Oakland Museum Union Announced Amid a National Wave of Museum Organizing
Hip-Hop's 50th Anniversary: Where to Celebrate in the Bay Area
Your Guide to the Bay Area's Best Art Exhibitions This Summer
The Best Art I Saw in 2022
At OMCA, Angela Davis’ Influence is Felt Through Generations
Rosario Dawson’s New Oakland Web Series Premieres at the Oakland Museum
Reports of Our Visual Art Scene’s Death Have Been Greatly Exaggerated
In OMCA’s ‘Hella Feminist,’ 150 Years of Collective Action Points the Way Forward
New Year, New Art: What to See in the Bay Area This Month
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Representatives from OMCA Workers United said union membership would consist of approximately 90 workers across the museum, in roles including curation, ticketing and program development.\u003c/p>\n\u003cp>“We are asking management to join with us in bringing our institution into alignment with our stated values of equity, community, and humanity,” read the union’s statement.\u003c/p>\n\u003cp>Museum management is currently reviewing the union organizers’ requests, according to a statement from OMCA management provided to KQED.\u003c/p>\n\u003cp>[aside postID='news_11943906']OMCA Workers United joins a national wave of museum union organizing in the past few years, including at the Whitney Museum and the Guggenheim in New York and the Art Institute of Chicago. In California, workers at the San Francisco Museum of Modern Art, the California Academy of Sciences and the Museum of Contemporary Art in Los Angeles have all instigated union bargaining efforts. Layoffs in the pandemic era and concerns over structural racism after the murder of George Floyd are often \u003ca href=\"https://www.nytimes.com/2022/02/21/arts/design/museums-unions-labor.html\">cited as reasons for a greater investment in unions at art institutions\u003c/a>.\u003c/p>\n\u003cp>Linds Young, an OMCA Workers United organizing committee member who develops educational programming for students, said union goals include better wages and affordable healthcare. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I think something that we’re all learning together is nonprofit life is a little rough sometimes,” Young told KQED over the phone. “We’re looking for folks who work on our front line and in our prep staff to have livable wages — living in the Bay Area is pretty expensive.”\u003c/p>\n\u003cp>The union also referenced the museum’s new strategic plan, which includes goals to “advance equity, transparency, and anti-racism in internal structures, culture, and practices.” Back in 2020, the museum assembled Anti-Racist Design Teams among staff to assess equity across the organization. Young says the union wants to be included in decision-making and implementation surrounding equity.\u003c/p>\n\u003cp>“In the wake of protests about the murder of George Floyd, we have gone through a lot of anti-racist design and learning.” Young said. “A lot of us here are just feeling like we need a little bit more transparency in these goals.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Union organizers tell KQED they are requesting immediate voluntary recognition of the union by OMCA, and hope to hold a union vote by March 13.\u003c/p>\n\n","blocks":[],"excerpt":"OMCA Workers United says they want more transparency and better wages.","status":"publish","parent":0,"modified":1712085105,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":11,"wordCount":413},"headData":{"title":"Oakland Museum Union Announced Amid a National Wave of Museum Organizing | KQED","description":"OMCA Workers United says they want more transparency and better wages.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Oakland Museum Union Announced Amid a National Wave of Museum Organizing","datePublished":"2024-02-22T00:48:31.000Z","dateModified":"2024-04-02T19:11:45.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13952734/oakland-museum-union-announced-amid-a-national-wave-of-museum-organizing","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>A group of \u003ca href=\"https://www.kqed.org/arts/tag/oakland-museum-of-california\">Oakland Museum of California\u003c/a> (OMCA) workers on Wednesday announced plans to form the museum’s first union. Representatives from OMCA Workers United said union membership would consist of approximately 90 workers across the museum, in roles including curation, ticketing and program development.\u003c/p>\n\u003cp>“We are asking management to join with us in bringing our institution into alignment with our stated values of equity, community, and humanity,” read the union’s statement.\u003c/p>\n\u003cp>Museum management is currently reviewing the union organizers’ requests, according to a statement from OMCA management provided to KQED.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"news_11943906","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>OMCA Workers United joins a national wave of museum union organizing in the past few years, including at the Whitney Museum and the Guggenheim in New York and the Art Institute of Chicago. In California, workers at the San Francisco Museum of Modern Art, the California Academy of Sciences and the Museum of Contemporary Art in Los Angeles have all instigated union bargaining efforts. Layoffs in the pandemic era and concerns over structural racism after the murder of George Floyd are often \u003ca href=\"https://www.nytimes.com/2022/02/21/arts/design/museums-unions-labor.html\">cited as reasons for a greater investment in unions at art institutions\u003c/a>.\u003c/p>\n\u003cp>Linds Young, an OMCA Workers United organizing committee member who develops educational programming for students, said union goals include better wages and affordable healthcare. \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>“I think something that we’re all learning together is nonprofit life is a little rough sometimes,” Young told KQED over the phone. “We’re looking for folks who work on our front line and in our prep staff to have livable wages — living in the Bay Area is pretty expensive.”\u003c/p>\n\u003cp>The union also referenced the museum’s new strategic plan, which includes goals to “advance equity, transparency, and anti-racism in internal structures, culture, and practices.” Back in 2020, the museum assembled Anti-Racist Design Teams among staff to assess equity across the organization. Young says the union wants to be included in decision-making and implementation surrounding equity.\u003c/p>\n\u003cp>“In the wake of protests about the murder of George Floyd, we have gone through a lot of anti-racist design and learning.” Young said. “A lot of us here are just feeling like we need a little bit more transparency in these goals.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Union organizers tell KQED they are requesting immediate voluntary recognition of the union by OMCA, and hope to hold a union vote by March 13.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13952734/oakland-museum-union-announced-amid-a-national-wave-of-museum-organizing","authors":["11872"],"categories":["arts_1","arts_235","arts_70"],"tags":["arts_10278","arts_3648","arts_2755","arts_21830","arts_21264"],"featImg":"arts_13889148","label":"arts"},"arts_13932076":{"type":"posts","id":"arts_13932076","meta":{"index":"posts_1591205157","site":"arts","id":"13932076","score":null,"sort":[1691108830000]},"guestAuthors":[],"slug":"bay-area-hip-hop-50th-anniversary-celebrations","title":"Hip-Hop's 50th Anniversary: Where to Celebrate in the Bay Area","publishDate":1691108830,"format":"audio","headTitle":"Hip-Hop’s 50th Anniversary: Where to Celebrate in the Bay Area | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>On Friday, Aug. 11, the world will gather around turntables, giant speakers and open dancefloors for a collective celebration of hip-hop’s 50th anniversary.\u003c/p>\n\u003cp>The date marks the night in 1973 when Cindy Campbell and her brother Clive, aka DJ Kool Herc, combined forces for a back-to-school party in the Bronx that would change the world. The dance was soundtracked by early forms of breakbeat DJing and MCing, and is widely referred to as the first legit hip-hop event.\u003c/p>\n\u003cp>Five decades later, we’re still partying. Here’s a list of August events around the Bay Area in celebration of hip-hop’s golden jubilee.\u003c/p>\n\u003cp>[aside postID='arts_13923938']\u003c/p>\n\u003ch2>\u003ca href=\"https://museumca.org/event/friday-nights-at-omca-the-roots-of-culture/\">The Roots of Hip-Hop Culture: Friday Nights at OMCA\u003c/a>\u003c/h2>\n\u003cp>\u003cstrong>\u003cem>Aug. 4, 11, 18 and 25\u003cbr>\nOakland Museum of California\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The Oakland Museum of California holds it down every Friday of the month as host \u003ca href=\"https://www.kqed.org/arts/13929183/at-the-bay-area-hip-hop-archives-leaving-a-legacy-is-an-art\">Jahi\u003c/a> leads attendees through the roots of the culture. Diamano Coura West African Dance Company performs on Aug. 4; Aug. 11 features an induction ceremony for the \u003ca href=\"https://www.kqed.org/arts/13929183/at-the-bay-area-hip-hop-archives-leaving-a-legacy-is-an-art\">Bay Area Hip-Hop Archives\u003c/a>, DJs Davey D and Jahi, a turf dancing class with Telice Summerfield, and a meet-and-greet with stock-car racer Cameron “Cam-Man” Carraway. Destiny Muhammad plays Bay Area hip-hop on jazz harp and Aimee Rose leads a TropiCali Dancehall Class on Aug. 18; programming concludes Aug. 25 with an evening of aerosol art with Refa One and hands-on beat making activities led by Seti X of June Jordan School for Equity. KQED’s \u003cem>If Cities Could Dance\u003c/em> series will screen Aug. 4 and 11, and its series \u003cem>What’s Pimpin’\u003c/em> will screen Aug. 18 and 25. \u003ca href=\"https://museumca.org/event/friday-nights-at-omca-the-roots-of-culture/\">More here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13932671\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-482124030.jpg\" alt=\"\" width=\"1024\" height=\"765\" class=\"size-full wp-image-13932671\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-482124030.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-482124030-800x598.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-482124030-1020x762.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-482124030-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-482124030-768x574.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Big Daddy Kane pictured in 2015. The New York rap legend headlines at San Jose Jazz Summer Fest’s Hip-Hop 50th Anniversary celebration on Friday, Aug. 11. \u003ccite>(Donna Ward/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://summerfest.sanjosejazz.org/\">Big Daddy Kane at San Jose Jazz Summer Fest’s Hip-Hop 50 Celebration\u003c/a>\u003c/h2>\n\u003cp>\u003cstrong>\u003cem>Aug. 11\u003cbr>\nPlaza de César Chávez, San Jose\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>New York legend Big Daddy Kane performs with a full band on the main stage at San Jose Jazz Summer Fest. A second stage hosts a hip-hop 50th celebration with headliner Murs; Needle To The Groove DJs Allen Johnson, Dave Ma & Michael Basura; \u003ca href=\"https://www.kqed.org/arts/13932887/turf-dancing-oakland-street-dance\">turf dance\u003c/a> crew Playboyz Inc. featuring NastyRay, Scarface & Johnny 5, and live graffiti by Gwen Mercado Reyes and Joey Reyes. The stage’s host will be San Jose emcee DEM ONE. \u003ca href=\"https://summerfest.sanjosejazz.org/\">More here\u003c/a>.\u003c/p>\n\u003ch2>\u003ca href=\"https://www.theblackexcellenceband.com/event-details-registration/hip-hop-50th-anniversary-celebration\">Hip-Hop 50th Anniversary Celebration: Honoring the Culture\u003c/a>\u003c/h2>\n\u003cp>\u003cem>\u003cstrong>Friday, Aug. 11\u003cbr>\nContinental Club, Oakland\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>A live graffiti exhibition and breakdance session, with performances by DJ Truth & Lax The Monk and a live set from the Black Excellence Band. \u003ca href=\"https://www.theblackexcellenceband.com/event-details-registration/hip-hop-50th-anniversary-celebration\">More here\u003c/a>.\u003c/p>\n\u003cp>[aside postID='arts_13928550']\u003c/p>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/vibe-vandals-presents-a-tribute-to-50-years-of-hip-hop-culture-tickets-669133174337?aff=ebdssbdestsearch&from=ff7d6b7a315811eebf099a3000f21aef\">Vibe Vandals’ Tribute to 50 years of Hip-Hop Culture\u003c/a>\u003c/h2>\n\u003cp>\u003cem>\u003cstrong>Aug. 11\u003cbr>\nNeck of the Woods, San Francisco\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>The Richmond District’s best dive club celebrates hip-hop with performances by Z-Man, True Justice, Vocab Slick, The Watershed, On Tilt, Outsiders Syndicate and JUJUGXLLERY.\u003c/p>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/a-life-in-hip-hop-talk-show-tickets-670900069167?aff=oddtdtcreator\">A Life in Hip-Hop: Talk Show\u003c/a>\u003c/h2>\n\u003cp>\u003cstrong>\u003cem>Aug. 12\u003cbr>\nKinfolx Cafe, Oakland\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Writer and creative \u003ca href=\"https://www.kqed.org/arts/13861253/rightnowish-mike-nicholls-and-umber-magazine\">Mike Nicholls\u003c/a> shares his personal story within hip-hop culture, in an event that features artists Eddou XL, Grand Nationxl’s Mani Draper, and DJ Nina Sol. \u003ca href=\"https://www.eventbrite.com/e/a-life-in-hip-hop-talk-show-tickets-670900069167?aff=oddtdtcreator\">More here\u003c/a>.