": [
"science",
"futureofyou"
],
"parent": "science",
"type": "terms",
"id": "futureofyou",
"slug": "futureofyou",
"link": "/futureofyou",
"taxonomy": "site"
},
"jpepinheart": {
"name": "KQED food",
"relatedContentQuery": "posts/food,bayareabites,checkplease",
"parent": "food",
"type": "terms",
"id": "jpepinheart",
"slug": "jpepinheart",
"link": "/food",
"taxonomy": "site"
},
"liveblog": {
"name": "Live Blog",
"type": "terms",
"id": "liveblog",
"slug": "liveblog",
"link": "/liveblog",
"taxonomy": "site"
},
"livetv": {
"name": "Live TV",
"parent": "tv",
"type": "terms",
"id": "livetv",
"slug": "livetv",
"link": "/livetv",
"taxonomy": "site"
},
"lowdown": {
"name": "The Lowdown",
"relatedContentQuery": "posts/lowdown?",
"parent": "news",
"type": "terms",
"id": "lowdown",
"slug": "lowdown",
"link": "/lowdown",
"taxonomy": "site"
},
"mindshift": {
"name": "Mindshift",
"parent": "news",
"description": "MindShift explores the future of education by highlighting the innovative – and sometimes counterintuitive – ways educators and parents are helping all children succeed.",
"type": "terms",
"id": "mindshift",
"slug": "mindshift",
"link": "/mindshift",
"taxonomy": "site"
},
"news": {
"name": "News",
"grouping": [
"news",
"forum"
],
"type": "terms",
"id": "news",
"slug": "news",
"link": "/news",
"taxonomy": "site"
},
"newsletters": {
"name": "newsletters",
"type": "terms",
"id": "newsletters",
"slug": "newsletters",
"link": "/newsletters",
"taxonomy": "site"
},
"perspectives": {
"name": "Perspectives",
"parent": "radio",
"type": "terms",
"id": "perspectives",
"slug": "perspectives",
"link": "/perspectives",
"taxonomy": "site"
},
"podcasts": {
"name": "Podcasts",
"type": "terms",
"id": "podcasts",
"slug": "podcasts",
"link": "/podcasts",
"taxonomy": "site"
},
"pop": {
"name": "Pop",
"parent": "arts",
"type": "terms",
"id": "pop",
"slug": "pop",
"link": "/pop",
"taxonomy": "site"
},
"pressroom": {
"name": "Pressroom",
"type": "terms",
"id": "pressroom",
"slug": "pressroom",
"link": "/pressroom",
"taxonomy": "site"
},
"quest": {
"name": "Quest",
"parent": "science",
"type": "terms",
"id": "quest",
"slug": "quest",
"link": "/quest",
"taxonomy": "site"
},
"radio": {
"name": "Radio",
"grouping": [
"forum",
"perspectives"
],
"description": "Listen to KQED Public Radio – home of Forum and The California Report – on 88.5 FM in San Francisco, 89.3 FM in Sacramento, 88.3 FM in Santa Rosa and 88.1 FM in Martinez.",
"type": "terms",
"id": "radio",
"slug": "radio",
"link": "/radio",
"taxonomy": "site"
},
"root": {
"name": "KQED",
"image": "https://ww2.kqed.org/app/uploads/2020/02/KQED-OG-Image@1x.png",
"imageWidth": 1200,
"imageHeight": 630,
"headData": {
"title": "KQED | News, Radio, Podcasts, TV | Public Media for Northern California",
"description": "KQED provides public radio, television, and independent reporting on issues that matter to the Bay Area. We’re the NPR and PBS member station for Northern California."