\u003c/p>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/united-4-hope-benefit-ft-rodney-o-dj-joe-cooley-commemorate-hip-hop-50-tickets-665037654527?aff=ebdsoporgprofile\">United 4 Hope Benefit With Rodney O and Joe Cooley\u003c/a>\u003c/h2>\n\u003cp>\u003cem>\u003cstrong>Aug. 12\u003cbr>\nExecutive Order, San Francisco\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>The L.A. old-school legends Rodney O and Joe Cooley join DJs Rick Lee, Scotty Fox and Icy Ice at a benefit for Bay Area nonprofit Beats 4 Hope. \u003ca href=\"https://www.eventbrite.com/e/united-4-hope-benefit-ft-rodney-o-dj-joe-cooley-commemorate-hip-hop-50-tickets-665037654527?aff=ebdsoporgprofile\">Details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13894666\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/rockyrivera-snakeskin-vivianchen-164final.jpg\" alt=\"\" width=\"2048\" height=\"1367\" class=\"size-full wp-image-13894666\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/rockyrivera-snakeskin-vivianchen-164final.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/rockyrivera-snakeskin-vivianchen-164final-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/rockyrivera-snakeskin-vivianchen-164final-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/rockyrivera-snakeskin-vivianchen-164final-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/rockyrivera-snakeskin-vivianchen-164final-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/rockyrivera-snakeskin-vivianchen-164final-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/rockyrivera-snakeskin-vivianchen-164final-1920x1282.jpg 1920w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Rocky Rivera and DJ Roza. \u003ccite>(Vivian Chen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.undiscoveredsf.com/#event-info\">SOMA Pilipinas’ UNDISCOVERED Block Party\u003c/a>\u003c/h2>\n\u003cp>\u003cem>\u003cstrong>Aug. 19\u003cbr>\nVarious venues in SOMA, San Francisco\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>Hip-hop’s 50th anniversary coincides with the seventh season of the Filipino creative market UNDISCOVERED, and they celebrate both with a series of three block parties. The first event is Saturday, Aug. 19, in the heart of SOMA Pilipinas with food, art, crafts, live music and dance. Performers include Rocky Rivera, Neil Armstrong, DJ Icy Ice and others; check \u003ca href=\"https://www.undiscoveredsf.com/#event-info\" target=\"_blank\" rel=\"noopener\">here for updates\u003c/a>.\u003c/p>\n\u003ch2>\u003ca href=\"https://oaklandlibrary.bibliocommons.com/list/share/1972854421_opl_rebecca/2320108909_hip_hop_turns_50\">Oakland Public Library: Hip-Hop Turns 50 Reading List\u003c/a>\u003c/h2>\n\u003cp>\u003c/p>\n\u003cp>If you’re more interested in staying inside and celebrating hip-hop on your own, check out the Oakland Public Library’s list of suggested reading material, which includes books on Tupac Shakur, Notorious B.I.G., Questlove, the Wu-Tang Clan, A Tribe Called Quest and more. Find \u003ca href=\"https://oaklandlibrary.bibliocommons.com/list/share/1972854421_opl_rebecca/2320108909_hip_hop_turns_50\" target=\"_blank\" rel=\"noopener\">the list here\u003c/a>.\u003c/p>\n\n","blocks":[],"excerpt":"Come correct at these block parties, club dates and festivals for hip-hop's 50th in the Bay Area. ","status":"publish","parent":0,"modified":1705005189,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":22,"wordCount":764},"headData":{"title":"Hip-Hop's 50th Anniversary: Where to Celebrate in the Bay Area | KQED","description":"Come correct at these block parties, club dates and festivals for hip-hop's 50th in the Bay Area. ","ogTitle":"","ogDescription":"","ogImgId":"arts_13932704","twTitle":"","twDescription":"","twImgId":"arts_13932704","schema":{"@context":"http://schema.org","@type":"Article","headline":"Hip-Hop's 50th Anniversary: Where to Celebrate in the Bay Area","datePublished":"2023-08-04T00:27:10.000Z","dateModified":"2024-01-11T20:33:09.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"audioUrl":"https://traffic.omny.fm/d/clips/0af137ef-751e-4b19-a055-aaef00d2d578/ffca7e9f-6831-4[…]f-aaef00f5a073/163af10c-e243-4652-971b-b05b0102b46d/audio.mp3","sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13932076/bay-area-hip-hop-50th-anniversary-celebrations","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>On Friday, Aug. 11, the world will gather around turntables, giant speakers and open dancefloors for a collective celebration of hip-hop’s 50th anniversary.\u003c/p>\n\u003cp>The date marks the night in 1973 when Cindy Campbell and her brother Clive, aka DJ Kool Herc, combined forces for a back-to-school party in the Bronx that would change the world. The dance was soundtracked by early forms of breakbeat DJing and MCing, and is widely referred to as the first legit hip-hop event.\u003c/p>\n\u003cp>Five decades later, we’re still partying. Here’s a list of August events around the Bay Area in celebration of hip-hop’s golden jubilee.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13923938","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003ch2>\u003ca href=\"https://museumca.org/event/friday-nights-at-omca-the-roots-of-culture/\">The Roots of Hip-Hop Culture: Friday Nights at OMCA\u003c/a>\u003c/h2>\n\u003cp>\u003cstrong>\u003cem>Aug. 4, 11, 18 and 25\u003cbr>\nOakland Museum of California\u003c/em>\u003c/strong>\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 Oakland Museum of California holds it down every Friday of the month as host \u003ca href=\"https://www.kqed.org/arts/13929183/at-the-bay-area-hip-hop-archives-leaving-a-legacy-is-an-art\">Jahi\u003c/a> leads attendees through the roots of the culture. Diamano Coura West African Dance Company performs on Aug. 4; Aug. 11 features an induction ceremony for the \u003ca href=\"https://www.kqed.org/arts/13929183/at-the-bay-area-hip-hop-archives-leaving-a-legacy-is-an-art\">Bay Area Hip-Hop Archives\u003c/a>, DJs Davey D and Jahi, a turf dancing class with Telice Summerfield, and a meet-and-greet with stock-car racer Cameron “Cam-Man” Carraway. Destiny Muhammad plays Bay Area hip-hop on jazz harp and Aimee Rose leads a TropiCali Dancehall Class on Aug. 18; programming concludes Aug. 25 with an evening of aerosol art with Refa One and hands-on beat making activities led by Seti X of June Jordan School for Equity. KQED’s \u003cem>If Cities Could Dance\u003c/em> series will screen Aug. 4 and 11, and its series \u003cem>What’s Pimpin’\u003c/em> will screen Aug. 18 and 25. \u003ca href=\"https://museumca.org/event/friday-nights-at-omca-the-roots-of-culture/\">More here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13932671\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-482124030.jpg\" alt=\"\" width=\"1024\" height=\"765\" class=\"size-full wp-image-13932671\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-482124030.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-482124030-800x598.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-482124030-1020x762.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-482124030-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-482124030-768x574.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Big Daddy Kane pictured in 2015. The New York rap legend headlines at San Jose Jazz Summer Fest’s Hip-Hop 50th Anniversary celebration on Friday, Aug. 11. \u003ccite>(Donna Ward/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://summerfest.sanjosejazz.org/\">Big Daddy Kane at San Jose Jazz Summer Fest’s Hip-Hop 50 Celebration\u003c/a>\u003c/h2>\n\u003cp>\u003cstrong>\u003cem>Aug. 11\u003cbr>\nPlaza de César Chávez, San Jose\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>New York legend Big Daddy Kane performs with a full band on the main stage at San Jose Jazz Summer Fest. A second stage hosts a hip-hop 50th celebration with headliner Murs; Needle To The Groove DJs Allen Johnson, Dave Ma & Michael Basura; \u003ca href=\"https://www.kqed.org/arts/13932887/turf-dancing-oakland-street-dance\">turf dance\u003c/a> crew Playboyz Inc. featuring NastyRay, Scarface & Johnny 5, and live graffiti by Gwen Mercado Reyes and Joey Reyes. The stage’s host will be San Jose emcee DEM ONE. \u003ca href=\"https://summerfest.sanjosejazz.org/\">More here\u003c/a>.\u003c/p>\n\u003ch2>\u003ca href=\"https://www.theblackexcellenceband.com/event-details-registration/hip-hop-50th-anniversary-celebration\">Hip-Hop 50th Anniversary Celebration: Honoring the Culture\u003c/a>\u003c/h2>\n\u003cp>\u003cem>\u003cstrong>Friday, Aug. 11\u003cbr>\nContinental Club, Oakland\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>A live graffiti exhibition and breakdance session, with performances by DJ Truth & Lax The Monk and a live set from the Black Excellence Band. \u003ca href=\"https://www.theblackexcellenceband.com/event-details-registration/hip-hop-50th-anniversary-celebration\">More here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13928550","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/vibe-vandals-presents-a-tribute-to-50-years-of-hip-hop-culture-tickets-669133174337?aff=ebdssbdestsearch&from=ff7d6b7a315811eebf099a3000f21aef\">Vibe Vandals’ Tribute to 50 years of Hip-Hop Culture\u003c/a>\u003c/h2>\n\u003cp>\u003cem>\u003cstrong>Aug. 11\u003cbr>\nNeck of the Woods, San Francisco\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>The Richmond District’s best dive club celebrates hip-hop with performances by Z-Man, True Justice, Vocab Slick, The Watershed, On Tilt, Outsiders Syndicate and JUJUGXLLERY.\u003c/p>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/a-life-in-hip-hop-talk-show-tickets-670900069167?aff=oddtdtcreator\">A Life in Hip-Hop: Talk Show\u003c/a>\u003c/h2>\n\u003cp>\u003cstrong>\u003cem>Aug. 12\u003cbr>\nKinfolx Cafe, Oakland\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Writer and creative \u003ca href=\"https://www.kqed.org/arts/13861253/rightnowish-mike-nicholls-and-umber-magazine\">Mike Nicholls\u003c/a> shares his personal story within hip-hop culture, in an event that features artists Eddou XL, Grand Nationxl’s Mani Draper, and DJ Nina Sol. \u003ca href=\"https://www.eventbrite.com/e/a-life-in-hip-hop-talk-show-tickets-670900069167?aff=oddtdtcreator\">More here\u003c/a>.\u003c/p>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/united-4-hope-benefit-ft-rodney-o-dj-joe-cooley-commemorate-hip-hop-50-tickets-665037654527?aff=ebdsoporgprofile\">United 4 Hope Benefit With Rodney O and Joe Cooley\u003c/a>\u003c/h2>\n\u003cp>\u003cem>\u003cstrong>Aug. 12\u003cbr>\nExecutive Order, San Francisco\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>The L.A. old-school legends Rodney O and Joe Cooley join DJs Rick Lee, Scotty Fox and Icy Ice at a benefit for Bay Area nonprofit Beats 4 Hope. \u003ca href=\"https://www.eventbrite.com/e/united-4-hope-benefit-ft-rodney-o-dj-joe-cooley-commemorate-hip-hop-50-tickets-665037654527?aff=ebdsoporgprofile\">Details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13894666\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/rockyrivera-snakeskin-vivianchen-164final.jpg\" alt=\"\" width=\"2048\" height=\"1367\" class=\"size-full wp-image-13894666\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/rockyrivera-snakeskin-vivianchen-164final.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/rockyrivera-snakeskin-vivianchen-164final-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/rockyrivera-snakeskin-vivianchen-164final-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/rockyrivera-snakeskin-vivianchen-164final-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/rockyrivera-snakeskin-vivianchen-164final-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/rockyrivera-snakeskin-vivianchen-164final-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/rockyrivera-snakeskin-vivianchen-164final-1920x1282.jpg 1920w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Rocky Rivera and DJ Roza. \u003ccite>(Vivian Chen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.undiscoveredsf.com/#event-info\">SOMA Pilipinas’ UNDISCOVERED Block Party\u003c/a>\u003c/h2>\n\u003cp>\u003cem>\u003cstrong>Aug. 19\u003cbr>\nVarious venues in SOMA, San Francisco\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>Hip-hop’s 50th anniversary coincides with the seventh season of the Filipino creative market UNDISCOVERED, and they celebrate both with a series of three block parties. The first event is Saturday, Aug. 19, in the heart of SOMA Pilipinas with food, art, crafts, live music and dance. Performers include Rocky Rivera, Neil Armstrong, DJ Icy Ice and others; check \u003ca href=\"https://www.undiscoveredsf.com/#event-info\" target=\"_blank\" rel=\"noopener\">here for updates\u003c/a>.\u003c/p>\n\u003ch2>\u003ca href=\"https://oaklandlibrary.bibliocommons.com/list/share/1972854421_opl_rebecca/2320108909_hip_hop_turns_50\">Oakland Public Library: Hip-Hop Turns 50 Reading List\u003c/a>\u003c/h2>\n\u003cp>\u003c/p>\n\u003cp>If you’re more interested in staying inside and celebrating hip-hop on your own, check out the Oakland Public Library’s list of suggested reading material, which includes books on Tupac Shakur, Notorious B.I.G., Questlove, the Wu-Tang Clan, A Tribe Called Quest and more. Find \u003ca href=\"https://oaklandlibrary.bibliocommons.com/list/share/1972854421_opl_rebecca/2320108909_hip_hop_turns_50\" target=\"_blank\" rel=\"noopener\">the list here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13932076/bay-area-hip-hop-50th-anniversary-celebrations","authors":["11491","185"],"programs":["arts_140"],"categories":["arts_1","arts_69"],"tags":["arts_11374","arts_831","arts_21365","arts_12100","arts_2755","arts_8836","arts_585"],"featImg":"arts_13932704","label":"arts_140"},"arts_13929082":{"type":"posts","id":"arts_13929082","meta":{"index":"posts_1591205157","site":"arts","id":"13929082","score":null,"sort":[1684771227000]},"guestAuthors":[],"slug":"visual-art-summer-guide-2023-sf-bay-area","title":"Your Guide to the Bay Area's Best Art Exhibitions This Summer","publishDate":1684771227,"format":"aside","headTitle":"Your Guide to the Bay Area’s Best Art Exhibitions This Summer | KQED","labelTerm":{},"content":"\u003cp>\u003cem>\u003cstrong>Be sure to check out our full \u003ca href=\"https://www.kqed.org/summerguide2023\">2023 Summer Arts Guide to live music, movies, art, theater, festivals and more\u003c/a> in the Bay Area.\u003c/strong> \u003c/em>\u003c/p>\n\u003cp>This summer, all cross the Bay Area, our exhibition spaces are presenting work both hyper-local and international in scope. There are vibrant retrospectives, natural soundscapes and off-the-beaten-path project spaces to explore in June, July and August. The result: shows that testify to the artistic talent in our own backyards, as well as the power of art to psychically transport us. Happy art viewing! \u003c/p>\n\u003cfigure id=\"attachment_13929089\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/OMCABrightness_1920.jpg\" alt=\"Colorful abstract painting filled with small repeated circles\" width=\"1920\" height=\"1250\" class=\"size-full wp-image-13929089\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/OMCABrightness_1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/OMCABrightness_1920-800x521.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/OMCABrightness_1920-1020x664.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/OMCABrightness_1920-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/OMCABrightness_1920-768x500.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/OMCABrightness_1920-1536x1000.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Marilyn Wong, ‘Untitled,’ 2022. \u003ccite>(Courtesy of the artist and Creativity Explored)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://museumca.org/on-view/into-the-brightness/\">Into the Brightness: Artists from Creativity Explored, Creative Growth & NIAD\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>Oakland Museum of California\u003cbr>\nMay 19, 2023–Jan. 21, 2024\u003c/i>\u003c/p>\n\u003cp>The Bay Area is blessed with not just one but three incredible institutions that work with artists with developmental disabilities, and the visual art that comes out of \u003ca href=\"https://www.creativityexplored.org/\">Creativity Explored\u003c/a>, \u003ca href=\"https://creativegrowth.org/\">Creative Growth\u003c/a> and \u003ca href=\"https://niadart.org/\">NIAD\u003c/a> can take any number of forms, including sculpture, painting, video and wearable art. The pandemic \u003ca href=\"https://www.kqed.org/arts/13878722/take-home-kits-virtual-studio-time-a-lifeline-for-artists-with-disabilities\">hit these collaborative communities hard\u003c/a>, when shelter-in-place required administrators and instructors to get extraordinarily creative to keep their artists in touch and well stocked with supplies. In the aftermath of that effort, it’s only fitting to celebrate all three organizations and their talented artists in OMCA’s largest gallery.\u003c/p>\n\u003cfigure id=\"attachment_13929090\" class=\"wp-caption aligncenter\" style=\"max-width: 1660px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/UntitledSession9651_Cherry.jpg\" alt=\"Colorful large painting with multiple figures mounted inside a metal futuristic freestanding frame\" width=\"1660\" height=\"1145\" class=\"size-full wp-image-13929090\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/UntitledSession9651_Cherry.jpg 1660w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/UntitledSession9651_Cherry-800x552.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/UntitledSession9651_Cherry-1020x704.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/UntitledSession9651_Cherry-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/UntitledSession9651_Cherry-768x530.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/UntitledSession9651_Cherry-1536x1059.jpg 1536w\" sizes=\"(max-width: 1660px) 100vw, 1660px\">\u003cfigcaption class=\"wp-caption-text\">An example of Caitlyn Cherry’s previous work. \u003ccite>(Courtesy of the Wattis and The Hole)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Caitlin Cherry, ‘\u003ca href=\"https://wattis.org/our-program/on-view/caitlin-cherry\">The Regolith Was Boiling\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>CCA Wattis Institute for Contemporary Art, San Francisco\u003cbr>\nJune 1–July 29, 2023\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It’s not often that we get to see paintings at the Wattis. Curated by former director Anthony Huberman, this solo show from the Mérida-based artist \u003ca href=\"https://www.instagram.com/the_underboobcommons/?hl=en\">Caitlin Cherry\u003c/a> will respond to the space with large-scale oil paintings and digital prints in an installation imagined as a single mural. Having multiple parts cohere into a whole befits Cherry’s painting style, which draws from image databases across the internet for pics of porn stars, Instagram models, drag queens, rappers and celebrities. In the artist’s hands, composite scenes are rendered in electric, solarized hues and Black femme figures are overlaid with psychedelic ripples of color. Expect maximalism, creative methods of display and a welcome retinal onslaught.\u003c/p>\n\u003cfigure id=\"attachment_13929096\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/GreatAnimalOrchestra_1920.jpg\" alt=\"Dark room with seated audience looking at wide corner of blue data-like lines on video screen\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13929096\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GreatAnimalOrchestra_1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GreatAnimalOrchestra_1920-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GreatAnimalOrchestra_1920-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GreatAnimalOrchestra_1920-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GreatAnimalOrchestra_1920-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GreatAnimalOrchestra_1920-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">View of the exhibition ‘The Great Animal Orchestra’ at Fondation Cartier pour l’art contemporain, Paris, 2016.\u003cbr> \u003ccite>(© Bernie Krause / © UVA; Image © Luc Boegly)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.exploratorium.edu/TGAO\">The Great Animal Orchestra\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>The Exploratorium (Pier 15, San Francisco)\u003cbr>\nJune 10–Oct. 15, 2023\u003c/i>\u003c/p>\n\u003cp>Sonoma County resident Bernie Krause has been collecting the sounds of the natural world for over 50 years, recording across North America, Latin America and sub-Saharan Africa, even dipping his microphone into the world’s oceans. In 2016, Fondation Cartier introduced Krause to United Visual Artists, a London-based collective, to create a video installation that kinetically depicts the sounds of seven different marine and terrestrial habitats. Howls, chirps, songs and clicks each tell a story of a vastly different place on this planet — a mesmerizing collective chorus that is sadly, and ever more rapidly, losing its members. \u003c/p>\n\u003cfigure id=\"attachment_13929091\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Memorial-portraits-of-actors-Nakamura-Utaemon-IV-Ichikawa-Danjuro-VIII-and-Bando-Shuka-II-1854_1920.jpg\" alt=\"Triptych of dynamic scene of various people in robes struggling against each other\" width=\"1920\" height=\"923\" class=\"size-full wp-image-13929091\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Memorial-portraits-of-actors-Nakamura-Utaemon-IV-Ichikawa-Danjuro-VIII-and-Bando-Shuka-II-1854_1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Memorial-portraits-of-actors-Nakamura-Utaemon-IV-Ichikawa-Danjuro-VIII-and-Bando-Shuka-II-1854_1920-800x385.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Memorial-portraits-of-actors-Nakamura-Utaemon-IV-Ichikawa-Danjuro-VIII-and-Bando-Shuka-II-1854_1920-1020x490.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Memorial-portraits-of-actors-Nakamura-Utaemon-IV-Ichikawa-Danjuro-VIII-and-Bando-Shuka-II-1854_1920-160x77.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Memorial-portraits-of-actors-Nakamura-Utaemon-IV-Ichikawa-Danjuro-VIII-and-Bando-Shuka-II-1854_1920-768x369.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Memorial-portraits-of-actors-Nakamura-Utaemon-IV-Ichikawa-Danjuro-VIII-and-Bando-Shuka-II-1854_1920-1536x738.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">‘Memorial portraits of actors Nakamura Utaemon IV, Ichikawa Danjuro VIII, and Bando Shuka II,’ 1854; Woodblock print, 14 3/4 x 30 1/2 inches. \u003ccite>(© 2023 Museum of Fine Arts, Boston)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://about.asianart.org/press/hell-arts-of-asian-underworlds/\">Hell: Arts of Asian Underworlds\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>Asian Art Museum, San Francisco\u003cbr>\nJune 16–Sept. 23, 2023\u003c/i>\u003c/p>\n\u003cp>You know you’re in for something special when an exhibition bears the tagline “800 Years of Torment.” This show gathers artworks from Buddhist, Hindu and Jain traditions created over nine centuries. In these elaborate and grotesque visions of the afterlife, humans hang over open flames, demons torture men and mice cower before despotic cats. (I knew it!) I predict it’ll be tough to drag people away from the twisted worlds depicted in these pieces, a real \u003ci>Where’s Waldo\u003c/i> in the underworld, if you will — so it’s a good thing this show stays up all summer. \u003c/p>\n\u003cfigure id=\"attachment_13929104\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Gordon-Parks-Untitled-Harlem-New-York-1963.jpg\" alt='Color photograph of back of Black boy leaning against a barricade that reads \"DO NOT CROSS\"' width=\"1500\" height=\"1019\" class=\"size-full wp-image-13929104\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Gordon-Parks-Untitled-Harlem-New-York-1963.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Gordon-Parks-Untitled-Harlem-New-York-1963-800x543.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Gordon-Parks-Untitled-Harlem-New-York-1963-1020x693.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Gordon-Parks-Untitled-Harlem-New-York-1963-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Gordon-Parks-Untitled-Harlem-New-York-1963-768x522.jpg 768w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">Gordon Parks, ‘Untitled, Harlem, New York,’ 1963; Archival pigment print. \u003ccite>(McEvoy Family Collection; Courtesy of and copyright The Gordon Parks Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.mcevoyarts.org/exhibition/what-are-words-worth/\">What are words worth?\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>McEvoy Foundation for the Arts, San Francisco\u003cbr>\nJune 16–Sept. 2, 2023\u003c/i>\u003c/p>\n\u003cp>Curated around ideas of language, journalism, literature and typography, this exhibition will be the final show for the McEvoy Foundation for the Arts, the Dogpatch nonprofit arts space that opened in 2017 and announced it’d be closing earlier this year. Since that first show, the MFA has put on nearly 100 exhibitions, film programs and events, including an incredible \u003ca href=\"https://www.kqed.org/arts/13888324/frederick-douglass-lessons-resound-in-the-contemporary-moment\">Isaac Julien installation\u003c/a>, a \u003ca href=\"https://www.kqed.org/arts/13828542/dilexi-series-kqed-1969-mcevoy-foundation-for-the-arts\">program of experimental films\u003c/a> once shown on KQED, and a memorable screening of Jafar Panahi’s \u003ci>\u003ca href=\"https://www.mcevoyarts.org/event/the-mirror/\">The Mirror\u003c/a>\u003c/i> at the Roxie. There will be much more to say once this show puts its own words on the wall, but don’t miss a chance to say goodbye to a program that has created space for so many art experiences in its brief time.