},
"type": "terms",
"id": "root",
"slug": "root",
"link": "/root",
"taxonomy": "site"
},
"science": {
"name": "Science",
"grouping": [
"science",
"futureofyou"
],
"description": "KQED Science brings you award-winning science and environment coverage from the Bay Area and beyond.",
"type": "terms",
"id": "science",
"slug": "science",
"link": "/science",
"taxonomy": "site"
},
"stateofhealth": {
"name": "State of Health",
"parent": "science",
"type": "terms",
"id": "stateofhealth",
"slug": "stateofhealth",
"link": "/stateofhealth",
"taxonomy": "site"
},
"support": {
"name": "Support",
"type": "terms",
"id": "support",
"slug": "support",
"link": "/support",
"taxonomy": "site"
},
"thedolist": {
"name": "The Do List",
"parent": "arts",
"type": "terms",
"id": "thedolist",
"slug": "thedolist",
"link": "/thedolist",
"taxonomy": "site"
},
"trulyca": {
"name": "Truly CA",
"grouping": [
"arts",
"pop",
"trulyca"
],
"parent": "arts",
"type": "terms",
"id": "trulyca",
"slug": "trulyca",
"link": "/trulyca",
"taxonomy": "site"
},
"tv": {
"name": "TV",
"type": "terms",
"id": "tv",
"slug": "tv",
"link": "/tv",
"taxonomy": "site"
},
"voterguide": {
"name": "Voter Guide",
"parent": "elections",
"alias": "elections",
"type": "terms",
"id": "voterguide",
"slug": "voterguide",
"link": "/voterguide",
"taxonomy": "site"
},
"guiaelectoral": {
"name": "Guia Electoral",
"parent": "elections",
"alias": "elections",
"type": "terms",
"id": "guiaelectoral",
"slug": "guiaelectoral",
"link": "/guiaelectoral",
"taxonomy": "site"
},
"arts_tag_minnesota-street-project": {
"isLoading": true
},
"arts_22219": {
"type": "terms",
"id": "arts_22219",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "22219",
"found": true
},
"relationships": {},
"name": "Minnesota Street Project",
"slug": "minnesota-street-project",
"taxonomy": "tag",
"description": null,
"featImg": null,
"headData": {
"title": "Minnesota Street Project | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 22231,
"isLoading": false,
"link": "/arts/tag/minnesota-street-project"
},
"source_arts_13992688": {
"type": "terms",
"id": "source_arts_13992688",
"meta": {
"override": true
},
"name": "The Do List",
"link": "https://www.kqed.org/thedolist",
"isLoading": false
},
"source_arts_13991955": {
"type": "terms",
"id": "source_arts_13991955",
"meta": {
"override": true
},
"name": "The Do List",
"link": "https://www.kqed.org/thedolist",
"isLoading": false
},
"source_arts_13991902": {
"type": "terms",
"id": "source_arts_13991902",
"meta": {
"override": true
},
"name": "The Do List",
"link": "https://www.kqed.org/thedolist",
"isLoading": false
},
"source_arts_13986545": {
"type": "terms",
"id": "source_arts_13986545",
"meta": {
"override": true
},
"name": "The Do List",
"link": "https://www.kqed.org/thedolist",
"isLoading": false
},
"source_arts_13978572": {
"type": "terms",
"id": "source_arts_13978572",
"meta": {
"override": true
},
"name": "The Do List",
"link": "https://www.kqed.org/thedolist",
"isLoading": false
},
"arts_140": {
"type": "terms",
"id": "arts_140",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "140",
"found": true
},
"relationships": {},
"name": "The Do List",
"slug": "the-do-list",
"taxonomy": "program",
"description": null,
"featImg": "https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/The-Do-LIst-logo-2014-horizontal-015.png",
"headData": {
"title": "The Do List Archives | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 141,
"isLoading": false,
"link": "/arts/program/the-do-list"
},
"arts_1": {
"type": "terms",
"id": "arts_1",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Arts",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Arts Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1,
"slug": "arts",
"isLoading": false,
"link": "/arts/category/arts"
},
"arts_22313": {
"type": "terms",
"id": "arts_22313",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "22313",
"found": true
},
"relationships": {},
"name": "The Do List",
"slug": "the-do-list",
"taxonomy": "category",
"description": null,
"featImg": null,
"headData": {
"title": "The Do List | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 22325,
"isLoading": false,
"link": "/arts/category/the-do-list"
},
"arts_70": {
"type": "terms",
"id": "arts_70",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "70",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Visual Arts",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Visual Arts Archives | KQED Arts",
"ogDescription": null
},
"ttid": 71,
"slug": "visualarts",
"isLoading": false,
"link": "/arts/category/visualarts"
},
"arts_10278": {
"type": "terms",
"id": "arts_10278",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "10278",
"found": true
},
"relationships": {},
"featImg": null,
"name": "featured-arts",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "featured-arts Archives | KQED Arts",
"ogDescription": null
},
"ttid": 10290,
"slug": "featured-arts",
"isLoading": false,
"link": "/arts/tag/featured-arts"
},
"arts_769": {
"type": "terms",
"id": "arts_769",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "769",
"found": true
},
"relationships": {},
"featImg": null,
"name": "review",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "review Archives | KQED Arts",
"ogDescription": null
},
"ttid": 787,
"slug": "review",
"isLoading": false,
"link": "/arts/tag/review"
},
"arts_1146": {
"type": "terms",
"id": "arts_1146",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1146",
"found": true
},
"relationships": {},
"featImg": null,
"name": "San Francisco",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "San Francisco Archives | KQED Arts",
"ogDescription": null
},
"ttid": 701,
"slug": "san-francisco",