\u003c/p>\n\u003cfigure id=\"attachment_13929092\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/YolandaLopez_SJMA.jpg\" alt=\"Painting of young woman in running outfit striding forward with coastal landscape behind her\" width=\"1920\" height=\"1119\" class=\"size-full wp-image-13929092\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/YolandaLopez_SJMA.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/YolandaLopez_SJMA-800x466.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/YolandaLopez_SJMA-1020x594.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/YolandaLopez_SJMA-160x93.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/YolandaLopez_SJMA-768x448.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/YolandaLopez_SJMA-1536x895.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Yolanda López, ‘Runner: On My Own!’ from the series ‘¿A Dónde Vas, Chicana? Getting through College,’ 1977; Oil and acrylic on paper, 60 x 106 inches. \u003ccite>(Courtesy of the Yolanda López Legacy Trust)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://sjmusart.org/exhibition/yolanda-lopez-portrait-artist\">Yolanda López: Portrait of the Artist\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>San José Museum of Art\u003cbr>\nJuly 7–Oct. 29, 2023\u003c/i>\u003c/p>\n\u003cp>Just a month and a half after Yolanda López \u003ca href=\"https://www.kqed.org/arts/13903264/yolanda-lopez-remembrance-chicanx-art\">died in 2021\u003c/a>, the Museum of Contemporary Art, San Diego opened her first solo museum exhibition. Even though the Bay Area artist, activist and cultural worker was long ignored by the institutional art world, her work in oil pastel, paint, charcoal, collage and photography became Chicana feminist symbols and potent images of the Chicano civil rights movement. This SJMA show is a homecoming of sorts, bringing 50 of López’s iconic works together with material that speaks to the Bay Area’s impact on her life and career — and, in turn, her influence on the generations of artists in her orbit. \u003c/p>\n\u003cfigure id=\"attachment_13929131\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/ChromeComp_1920.jpg\" alt=\"Composite of three images: a green bike sculpture, a complex painting with an animorph figure at center; a pink-lit disco ball over fake roses on a cushion\" width=\"1920\" height=\"780\" class=\"size-full wp-image-13929131\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/ChromeComp_1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/ChromeComp_1920-800x325.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/ChromeComp_1920-1020x414.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/ChromeComp_1920-160x65.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/ChromeComp_1920-768x312.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/ChromeComp_1920-1536x624.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">L to R: rafa esparza, ‘Corpo RanfLA: Terra Cruiser,’ 2022; Mario Ayala, ‘Reunion,’ 2021; Guadalupe Rosales, detail of ‘Drafting on a Memory (a dedication to Gypsy Rose),’ 2022. \u003ccite>(L to R: Courtesy the artist, photo by Fabian Guerrero; © Mario Ayala, courtesy the artist; Courtesy the artist, photo by Chad Redmon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.sfmoma.org/exhibition/sitting-on-chrome-mario-ayala-rafa-esparza-and-guadalupe-rosales/\">Sitting on Chrome: Mario Ayala, rafa esparza, and Guadalupe Rosales\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>San Francisco Museum of Modern Art\u003cbr>\nAug. 5, 2023–Feb. 19, 2024\u003c/i>\u003c/p>\n\u003cp>While SFMOMA’s \u003ca href=\"https://www.sfmoma.org/free-admission-to-floor-2-galleries/\">free entry\u003c/a> to its second floor galleries ends May 29 (with the close of the \u003ca href=\"https://www.kqed.org/arts/13923804/2022-seca-art-award-exhibition-sfmoma-review\">SECA Award show\u003c/a>), the museum just announced a “\u003ca href=\"https://www.sfmoma.org/membership/working-artist-membership/\">Working Artist Membership\u003c/a>” that makes the cost of admission a little less staggering for artists planning to make multiple visits over the course of a year. And here’s a very good reason to do just that: a collaborative exhibition from Los Angeles-based artists \u003ca href=\"https://www.davidkordanskygallery.com/artist/mario-ayala\">Mario Ayala\u003c/a>, \u003ca href=\"https://www.instagram.com/elrafaesparza/?hl=en\">rafa esparza\u003c/a> and \u003ca href=\"https://www.veteranasandrucas.com/\">Guadalupe Rosales\u003c/a>. In a series of installations that include murals, paintings, sculptures, photographs, archival materials and sound, Ayala, esparza and Rosales use the visual language of lowriders to talk about cultural resistance and visibility in sparkling, pinstriped, sensational style.\u003c/p>\n\u003cfigure id=\"attachment_13929125\" class=\"wp-caption aligncenter\" style=\"max-width: 544px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Fred-Marque-DeWitt_Safe-Black-Space.jpg\" alt='A black circle with white text on concrete floor that reads \"SAFE BLACK SPACE\"' width=\"544\" height=\"725\" class=\"size-full wp-image-13929125\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Fred-Marque-DeWitt_Safe-Black-Space.jpg 544w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Fred-Marque-DeWitt_Safe-Black-Space-160x213.jpg 160w\" sizes=\"(max-width: 544px) 100vw, 544px\">\u003cfigcaption class=\"wp-caption-text\">A vinyl floor sticker by Fred Marque DeWitt. \u003ccite>(Courtesy the artist and Berkeley Art Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Rabbit Hole’\u003c/h2>\n\u003cp>\u003ci>\u003ca href=\"https://www.berkeleyartcenter.org/\">Berkeley Art Center\u003c/a>\u003cbr>\nAug. 12–Sept. 23, 2023\u003c/i> \u003c/p>\n\u003cp>This group show curated by Adrianne Ramsey looks at the changes we’ve experienced when it comes to our understanding of space, especially after the shelter-in-place mandate eradicated the group gatherings that so often give us our strongest sense of community and self. Working across a variety of mediums, artists Danielle Luz Belanger, Fred Marquee DeWitt, Mark Harris, Courtney Desiree Morris, Arleene Correa Valencia and Connie Zheng will negotiate the yurt-like Berkeley Art Center — a strange and lovely space unto itself — to depict their own experiences of falling, like Alice, through the rabbit hole from “before” to now.\u003c/p>\n\u003cfigure id=\"attachment_13929094\" class=\"wp-caption aligncenter\" style=\"max-width: 799px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/PersonalSpace.jpg\" alt=\"Terra cotta roofed one-story building with big window and tile facade\" width=\"799\" height=\"600\" class=\"size-full wp-image-13929094\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/PersonalSpace.jpg 799w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/PersonalSpace-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/PersonalSpace-768x577.jpg 768w\" sizes=\"(max-width: 799px) 100vw, 799px\">\u003cfigcaption class=\"wp-caption-text\">The forthcoming Vallejo project space dubbed Personal Space, expected to open this summer. \u003ccite>(Lisa Rybovich Crallé)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A great time to visit new spaces\u003c/h2>\n\u003cp>While \u003ca href=\"https://www.kqed.org/arts/13925929/ratio-3-san-francisco-gallery-closing-after-20-years\">gallery closures\u003c/a> can be cause for hand-wringing, the Bay Area is full of people who simply cannot stop creating community-minded artistic projects. This summer, make it a priority to visit some of these more off-the-wall efforts.\u003c/p>\n\u003cp>For example: Why not swing through the Mission for a show at \u003cb>\u003ca href=\"https://inconcertsf.com/\">In Concert\u003c/a>\u003c/b>, nestled within Cushion Works (an active cushion factory) and alongside \u003ca href=\"https://www.cushionworks.info/\">\u003cb>Cushion Works\u003c/b>\u003c/a> (an alternative exhibition space)? \u003c/p>\n\u003cp>[aside postID='arts_13924661']Just a few blocks south, you can catch up on \u003cb>\u003ca href=\"https://houseofseiko.info/\">House of Seiko\u003c/a>\u003c/b>’s fishbowl-like space and have a nice chat with co-founder Cole Solinger. \u003c/p>\n\u003cp>In the Richmond District, be sure to carve out time to visit \u003cb>\u003ca href=\"https://staircase.place/\">Staircase\u003c/a>\u003c/b>, an apartment hallway turned graceful exhibition venue. \u003c/p>\n\u003cp>Before you leave San Francisco, drop by \u003cb>\u003ca href=\"http://lamofeta.xyz/\">La Mofeta\u003c/a>\u003c/b>, open all the time because it’s a 4-by-4-inch post sticking up out of a garage in Diamond Heights. \u003c/p>\n\u003cp>Later this summer — July, she says, maybe August — artist Lisa Rybovich Crallé will open \u003cb>\u003ca href=\"https://www.instagram.com/personal_________space/\">Personal Space\u003c/a>\u003c/b>, a storefront project space in Vallejo.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>And last but not least, sign yourself up for the mailing list of \u003cb>\u003ca href=\"https://www.instagram.com/pointingrespectfully/\">Pointing Respectfully\u003c/a>\u003c/b>, sporadic, joy walks in local nature organized by Zoë Taleporos and Elizabeth Nicula.\u003c/p>\n\n","blocks":[],"excerpt":"This summer’s shows testify to the talent in our own backyards, as well as art’s ability to physically transport us.","status":"publish","parent":0,"modified":1705005474,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":27,"wordCount":1623},"headData":{"title":"Your Guide to the Bay Area's Best Art Exhibitions This Summer | KQED","description":"This summer’s shows testify to the talent in our own backyards, as well as art’s ability to physically transport us.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Your Guide to the Bay Area's Best Art Exhibitions This Summer","datePublished":"2023-05-22T16:00:27.000Z","dateModified":"2024-01-11T20:37:54.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"source":"Hot Summer Guide 2023","sourceUrl":"/summerguide2023","sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13929082/visual-art-summer-guide-2023-sf-bay-area","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>Be sure to check out our full \u003ca href=\"https://www.kqed.org/summerguide2023\">2023 Summer Arts Guide to live music, movies, art, theater, festivals and more\u003c/a> in the Bay Area.\u003c/strong> \u003c/em>\u003c/p>\n\u003cp>This summer, all cross the Bay Area, our exhibition spaces are presenting work both hyper-local and international in scope. There are vibrant retrospectives, natural soundscapes and off-the-beaten-path project spaces to explore in June, July and August. The result: shows that testify to the artistic talent in our own backyards, as well as the power of art to psychically transport us. Happy art viewing! \u003c/p>\n\u003cfigure id=\"attachment_13929089\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/OMCABrightness_1920.jpg\" alt=\"Colorful abstract painting filled with small repeated circles\" width=\"1920\" height=\"1250\" class=\"size-full wp-image-13929089\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/OMCABrightness_1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/OMCABrightness_1920-800x521.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/OMCABrightness_1920-1020x664.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/OMCABrightness_1920-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/OMCABrightness_1920-768x500.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/OMCABrightness_1920-1536x1000.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Marilyn Wong, ‘Untitled,’ 2022. \u003ccite>(Courtesy of the artist and Creativity Explored)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://museumca.org/on-view/into-the-brightness/\">Into the Brightness: Artists from Creativity Explored, Creative Growth & NIAD\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>Oakland Museum of California\u003cbr>\nMay 19, 2023–Jan. 21, 2024\u003c/i>\u003c/p>\n\u003cp>The Bay Area is blessed with not just one but three incredible institutions that work with artists with developmental disabilities, and the visual art that comes out of \u003ca href=\"https://www.creativityexplored.org/\">Creativity Explored\u003c/a>, \u003ca href=\"https://creativegrowth.org/\">Creative Growth\u003c/a> and \u003ca href=\"https://niadart.org/\">NIAD\u003c/a> can take any number of forms, including sculpture, painting, video and wearable art. The pandemic \u003ca href=\"https://www.kqed.org/arts/13878722/take-home-kits-virtual-studio-time-a-lifeline-for-artists-with-disabilities\">hit these collaborative communities hard\u003c/a>, when shelter-in-place required administrators and instructors to get extraordinarily creative to keep their artists in touch and well stocked with supplies. In the aftermath of that effort, it’s only fitting to celebrate all three organizations and their talented artists in OMCA’s largest gallery.\u003c/p>\n\u003cfigure id=\"attachment_13929090\" class=\"wp-caption aligncenter\" style=\"max-width: 1660px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/UntitledSession9651_Cherry.jpg\" alt=\"Colorful large painting with multiple figures mounted inside a metal futuristic freestanding frame\" width=\"1660\" height=\"1145\" class=\"size-full wp-image-13929090\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/UntitledSession9651_Cherry.jpg 1660w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/UntitledSession9651_Cherry-800x552.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/UntitledSession9651_Cherry-1020x704.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/UntitledSession9651_Cherry-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/UntitledSession9651_Cherry-768x530.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/UntitledSession9651_Cherry-1536x1059.jpg 1536w\" sizes=\"(max-width: 1660px) 100vw, 1660px\">\u003cfigcaption class=\"wp-caption-text\">An example of Caitlyn Cherry’s previous work. \u003ccite>(Courtesy of the Wattis and The Hole)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Caitlin Cherry, ‘\u003ca href=\"https://wattis.org/our-program/on-view/caitlin-cherry\">The Regolith Was Boiling\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>CCA Wattis Institute for Contemporary Art, San Francisco\u003cbr>\nJune 1–July 29, 2023\u003c/i>\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>It’s not often that we get to see paintings at the Wattis. Curated by former director Anthony Huberman, this solo show from the Mérida-based artist \u003ca href=\"https://www.instagram.com/the_underboobcommons/?hl=en\">Caitlin Cherry\u003c/a> will respond to the space with large-scale oil paintings and digital prints in an installation imagined as a single mural. Having multiple parts cohere into a whole befits Cherry’s painting style, which draws from image databases across the internet for pics of porn stars, Instagram models, drag queens, rappers and celebrities. In the artist’s hands, composite scenes are rendered in electric, solarized hues and Black femme figures are overlaid with psychedelic ripples of color. Expect maximalism, creative methods of display and a welcome retinal onslaught.\u003c/p>\n\u003cfigure id=\"attachment_13929096\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/GreatAnimalOrchestra_1920.jpg\" alt=\"Dark room with seated audience looking at wide corner of blue data-like lines on video screen\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13929096\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GreatAnimalOrchestra_1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GreatAnimalOrchestra_1920-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GreatAnimalOrchestra_1920-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GreatAnimalOrchestra_1920-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GreatAnimalOrchestra_1920-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GreatAnimalOrchestra_1920-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">View of the exhibition ‘The Great Animal Orchestra’ at Fondation Cartier pour l’art contemporain, Paris, 2016.\u003cbr> \u003ccite>(© Bernie Krause / © UVA; Image © Luc Boegly)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.exploratorium.edu/TGAO\">The Great Animal Orchestra\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>The Exploratorium (Pier 15, San Francisco)\u003cbr>\nJune 10–Oct. 15, 2023\u003c/i>\u003c/p>\n\u003cp>Sonoma County resident Bernie Krause has been collecting the sounds of the natural world for over 50 years, recording across North America, Latin America and sub-Saharan Africa, even dipping his microphone into the world’s oceans. In 2016, Fondation Cartier introduced Krause to United Visual Artists, a London-based collective, to create a video installation that kinetically depicts the sounds of seven different marine and terrestrial habitats. Howls, chirps, songs and clicks each tell a story of a vastly different place on this planet — a mesmerizing collective chorus that is sadly, and ever more rapidly, losing its members. \u003c/p>\n\u003cfigure id=\"attachment_13929091\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Memorial-portraits-of-actors-Nakamura-Utaemon-IV-Ichikawa-Danjuro-VIII-and-Bando-Shuka-II-1854_1920.jpg\" alt=\"Triptych of dynamic scene of various people in robes struggling against each other\" width=\"1920\" height=\"923\" class=\"size-full wp-image-13929091\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Memorial-portraits-of-actors-Nakamura-Utaemon-IV-Ichikawa-Danjuro-VIII-and-Bando-Shuka-II-1854_1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Memorial-portraits-of-actors-Nakamura-Utaemon-IV-Ichikawa-Danjuro-VIII-and-Bando-Shuka-II-1854_1920-800x385.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Memorial-portraits-of-actors-Nakamura-Utaemon-IV-Ichikawa-Danjuro-VIII-and-Bando-Shuka-II-1854_1920-1020x490.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Memorial-portraits-of-actors-Nakamura-Utaemon-IV-Ichikawa-Danjuro-VIII-and-Bando-Shuka-II-1854_1920-160x77.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Memorial-portraits-of-actors-Nakamura-Utaemon-IV-Ichikawa-Danjuro-VIII-and-Bando-Shuka-II-1854_1920-768x369.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Memorial-portraits-of-actors-Nakamura-Utaemon-IV-Ichikawa-Danjuro-VIII-and-Bando-Shuka-II-1854_1920-1536x738.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">‘Memorial portraits of actors Nakamura Utaemon IV, Ichikawa Danjuro VIII, and Bando Shuka II,’ 1854; Woodblock print, 14 3/4 x 30 1/2 inches. \u003ccite>(© 2023 Museum of Fine Arts, Boston)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://about.asianart.org/press/hell-arts-of-asian-underworlds/\">Hell: Arts of Asian Underworlds\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>Asian Art Museum, San Francisco\u003cbr>\nJune 16–Sept. 23, 2023\u003c/i>\u003c/p>\n\u003cp>You know you’re in for something special when an exhibition bears the tagline “800 Years of Torment.” This show gathers artworks from Buddhist, Hindu and Jain traditions created over nine centuries. In these elaborate and grotesque visions of the afterlife, humans hang over open flames, demons torture men and mice cower before despotic cats. (I knew it!) I predict it’ll be tough to drag people away from the twisted worlds depicted in these pieces, a real \u003ci>Where’s Waldo\u003c/i> in the underworld, if you will — so it’s a good thing this show stays up all summer. \u003c/p>\n\u003cfigure id=\"attachment_13929104\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Gordon-Parks-Untitled-Harlem-New-York-1963.jpg\" alt='Color photograph of back of Black boy leaning against a barricade that reads \"DO NOT CROSS\"' width=\"1500\" height=\"1019\" class=\"size-full wp-image-13929104\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Gordon-Parks-Untitled-Harlem-New-York-1963.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Gordon-Parks-Untitled-Harlem-New-York-1963-800x543.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Gordon-Parks-Untitled-Harlem-New-York-1963-1020x693.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Gordon-Parks-Untitled-Harlem-New-York-1963-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Gordon-Parks-Untitled-Harlem-New-York-1963-768x522.jpg 768w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">Gordon Parks, ‘Untitled, Harlem, New York,’ 1963; Archival pigment print. \u003ccite>(McEvoy Family Collection; Courtesy of and copyright The Gordon Parks Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.mcevoyarts.org/exhibition/what-are-words-worth/\">What are words worth?\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>McEvoy Foundation for the Arts, San Francisco\u003cbr>\nJune 16–Sept. 2, 2023\u003c/i>\u003c/p>\n\u003cp>Curated around ideas of language, journalism, literature and typography, this exhibition will be the final show for the McEvoy Foundation for the Arts, the Dogpatch nonprofit arts space that opened in 2017 and announced it’d be closing earlier this year. Since that first show, the MFA has put on nearly 100 exhibitions, film programs and events, including an incredible \u003ca href=\"https://www.kqed.org/arts/13888324/frederick-douglass-lessons-resound-in-the-contemporary-moment\">Isaac Julien installation\u003c/a>, a \u003ca href=\"https://www.kqed.org/arts/13828542/dilexi-series-kqed-1969-mcevoy-foundation-for-the-arts\">program of experimental films\u003c/a> once shown on KQED, and a memorable screening of Jafar Panahi’s \u003ci>\u003ca href=\"https://www.mcevoyarts.org/event/the-mirror/\">The Mirror\u003c/a>\u003c/i> at the Roxie. There will be much more to say once this show puts its own words on the wall, but don’t miss a chance to say goodbye to a program that has created space for so many art experiences in its brief time.\u003c/p>\n\u003cfigure id=\"attachment_13929092\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/YolandaLopez_SJMA.jpg\" alt=\"Painting of young woman in running outfit striding forward with coastal landscape behind her\" width=\"1920\" height=\"1119\" class=\"size-full wp-image-13929092\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/YolandaLopez_SJMA.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/YolandaLopez_SJMA-800x466.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/YolandaLopez_SJMA-1020x594.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/YolandaLopez_SJMA-160x93.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/YolandaLopez_SJMA-768x448.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/YolandaLopez_SJMA-1536x895.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Yolanda López, ‘Runner: On My Own!’ from the series ‘¿A Dónde Vas, Chicana? Getting through College,’ 1977; Oil and acrylic on paper, 60 x 106 inches. \u003ccite>(Courtesy of the Yolanda López Legacy Trust)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://sjmusart.org/exhibition/yolanda-lopez-portrait-artist\">Yolanda López: Portrait of the Artist\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>San José Museum of Art\u003cbr>\nJuly 7–Oct. 29, 2023\u003c/i>\u003c/p>\n\u003cp>Just a month and a half after Yolanda López \u003ca href=\"https://www.kqed.org/arts/13903264/yolanda-lopez-remembrance-chicanx-art\">died in 2021\u003c/a>, the Museum of Contemporary Art, San Diego opened her first solo museum exhibition. Even though the Bay Area artist, activist and cultural worker was long ignored by the institutional art world, her work in oil pastel, paint, charcoal, collage and photography became Chicana feminist symbols and potent images of the Chicano civil rights movement. This SJMA show is a homecoming of sorts, bringing 50 of López’s iconic works together with material that speaks to the Bay Area’s impact on her life and career — and, in turn, her influence on the generations of artists in her orbit. \u003c/p>\n\u003cfigure id=\"attachment_13929131\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/ChromeComp_1920.jpg\" alt=\"Composite of three images: a green bike sculpture, a complex painting with an animorph figure at center; a pink-lit disco ball over fake roses on a cushion\" width=\"1920\" height=\"780\" class=\"size-full wp-image-13929131\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/ChromeComp_1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/ChromeComp_1920-800x325.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/ChromeComp_1920-1020x414.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/ChromeComp_1920-160x65.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/ChromeComp_1920-768x312.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/ChromeComp_1920-1536x624.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">L to R: rafa esparza, ‘Corpo RanfLA: Terra Cruiser,’ 2022; Mario Ayala, ‘Reunion,’ 2021; Guadalupe Rosales, detail of ‘Drafting on a Memory (a dedication to Gypsy Rose),’ 2022. \u003ccite>(L to R: Courtesy the artist, photo by Fabian Guerrero; © Mario Ayala, courtesy the artist; Courtesy the artist, photo by Chad Redmon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.sfmoma.org/exhibition/sitting-on-chrome-mario-ayala-rafa-esparza-and-guadalupe-rosales/\">Sitting on Chrome: Mario Ayala, rafa esparza, and Guadalupe Rosales\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>San Francisco Museum of Modern Art\u003cbr>\nAug. 5, 2023–Feb. 19, 2024\u003c/i>\u003c/p>\n\u003cp>While SFMOMA’s \u003ca href=\"https://www.sfmoma.org/free-admission-to-floor-2-galleries/\">free entry\u003c/a> to its second floor galleries ends May 29 (with the close of the \u003ca href=\"https://www.kqed.org/arts/13923804/2022-seca-art-award-exhibition-sfmoma-review\">SECA Award show\u003c/a>), the museum just announced a “\u003ca href=\"https://www.sfmoma.org/membership/working-artist-membership/\">Working Artist Membership\u003c/a>” that makes the cost of admission a little less staggering for artists planning to make multiple visits over the course of a year. And here’s a very good reason to do just that: a collaborative exhibition from Los Angeles-based artists \u003ca href=\"https://www.davidkordanskygallery.com/artist/mario-ayala\">Mario Ayala\u003c/a>, \u003ca href=\"https://www.instagram.com/elrafaesparza/?hl=en\">rafa esparza\u003c/a> and \u003ca href=\"https://www.veteranasandrucas.com/\">Guadalupe Rosales\u003c/a>. In a series of installations that include murals, paintings, sculptures, photographs, archival materials and sound, Ayala, esparza and Rosales use the visual language of lowriders to talk about cultural resistance and visibility in sparkling, pinstriped, sensational style.