"isLoading": false,
"link": "/arts/tag/san-francisco"
},
"arts_585": {
"type": "terms",
"id": "arts_585",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "585",
"found": true
},
"relationships": {},
"featImg": null,
"name": "thedolist",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "thedolist Archives | KQED Arts",
"ogDescription": null
},
"ttid": 590,
"slug": "thedolist",
"isLoading": false,
"link": "/arts/tag/thedolist"
},
"arts_21866": {
"type": "terms",
"id": "arts_21866",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21866",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Arts and Culture",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Arts and Culture Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21878,
"slug": "arts-and-culture",
"isLoading": false,
"link": "/arts/interest/arts-and-culture"
},
"arts_21870": {
"type": "terms",
"id": "arts_21870",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21870",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Events",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Events Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21882,
"slug": "events",
"isLoading": false,
"link": "/arts/interest/events"
},
"arts_21859": {
"type": "terms",
"id": "arts_21859",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21859",
"found": true
},
"relationships": {},
"featImg": null,
"name": "San Francisco",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "San Francisco Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21871,
"slug": "san-francisco",
"isLoading": false,
"link": "/arts/interest/san-francisco"
},
"arts_73": {
"type": "terms",
"id": "arts_73",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "73",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Books",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Books Archives | KQED Arts",
"ogDescription": null
},
"ttid": 74,
"slug": "literature",
"isLoading": false,
"link": "/arts/category/literature"
},
"arts_69": {
"type": "terms",
"id": "arts_69",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "69",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Music",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Music Archives | KQED Arts",
"ogDescription": null
},
"ttid": 70,
"slug": "music",
"isLoading": false,
"link": "/arts/category/music"
},
"arts_235": {
"type": "terms",
"id": "arts_235",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "235",
"found": true
},
"relationships": {},
"featImg": null,
"name": "News",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "News Archives | KQED Arts",
"ogDescription": null
},
"ttid": 236,
"slug": "news",
"isLoading": false,
"link": "/arts/category/news"
},
"arts_1501": {
"type": "terms",
"id": "arts_1501",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1501",
"found": true
},
"relationships": {},
"featImg": null,
"name": "electronic music",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "electronic music Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1513,
"slug": "electronic-music",
"isLoading": false,
"link": "/arts/tag/electronic-music"
},
"arts_22068": {
"type": "terms",
"id": "arts_22068",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "22068",
"found": true
},
"relationships": {},
"featImg": null,
"name": "festivals",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "festivals Archives | KQED Arts",
"ogDescription": null
},
"ttid": 22080,
"slug": "festivals",
"isLoading": false,
"link": "/arts/tag/festivals"
},
"arts_914": {
"type": "terms",
"id": "arts_914",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "914",
"found": true
},
"relationships": {},
"featImg": null,
"name": "zines",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "zines Archives | KQED Arts",
"ogDescription": null
},
"ttid": 932,
"slug": "zines",
"isLoading": false,
"link": "/arts/tag/zines"
},
"arts_21879": {
"type": "terms",
"id": "arts_21879",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21879",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Entertainment",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Entertainment Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21891,
"slug": "entertainment",
"isLoading": false,
"link": "/arts/interest/entertainment"
},
"arts_10561": {
"type": "terms",
"id": "arts_10561",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "10561",
"found": true
},
"relationships": {},
"featImg": null,
"name": "ruth asawa",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "ruth asawa Archives | KQED Arts",
"ogDescription": null
},
"ttid": 10573,
"slug": "ruth-asawa",
"isLoading": false,
"link": "/arts/tag/ruth-asawa"
},
"arts_21863": {
"type": "terms",
"id": "arts_21863",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21863",
"found": true
},
"relationships": {},
"featImg": null,
"name": "News",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "News Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21875,
"slug": "news",
"isLoading": false,
"link": "/arts/interest/news"
},
"arts_75": {
"type": "terms",
"id": "arts_75",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "75",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Pop Culture",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Pop Culture Archives | KQED Arts",
"ogDescription": null
},
"ttid": 76,
"slug": "popculture",
"isLoading": false,
"link": "/arts/category/popculture"
},
"arts_4976": {
"type": "terms",
"id": "arts_4976",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "4976",
"found": true
},
"relationships": {},
"featImg": null,
"name": "africa",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "africa Archives | KQED Arts",
"ogDescription": null
},
"ttid": 4988,