\u003c/p>\n\u003cfigure id=\"attachment_13929125\" class=\"wp-caption aligncenter\" style=\"max-width: 544px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Fred-Marque-DeWitt_Safe-Black-Space.jpg\" alt='A black circle with white text on concrete floor that reads \"SAFE BLACK SPACE\"' width=\"544\" height=\"725\" class=\"size-full wp-image-13929125\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Fred-Marque-DeWitt_Safe-Black-Space.jpg 544w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Fred-Marque-DeWitt_Safe-Black-Space-160x213.jpg 160w\" sizes=\"(max-width: 544px) 100vw, 544px\">\u003cfigcaption class=\"wp-caption-text\">A vinyl floor sticker by Fred Marque DeWitt. \u003ccite>(Courtesy the artist and Berkeley Art Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Rabbit Hole’\u003c/h2>\n\u003cp>\u003ci>\u003ca href=\"https://www.berkeleyartcenter.org/\">Berkeley Art Center\u003c/a>\u003cbr>\nAug. 12–Sept. 23, 2023\u003c/i> \u003c/p>\n\u003cp>This group show curated by Adrianne Ramsey looks at the changes we’ve experienced when it comes to our understanding of space, especially after the shelter-in-place mandate eradicated the group gatherings that so often give us our strongest sense of community and self. Working across a variety of mediums, artists Danielle Luz Belanger, Fred Marquee DeWitt, Mark Harris, Courtney Desiree Morris, Arleene Correa Valencia and Connie Zheng will negotiate the yurt-like Berkeley Art Center — a strange and lovely space unto itself — to depict their own experiences of falling, like Alice, through the rabbit hole from “before” to now.\u003c/p>\n\u003cfigure id=\"attachment_13929094\" class=\"wp-caption aligncenter\" style=\"max-width: 799px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/PersonalSpace.jpg\" alt=\"Terra cotta roofed one-story building with big window and tile facade\" width=\"799\" height=\"600\" class=\"size-full wp-image-13929094\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/PersonalSpace.jpg 799w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/PersonalSpace-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/PersonalSpace-768x577.jpg 768w\" sizes=\"(max-width: 799px) 100vw, 799px\">\u003cfigcaption class=\"wp-caption-text\">The forthcoming Vallejo project space dubbed Personal Space, expected to open this summer. \u003ccite>(Lisa Rybovich Crallé)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A great time to visit new spaces\u003c/h2>\n\u003cp>While \u003ca href=\"https://www.kqed.org/arts/13925929/ratio-3-san-francisco-gallery-closing-after-20-years\">gallery closures\u003c/a> can be cause for hand-wringing, the Bay Area is full of people who simply cannot stop creating community-minded artistic projects. This summer, make it a priority to visit some of these more off-the-wall efforts.\u003c/p>\n\u003cp>For example: Why not swing through the Mission for a show at \u003cb>\u003ca href=\"https://inconcertsf.com/\">In Concert\u003c/a>\u003c/b>, nestled within Cushion Works (an active cushion factory) and alongside \u003ca href=\"https://www.cushionworks.info/\">\u003cb>Cushion Works\u003c/b>\u003c/a> (an alternative exhibition space)? \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13924661","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Just a few blocks south, you can catch up on \u003cb>\u003ca href=\"https://houseofseiko.info/\">House of Seiko\u003c/a>\u003c/b>’s fishbowl-like space and have a nice chat with co-founder Cole Solinger. \u003c/p>\n\u003cp>In the Richmond District, be sure to carve out time to visit \u003cb>\u003ca href=\"https://staircase.place/\">Staircase\u003c/a>\u003c/b>, an apartment hallway turned graceful exhibition venue. \u003c/p>\n\u003cp>Before you leave San Francisco, drop by \u003cb>\u003ca href=\"http://lamofeta.xyz/\">La Mofeta\u003c/a>\u003c/b>, open all the time because it’s a 4-by-4-inch post sticking up out of a garage in Diamond Heights. \u003c/p>\n\u003cp>Later this summer — July, she says, maybe August — artist Lisa Rybovich Crallé will open \u003cb>\u003ca href=\"https://www.instagram.com/personal_________space/\">Personal Space\u003c/a>\u003c/b>, a storefront project space in Vallejo.\u003c/p>\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>And last but not least, sign yourself up for the mailing list of \u003cb>\u003ca href=\"https://www.instagram.com/pointingrespectfully/\">Pointing Respectfully\u003c/a>\u003c/b>, sporadic, joy walks in local nature organized by Zoë Taleporos and Elizabeth Nicula.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13929082/visual-art-summer-guide-2023-sf-bay-area","authors":["61"],"programs":["arts_140"],"categories":["arts_1","arts_235","arts_70"],"tags":["arts_2250","arts_10342","arts_2483","arts_10278","arts_3649","arts_1006","arts_6376","arts_2755","arts_1187","arts_1381","arts_20565","arts_585"],"featImg":"arts_13929092","label":"source_arts_13929082"},"arts_13922385":{"type":"posts","id":"arts_13922385","meta":{"index":"posts_1591205157","site":"arts","id":"13922385","score":null,"sort":[1670444924000]},"guestAuthors":[],"slug":"best-visual-art-bay-area-2022","title":"The Best Art I Saw in 2022","publishDate":1670444924,"format":"aside","headTitle":"The Best Art I Saw in 2022 | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>It’s truly an honor to write this roundup every year. There’s so much I don’t get a chance to review, let alone \u003ci>see\u003c/i> in the Bay Area’s voluminous visual art scene. (Believe me, I keep \u003ca href=\"https://docs.google.com/document/d/1EPuQY0pmQEolKP1764UwgB1sXGJw6oG72_rZL4D9nhk/edit?usp=sharing\">a running list\u003c/a>.)\u003c/p>\n\u003cp>A nonprofit administrator I worked for once said, “If it doesn’t get written about, it’s like it didn’t happen,” a gloomy maxim that still fills me with an overwhelming sense of \u003cdel datetime=\"2022-12-07T00:39:57+00:00\">guilt\u003c/del> purpose. So here, to mark the end of 2022, are six things that definitely did happen — and knocked my socks off to boot.\u003c/p>\n\u003cfigure id=\"attachment_13922389\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/Wattis_Faught_25-scaled.jpg\" alt=\"Gallery view of sunset colored pedestals supporting basket sculptures, a textile piece on white wall\" width=\"2560\" height=\"1828\" class=\"size-full wp-image-13922389\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Wattis_Faught_25-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Wattis_Faught_25-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Wattis_Faught_25-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Wattis_Faught_25-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Wattis_Faught_25-768x549.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Wattis_Faught_25-1536x1097.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Wattis_Faught_25-2048x1463.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Wattis_Faught_25-1920x1371.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Josh Faught, Installation view of ‘Look Across the Water Into the Darkness, Look for the Fog’ at the Wattis Institue. \u003ccite>(Impart Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Most Excellent Use of Canned Goods\u003c/h2>\n\u003cp>\u003ci>\u003cb>Josh Faught, ‘\u003ca href=\"https://wattis.org/our-program/on-view/josh-faught-solo-exhibition\">Look Across the Water Into the Darkness, Look for the Fog\u003c/a>’\u003c/b>\u003cbr>\nWattis Institute for Contemporary Arts, San Francisco\u003cbr>\nJan. 13–March 5, 2022\u003c/i>\u003c/p>\n\u003cp>While 2022 might be remembered as the year a new museum opened in town (welcome to the party, ICA San Francisco), the Wattis has proffered its version of artist-centric presentations for nearly 25 years, and it especially shines when handing the keys over to local artists. \u003ca href=\"https://www.kqed.org/arts/13279959/bay-area-sculpture-right-now-josh-faught-weaves-monumental-cozies\">Josh Faught\u003c/a>’s solo, curated by Kim Nguyen, was a masterclass in exhibition design, where every presentation detail for these highly textured, intricate works was as meticulously considered as the pieces themselves. With woven sculptures on sunset-hued pedestals and crocheted wall works, Faught used pockets, shelves and nooks to tie together narratives of queer history, the ongoing pandemic, daytime soaps and a prepper-worthy stack of canned tuna. \u003ci>Look Across the Water\u003c/i> was a deeply humanist exhibition that delivered visual delights from every vantage point.\u003c/p>\n\u003cfigure id=\"attachment_13922420\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/2.-Peripheral-Visions_1920.jpg\" alt=\"Blue gallery walls with large ceramic eyes mounted and multicolored buckets and stools below\" width=\"1920\" height=\"1094\" class=\"size-full wp-image-13922420\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/2.-Peripheral-Visions_1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/2.-Peripheral-Visions_1920-800x456.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/2.-Peripheral-Visions_1920-1020x581.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/2.-Peripheral-Visions_1920-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/2.-Peripheral-Visions_1920-768x438.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/2.-Peripheral-Visions_1920-1536x875.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Cathy Lu, ‘Peripheral Visions,’ 2022. \u003ccite>(Courtesy of the Chinese Culture Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Best Water Feature\u003c/h2>\n\u003cp>\u003ci>\u003cb>Cathy Lu, ‘\u003ca href=\"https://www.cccsf.us/post/xianrui-2022-interior-garden\">Interior Garden\u003c/a>’\u003c/b>\u003cbr>\nChinese Culture Center, San Francisco\u003cbr>\nJan. 20–Dec. 17, 2022\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Instead of mounting several shows throughout the year, the CCC devoted its entire gallery space to local ceramicist \u003ca href=\"https://cathyclu.com/\">Cathy Lu\u003c/a>’s multi-part installation, encouraging return visits and slow, engaged looking. There are no pedestals in this show; ceramics mingle with a pile of bricks, or are suspended from the ceiling in an undulating pair of mythological hands (complete with long, curling fingernails). At the center of the exhibition is \u003ci>Peripheral Visions\u003c/i>, an arrangement of giant ceramic eyes modeled after the real eyes of Asian American women, including author Cathy Park Hong, artist Ruth Asawa and skater Michelle Kwan. Yellow onion-dyed water flows from each eye down into a plastic receptacle, only to be cycled back up in an endless stream. Against an ultramarine blue wall, Lu’s installation makes vibrantly visible the effects of living in a racialized body (especially during a time of anti-Asian hate) in a country where the conversation is so often reduced to a matter of Black and white. \u003c/p>\n\u003cfigure id=\"attachment_13922422\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/Empty-Belly_1200.jpg\" alt=\"Vertical soft pastel drawing with black circle at center, surrounded by breasts, hands and a red vagina shape\" width=\"1200\" height=\"1546\" class=\"size-full wp-image-13922422\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Empty-Belly_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Empty-Belly_1200-800x1031.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Empty-Belly_1200-1020x1314.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Empty-Belly_1200-160x206.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Empty-Belly_1200-768x989.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Empty-Belly_1200-1192x1536.jpg 1192w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Loie Hollowell, ‘Empty Belly,’ Sept. 8, 2021. \u003ccite>(© Loie Hollowell; Courtesy of Pace Gallery; Photo by Melissa Goodwin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Most Illusionistic 2D Works\u003c/h2>\n\u003cp>\u003ci>\u003cb>Loie Hollowell, ‘\u003ca href=\"https://manettishremmuseum.ucdavis.edu/current-exhibitions\">Tick Tock Belly Clock\u003c/a>’\u003c/b>\u003cbr>\nManetti Shrem Museum of Art, UC Davis\u003cbr>\nSept. 25, 2022–May 8, 2023\u003c/i>\u003c/p>\n\u003cp>This one-room exhibition at the Manetti Shrem by New York artist \u003ca href=\"http://www.loiehollowell.com/\">Loie Hollowell\u003c/a> is a homecoming of sorts (Hollowell grew up in Woodland, just outside of Sacramento, and her father was a UC Davis professor). Hollowell’s paintings and drawings are tricksters; digital images do them no justice. The paintings are eye-poppingly three dimensional, while the drawings, rendered in soft pastels and ringed with the artist’s notes to herself, look just as substantial under the museum lights. In this show, Hollowell is working out the colors, shapes and compositions inspired by her second pregnancy — bellies and breasts, mouths and hands, streams of milk and swinging pendulums all hint at the chaos and sublimity of growing, changing bodies. \u003c/p>\n\u003cfigure id=\"attachment_13922423\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/Xandra-Ibarra_Video-Still-_Fuck-My-Life-_2012by-Xandra-Ibarra_1920.jpg\" alt=\"Close-up of woman's made-up face as she applies lipstick\" width=\"1920\" height=\"1091\" class=\"size-full wp-image-13922423\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Xandra-Ibarra_Video-Still-_Fuck-My-Life-_2012by-Xandra-Ibarra_1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Xandra-Ibarra_Video-Still-_Fuck-My-Life-_2012by-Xandra-Ibarra_1920-800x455.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Xandra-Ibarra_Video-Still-_Fuck-My-Life-_2012by-Xandra-Ibarra_1920-1020x580.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Xandra-Ibarra_Video-Still-_Fuck-My-Life-_2012by-Xandra-Ibarra_1920-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Xandra-Ibarra_Video-Still-_Fuck-My-Life-_2012by-Xandra-Ibarra_1920-768x436.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Xandra-Ibarra_Video-Still-_Fuck-My-Life-_2012by-Xandra-Ibarra_1920-1536x873.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Xandra Ibarra, Video still from ‘Fuck My Life,’ 2012. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Best Mini-Retrospective Within an Exhibition\u003c/h2>\n\u003cp>\u003ci>\u003cb>Xandra Ibarra in ‘\u003ca href=\"https://museumca.org/on-view/hella-feminist/\">Hella Feminist\u003c/a>’\u003c/b>\u003cbr>\nOakland Museum of California\u003cbr>\nJuly 29, 2022–Jan. 8, 2023\u003c/i>\u003c/p>\n\u003cp>In one corner of OMCA’s \u003ci>Hella Feminist\u003c/i> is a welcome surprise: a mini-retrospective for Oakland artist \u003ca href=\"https://www.xandraibarra.com/\">Xandra Ibarra\u003c/a>, whose art and performance work regularly makes the rounds at national institutions, but is harder to see locally. (On that note, don’t miss the current Jenkins Johnson exhibition \u003ci>\u003ca href=\"https://www.jenkinsjohnsongallery.com/exhibitions/69-bloodchild-nyame-brown-xandra-ibarra-shara-mays-gregory-rick/overview/\">Bloodchild\u003c/a>\u003c/i>.) At OMCA, Ibarra’s photographs, videos, sculpture and menstrual Rorschach test print (titled \u003ci>She’s On the Rag\u003c/i>) present an introduction to her archly humorous and highly critical body of work, often centered on the recurring motif of the cockroach. But it’s \u003ci>Fuck My Life\u003c/i>, a short 2012 video based on a longer performance work, that brings the house down, depicting a morning (afternoon?) in the life of a “fatigued showgirl” who washes out her toothpaste with a swig of whiskey and shuffles off to her next gig, set to Cuban singer La Lupe’s emotional performance of “\u003ca href=\"https://youtu.be/znlkKfLmS5U\">Esta es Mi Vida (This is My Life)\u003c/a>.”\u003c/p>\n\u003cfigure id=\"attachment_13922434\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/BAMPFA_CLin_5-22_06_1920.jpg\" alt=\"View of gallery with blue tent, large ceramic figures, a carpet and TV beneath and small audience of ceramic cats\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13922434\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/BAMPFA_CLin_5-22_06_1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/BAMPFA_CLin_5-22_06_1920-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/BAMPFA_CLin_5-22_06_1920-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/BAMPFA_CLin_5-22_06_1920-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/BAMPFA_CLin_5-22_06_1920-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/BAMPFA_CLin_5-22_06_1920-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Candice Lin, Installation view of ‘Seeping, Rotting, Resting, Weeping’ at BAMPFA in 2022. \u003ccite>(Impart Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Coziest Show Featuring Cats\u003c/h2>\n\u003cp>\u003ci>\u003cb>Candice Lin, ‘\u003ca href=\"https://bampfa.org/program/candice-lin-seeping-rotting-resting-weeping\">Seeping, Rotting, Resting, Weeping\u003c/a>’\u003c/b>\u003cbr>\nBerkeley Art Museum and Pacific Film Archive\u003cbr>\nMay 8–Nov. 27, 2022\u003c/i>\u003c/p>\n\u003cp>In a downstairs gallery at BAMPFA, an indigo-dyed tent surrounded by guardian-like figures invited visitors to remove their shoes and lounge on a carpet alongside ceramic cats to watch an animation about another cat, a feral neighborhood creature called White-n-Gray. Outside the tent, a projected video showed a rainbow-hued “cat demon” leading a qigong class in a post-apocalyptic desert. Made during the pandemic and reflecting on that strange time of isolation, when many of us were closest to our neighborhood wildlife (cats included), the show acted as a multisensory release for all the pent up, wide-ranging energy that has accumulated since March 2020.\u003c/p>\n\u003cfigure id=\"attachment_13922421\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/AIDSMemorialQuilt_1920.jpg\" alt=\"Two white men stand arm in arm looking down at embellished fabric panels, crowd in distance\" width=\"1920\" height=\"1253\" class=\"size-full wp-image-13922421\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/AIDSMemorialQuilt_1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/AIDSMemorialQuilt_1920-800x522.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/AIDSMemorialQuilt_1920-1020x666.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/AIDSMemorialQuilt_1920-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/AIDSMemorialQuilt_1920-768x501.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/AIDSMemorialQuilt_1920-1536x1002.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">People embrace while looking at panels of the AIDS Memorial Quilt in Golden Gate Park on June 11, 2022. It was the largest display of the quilt in San Francisco history. \u003ccite>(Justin Sullivan/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Greatest Monument Ever Made\u003c/h2>\n\u003cp>\u003ci>\u003cb>\u003ca href=\"https://www.aidsmemorial.org/quilt-history\">NAMES Project AIDS Memorial Quilt\u003c/a>\u003c/b>\u003cbr>\nGolden Gate Park, San Francisco\u003cbr>\nJune 11–12, 2022\u003c/i>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>While the United States continues to reckon with the origins of its monuments, and how to mark the deaths of over 1 million Americans from COVID-19, the \u003ca href=\"https://www.aidsmemorial.org/quilt\">AIDS Memorial Quilt\u003c/a> remains the most beautiful and moving depiction of loss that I have ever experienced. Over one weekend, after two years in storage, 3,000 panels of the quilt were spread across Robin Williams Meadow under somber gray skies. Visitors walked slowly across the expansive grid (just a fraction of the project’s scope — it now includes over 50,000 panels), listening to volunteers read the names of both strangers and loved ones. Collectively created and maintained, the quilt’s mutability is its greatest strength, creating a space for mourning, remembrance and awe wherever it’s unfurled.\u003c/p>\n\n","blocks":[],"excerpt":"A look back on six highlights from a year of voluminous visual art in the Bay Area.","status":"publish","parent":0,"modified":1705006085,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":16,"wordCount":1222},"headData":{"title":"The Best of 2022: Bay Area Visual Art | KQED","description":"A look back on six highlights from a year of voluminous visual art in the Bay Area.","ogTitle":"The Best Art I Saw in 2022","ogDescription":"","ogImgId":"","twTitle":"The Best Art I Saw in 2022","twDescription":"","twImgId":"","socialTitle":"The Best of 2022: Bay Area Visual Art %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"The Best Art I Saw in 2022","datePublished":"2022-12-07T20:28:44.000Z","dateModified":"2024-01-11T20:48:05.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","path":"/arts/13922385/best-visual-art-bay-area-2022","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s truly an honor to write this roundup every year. There’s so much I don’t get a chance to review, let alone \u003ci>see\u003c/i> in the Bay Area’s voluminous visual art scene. (Believe me, I keep \u003ca href=\"https://docs.google.com/document/d/1EPuQY0pmQEolKP1764UwgB1sXGJw6oG72_rZL4D9nhk/edit?usp=sharing\">a running list\u003c/a>.)\u003c/p>\n\u003cp>A nonprofit administrator I worked for once said, “If it doesn’t get written about, it’s like it didn’t happen,” a gloomy maxim that still fills me with an overwhelming sense of \u003cdel datetime=\"2022-12-07T00:39:57+00:00\">guilt\u003c/del> purpose. So here, to mark the end of 2022, are six things that definitely did happen — and knocked my socks off to boot.\u003c/p>\n\u003cfigure id=\"attachment_13922389\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/Wattis_Faught_25-scaled.jpg\" alt=\"Gallery view of sunset colored pedestals supporting basket sculptures, a textile piece on white wall\" width=\"2560\" height=\"1828\" class=\"size-full wp-image-13922389\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Wattis_Faught_25-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Wattis_Faught_25-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Wattis_Faught_25-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Wattis_Faught_25-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Wattis_Faught_25-768x549.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Wattis_Faught_25-1536x1097.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Wattis_Faught_25-2048x1463.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Wattis_Faught_25-1920x1371.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Josh Faught, Installation view of ‘Look Across the Water Into the Darkness, Look for the Fog’ at the Wattis Institue. \u003ccite>(Impart Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Most Excellent Use of Canned Goods\u003c/h2>\n\u003cp>\u003ci>\u003cb>Josh Faught, ‘\u003ca href=\"https://wattis.org/our-program/on-view/josh-faught-solo-exhibition\">Look Across the Water Into the Darkness, Look for the Fog\u003c/a>’\u003c/b>\u003cbr>\nWattis Institute for Contemporary Arts, San Francisco\u003cbr>\nJan. 13–March 5, 2022\u003c/i>\u003c/p>\n\u003cp>While 2022 might be remembered as the year a new museum opened in town (welcome to the party, ICA San Francisco), the Wattis has proffered its version of artist-centric presentations for nearly 25 years, and it especially shines when handing the keys over to local artists. \u003ca href=\"https://www.kqed.org/arts/13279959/bay-area-sculpture-right-now-josh-faught-weaves-monumental-cozies\">Josh Faught\u003c/a>’s solo, curated by Kim Nguyen, was a masterclass in exhibition design, where every presentation detail for these highly textured, intricate works was as meticulously considered as the pieces themselves. With woven sculptures on sunset-hued pedestals and crocheted wall works, Faught used pockets, shelves and nooks to tie together narratives of queer history, the ongoing pandemic, daytime soaps and a prepper-worthy stack of canned tuna. \u003ci>Look Across the Water\u003c/i> was a deeply humanist exhibition that delivered visual delights from every vantage point.\u003c/p>\n\u003cfigure id=\"attachment_13922420\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/2.-Peripheral-Visions_1920.jpg\" alt=\"Blue gallery walls with large ceramic eyes mounted and multicolored buckets and stools below\" width=\"1920\" height=\"1094\" class=\"size-full wp-image-13922420\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/2.-Peripheral-Visions_1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/2.-Peripheral-Visions_1920-800x456.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/2.-Peripheral-Visions_1920-1020x581.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/2.-Peripheral-Visions_1920-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/2.-Peripheral-Visions_1920-768x438.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/2.-Peripheral-Visions_1920-1536x875.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Cathy Lu, ‘Peripheral Visions,’ 2022. \u003ccite>(Courtesy of the Chinese Culture Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Best Water Feature\u003c/h2>\n\u003cp>\u003ci>\u003cb>Cathy Lu, ‘\u003ca href=\"https://www.cccsf.us/post/xianrui-2022-interior-garden\">Interior Garden\u003c/a>’\u003c/b>\u003cbr>\nChinese Culture Center, San Francisco\u003cbr>\nJan. 20–Dec. 17, 2022\u003c/i>\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>Instead of mounting several shows throughout the year, the CCC devoted its entire gallery space to local ceramicist \u003ca href=\"https://cathyclu.com/\">Cathy Lu\u003c/a>’s multi-part installation, encouraging return visits and slow, engaged looking. There are no pedestals in this show; ceramics mingle with a pile of bricks, or are suspended from the ceiling in an undulating pair of mythological hands (complete with long, curling fingernails). At the center of the exhibition is \u003ci>Peripheral Visions\u003c/i>, an arrangement of giant ceramic eyes modeled after the real eyes of Asian American women, including author Cathy Park Hong, artist Ruth Asawa and skater Michelle Kwan. Yellow onion-dyed water flows from each eye down into a plastic receptacle, only to be cycled back up in an endless stream. Against an ultramarine blue wall, Lu’s installation makes vibrantly visible the effects of living in a racialized body (especially during a time of anti-Asian hate) in a country where the conversation is so often reduced to a matter of Black and white. \u003c/p>\n\u003cfigure id=\"attachment_13922422\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/Empty-Belly_1200.jpg\" alt=\"Vertical soft pastel drawing with black circle at center, surrounded by breasts, hands and a red vagina shape\" width=\"1200\" height=\"1546\" class=\"size-full wp-image-13922422\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Empty-Belly_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Empty-Belly_1200-800x1031.