"slug": "africa",
"isLoading": false,
"link": "/arts/tag/africa"
},
"arts_2438": {
"type": "terms",
"id": "arts_2438",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2438",
"found": true
},
"relationships": {},
"featImg": null,
"name": "African diaspora",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "African diaspora Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2450,
"slug": "african-diaspora",
"isLoading": false,
"link": "/arts/tag/african-diaspora"
},
"arts_3649": {
"type": "terms",
"id": "arts_3649",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3649",
"found": true
},
"relationships": {},
"featImg": null,
"name": "galleries",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "galleries Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3661,
"slug": "galleries",
"isLoading": false,
"link": "/arts/tag/galleries"
},
"arts_2225": {
"type": "terms",
"id": "arts_2225",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2225",
"found": true
},
"relationships": {},
"featImg": null,
"name": "di Rosa",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "di Rosa Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2237,
"slug": "di-rosa",
"isLoading": false,
"link": "/arts/tag/di-rosa"
},
"arts_1855": {
"type": "terms",
"id": "arts_1855",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1855",
"found": true
},
"relationships": {},
"featImg": null,
"name": "napa",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "napa Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1867,
"slug": "napa",
"isLoading": false,
"link": "/arts/tag/napa"
},
"arts_21873": {
"type": "terms",
"id": "arts_21873",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21873",
"found": true
},
"relationships": {},
"featImg": null,
"name": "North Bay",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "North Bay Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21885,
"slug": "north-bay",
"isLoading": false,
"link": "/arts/interest/north-bay"
},
"arts_928": {
"type": "terms",
"id": "arts_928",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "928",
"found": true
},
"relationships": {},
"featImg": null,
"name": "books",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "books Archives | KQED Arts",
"ogDescription": null
},
"ttid": 946,
"slug": "books",
"isLoading": false,
"link": "/arts/tag/books"
},
"arts_901": {
"type": "terms",
"id": "arts_901",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "901",
"found": true
},
"relationships": {},
"featImg": null,
"name": "visual art",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "visual art Archives | KQED Arts",
"ogDescription": null
},
"ttid": 919,
"slug": "visual-art",
"isLoading": false,
"link": "/arts/tag/visual-art"
},
"arts_1642": {
"type": "terms",
"id": "arts_1642",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1642",
"found": true
},
"relationships": {},
"featImg": null,
"name": "#100daysart",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "#100daysart Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1654,
"slug": "100daysart",
"isLoading": false,
"link": "/arts/tag/100daysart"
},
"arts_1118": {
"type": "terms",
"id": "arts_1118",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1118",
"found": true
},
"relationships": {},
"featImg": null,
"name": "featured",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "featured Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1135,
"slug": "featured",
"isLoading": false,
"link": "/arts/tag/featured"
},
"arts_596": {
"type": "terms",
"id": "arts_596",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "596",
"found": true
},
"relationships": {},
"featImg": null,
"name": "ntv",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "ntv Archives | KQED Arts",
"ogDescription": null
},
"ttid": 602,
"slug": "ntv",
"isLoading": false,
"link": "/arts/tag/ntv"
}
},
"userPermissionsReducer": {
"wpLoggedIn": false
},
"eventsReducer": {},
"fssReducer": {},
"tvDailyScheduleReducer": {},
"tvWeeklyScheduleReducer": {},
"tvPrimetimeScheduleReducer": {},
"tvMonthlyScheduleReducer": {},
"userAccountReducer": {
"user": {
"email": null,
"emailStatus": "EMAIL_UNVALIDATED",
"loggedStatus": "LOGGED_OUT",
"loggingChecked": false,
"articles": [],
"firstName": null,
"lastName": null,
"phoneNumber": null,
"fetchingMembership": false,
"membershipError": false,
"memberships": [
{
"id": null,
"startDate": null,
"firstName": null,
"lastName": null,
"familyNumber": null,
"memberNumber": null,
"memberSince": null,
"expirationDate": null,
"pfsEligible": false,
"isSustaining": false,
"membershipLevel": "Prospect",
"membershipStatus": "Non Member",
"lastGiftDate": null,
"renewalDate": null,
"lastDonationAmount": null
}
]
},
"authModal": {
"isOpen": false,
"view": "LANDING_VIEW"
},
"error": null
},
"youthMediaReducer": {},
"checkPleaseReducer": {
"filterData": {
"region": {
"key": "Restaurant Region",
"filters": [
"Any Region"
]
},
"cuisine": {
"key": "Restaurant Cuisine",
"filters": [
"Any Cuisine"
]
}
},
"restaurantDataById": {},
"restaurantIdsSorted": [],
"error": null
},
"userAgentReducer": {
"userAgent": "Mozilla/5.0 AppleWebKit/537.36 (KHTML, like Gecko; compatible; ClaudeBot/1.0; +claudebot@anthropic.com)",
"isBot": true
},
"requestOutcomesReducer": {
"notFound": []
},
"navPromosReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": true,
"promos": {
"news": {
"name": "2026 Voter Guide",
"link": "/voterguide",
"imageURL": "https://cdn.kqed.org/wp-content/uploads/2026/10/Nav-News-Nov2026ElectionCoverage@2x-7bd4aad4.png",
"description": "Get informed in minutes with our Voter Guide for California’s November 3 election."
},
"podcasts-radio": {},
"video-tv": {},
"events": {},
"support": {}
}
}
}