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Empty-Belly_1200-1020x1314.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Empty-Belly_1200-160x206.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Empty-Belly_1200-768x989.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Empty-Belly_1200-1192x1536.jpg 1192w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Loie Hollowell, ‘Empty Belly,’ Sept. 8, 2021. \u003ccite>(© Loie Hollowell; Courtesy of Pace Gallery; Photo by Melissa Goodwin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Most Illusionistic 2D Works\u003c/h2>\n\u003cp>\u003ci>\u003cb>Loie Hollowell, ‘\u003ca href=\"https://manettishremmuseum.ucdavis.edu/current-exhibitions\">Tick Tock Belly Clock\u003c/a>’\u003c/b>\u003cbr>\nManetti Shrem Museum of Art, UC Davis\u003cbr>\nSept. 25, 2022–May 8, 2023\u003c/i>\u003c/p>\n\u003cp>This one-room exhibition at the Manetti Shrem by New York artist \u003ca href=\"http://www.loiehollowell.com/\">Loie Hollowell\u003c/a> is a homecoming of sorts (Hollowell grew up in Woodland, just outside of Sacramento, and her father was a UC Davis professor). Hollowell’s paintings and drawings are tricksters; digital images do them no justice. The paintings are eye-poppingly three dimensional, while the drawings, rendered in soft pastels and ringed with the artist’s notes to herself, look just as substantial under the museum lights. In this show, Hollowell is working out the colors, shapes and compositions inspired by her second pregnancy — bellies and breasts, mouths and hands, streams of milk and swinging pendulums all hint at the chaos and sublimity of growing, changing bodies. \u003c/p>\n\u003cfigure id=\"attachment_13922423\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/Xandra-Ibarra_Video-Still-_Fuck-My-Life-_2012by-Xandra-Ibarra_1920.jpg\" alt=\"Close-up of woman's made-up face as she applies lipstick\" width=\"1920\" height=\"1091\" class=\"size-full wp-image-13922423\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Xandra-Ibarra_Video-Still-_Fuck-My-Life-_2012by-Xandra-Ibarra_1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Xandra-Ibarra_Video-Still-_Fuck-My-Life-_2012by-Xandra-Ibarra_1920-800x455.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Xandra-Ibarra_Video-Still-_Fuck-My-Life-_2012by-Xandra-Ibarra_1920-1020x580.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Xandra-Ibarra_Video-Still-_Fuck-My-Life-_2012by-Xandra-Ibarra_1920-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Xandra-Ibarra_Video-Still-_Fuck-My-Life-_2012by-Xandra-Ibarra_1920-768x436.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Xandra-Ibarra_Video-Still-_Fuck-My-Life-_2012by-Xandra-Ibarra_1920-1536x873.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Xandra Ibarra, Video still from ‘Fuck My Life,’ 2012. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Best Mini-Retrospective Within an Exhibition\u003c/h2>\n\u003cp>\u003ci>\u003cb>Xandra Ibarra in ‘\u003ca href=\"https://museumca.org/on-view/hella-feminist/\">Hella Feminist\u003c/a>’\u003c/b>\u003cbr>\nOakland Museum of California\u003cbr>\nJuly 29, 2022–Jan. 8, 2023\u003c/i>\u003c/p>\n\u003cp>In one corner of OMCA’s \u003ci>Hella Feminist\u003c/i> is a welcome surprise: a mini-retrospective for Oakland artist \u003ca href=\"https://www.xandraibarra.com/\">Xandra Ibarra\u003c/a>, whose art and performance work regularly makes the rounds at national institutions, but is harder to see locally. (On that note, don’t miss the current Jenkins Johnson exhibition \u003ci>\u003ca href=\"https://www.jenkinsjohnsongallery.com/exhibitions/69-bloodchild-nyame-brown-xandra-ibarra-shara-mays-gregory-rick/overview/\">Bloodchild\u003c/a>\u003c/i>.) At OMCA, Ibarra’s photographs, videos, sculpture and menstrual Rorschach test print (titled \u003ci>She’s On the Rag\u003c/i>) present an introduction to her archly humorous and highly critical body of work, often centered on the recurring motif of the cockroach. But it’s \u003ci>Fuck My Life\u003c/i>, a short 2012 video based on a longer performance work, that brings the house down, depicting a morning (afternoon?) in the life of a “fatigued showgirl” who washes out her toothpaste with a swig of whiskey and shuffles off to her next gig, set to Cuban singer La Lupe’s emotional performance of “\u003ca href=\"https://youtu.be/znlkKfLmS5U\">Esta es Mi Vida (This is My Life)\u003c/a>.”\u003c/p>\n\u003cfigure id=\"attachment_13922434\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/BAMPFA_CLin_5-22_06_1920.jpg\" alt=\"View of gallery with blue tent, large ceramic figures, a carpet and TV beneath and small audience of ceramic cats\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13922434\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/BAMPFA_CLin_5-22_06_1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/BAMPFA_CLin_5-22_06_1920-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/BAMPFA_CLin_5-22_06_1920-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/BAMPFA_CLin_5-22_06_1920-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/BAMPFA_CLin_5-22_06_1920-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/BAMPFA_CLin_5-22_06_1920-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Candice Lin, Installation view of ‘Seeping, Rotting, Resting, Weeping’ at BAMPFA in 2022. \u003ccite>(Impart Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Coziest Show Featuring Cats\u003c/h2>\n\u003cp>\u003ci>\u003cb>Candice Lin, ‘\u003ca href=\"https://bampfa.org/program/candice-lin-seeping-rotting-resting-weeping\">Seeping, Rotting, Resting, Weeping\u003c/a>’\u003c/b>\u003cbr>\nBerkeley Art Museum and Pacific Film Archive\u003cbr>\nMay 8–Nov. 27, 2022\u003c/i>\u003c/p>\n\u003cp>In a downstairs gallery at BAMPFA, an indigo-dyed tent surrounded by guardian-like figures invited visitors to remove their shoes and lounge on a carpet alongside ceramic cats to watch an animation about another cat, a feral neighborhood creature called White-n-Gray. Outside the tent, a projected video showed a rainbow-hued “cat demon” leading a qigong class in a post-apocalyptic desert. Made during the pandemic and reflecting on that strange time of isolation, when many of us were closest to our neighborhood wildlife (cats included), the show acted as a multisensory release for all the pent up, wide-ranging energy that has accumulated since March 2020.\u003c/p>\n\u003cfigure id=\"attachment_13922421\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/AIDSMemorialQuilt_1920.jpg\" alt=\"Two white men stand arm in arm looking down at embellished fabric panels, crowd in distance\" width=\"1920\" height=\"1253\" class=\"size-full wp-image-13922421\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/AIDSMemorialQuilt_1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/AIDSMemorialQuilt_1920-800x522.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/AIDSMemorialQuilt_1920-1020x666.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/AIDSMemorialQuilt_1920-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/AIDSMemorialQuilt_1920-768x501.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/AIDSMemorialQuilt_1920-1536x1002.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">People embrace while looking at panels of the AIDS Memorial Quilt in Golden Gate Park on June 11, 2022. It was the largest display of the quilt in San Francisco history. \u003ccite>(Justin Sullivan/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Greatest Monument Ever Made\u003c/h2>\n\u003cp>\u003ci>\u003cb>\u003ca href=\"https://www.aidsmemorial.org/quilt-history\">NAMES Project AIDS Memorial Quilt\u003c/a>\u003c/b>\u003cbr>\nGolden Gate Park, San Francisco\u003cbr>\nJune 11–12, 2022\u003c/i>\u003c/p>\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>While the United States continues to reckon with the origins of its monuments, and how to mark the deaths of over 1 million Americans from COVID-19, the \u003ca href=\"https://www.aidsmemorial.org/quilt\">AIDS Memorial Quilt\u003c/a> remains the most beautiful and moving depiction of loss that I have ever experienced. Over one weekend, after two years in storage, 3,000 panels of the quilt were spread across Robin Williams Meadow under somber gray skies. Visitors walked slowly across the expansive grid (just a fraction of the project’s scope — it now includes over 50,000 panels), listening to volunteers read the names of both strangers and loved ones. Collectively created and maintained, the quilt’s mutability is its greatest strength, creating a space for mourning, remembrance and awe wherever it’s unfurled.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13922385/best-visual-art-bay-area-2022","authors":["61"],"categories":["arts_1","arts_70"],"tags":["arts_2227","arts_3835","arts_10342","arts_10278","arts_3226","arts_2755","arts_901","arts_6487"],"featImg":"arts_13922423","label":"arts"},"arts_13921805":{"type":"posts","id":"arts_13921805","meta":{"index":"posts_1591205157","site":"arts","id":"13921805","score":null,"sort":[1668787247000]},"guestAuthors":[],"slug":"omca-angela-davis-seize-the-time-influence-generations","title":"At OMCA, Angela Davis’ Influence is Felt Through Generations","publishDate":1668787247,"format":"standard","headTitle":"At OMCA, Angela Davis’ Influence is Felt Through Generations | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>Her iconic afro silhouette. The recognizable cadence of her voice: both urgent and patient. Oakland-based activist and educator Angela Davis is a cultural icon whose life’s work has influenced so many. Her impact on generations past and present is the subject of \u003cem>\u003ca href=\"https://museumca.org/on-view/angela-davis-seize-the-time/\">Angela Davis – Seize the Time\u003c/a>\u003c/em>, an exhibition on view through June 11, 2023 at the Oakland Museum of California.\u003c/p>\n\u003cp>[aside postID='arts_13891079'] The show centers around Davis’ incarceration, trial and the global campaigns to “Free Angela Davis.” Posters and artwork inspired by Davis line the walls. There are buttons, newspapers and vinyl albums enclosed in a glass case, along with an original pamphlet of Nikki Giovanni’s “Poem of Angela Yvonne Davis.” A \u003ca href=\"https://www.youtube.com/watch?v=Jq5ck1VV_gI\">video interview\u003c/a> of Davis from 2019 plays on loop in one area – on a recent visit, her voice reverberates through the space as I walk around.\u003c/p>\n\u003cp>But at the heart of the exhibition is the extensive archive of documents and media collected over decades by community archivist \u003ca href=\"https://www.kqed.org/arts/13891079/the-archivist-and-the-activist-behind-a-new-book-about-angela-davis\">Lisbet Tellefsen\u003c/a>.\u003c/p>\n\u003cp>“Most archival material never sees the light of day in this way,” says Tellefsen. “You might get a poster exhibit. You might have a research project where you would go into the stacks and request a box where you could see a handful of documents. But it is really rare for this type of material in this amount to be actually seen on gallery walls. To me, that’s revelatory.”\u003c/p>\n\u003cfigure id=\"attachment_13921812\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13921812\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Lisbet-at-exhibit-resized.jpg\" alt=\"Smiling woman stands against wall with profile of Angela Davis\" width=\"1280\" height=\"768\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Lisbet-at-exhibit-resized.jpg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Lisbet-at-exhibit-resized-800x480.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Lisbet-at-exhibit-resized-1020x612.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Lisbet-at-exhibit-resized-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Lisbet-at-exhibit-resized-768x461.jpg 768w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">Archivist Lisbet Tellefsen stands at the entry to ‘Angela Davis – Seize the Time’ at the Oakland Museum of California. \u003ccite>(Christine Cueto)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Tellefsen has known Davis socially for 40 years and was excited to preserve the history of Davis’ life and activism. “Every time I would visit Angela’s house, she would give me something else lying around,” Tellefsen recounts. “One time she took me to her storage unit in East Oakland and is giving me posters and I’m like, ‘Hey, I promise I’ll take good care of them.’”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Some of the very first Angela Davis posters Tellefsen collected — which are included in the show — came from a trip to Cuba in the mid-1980s, where the archivist stumbled across a shop selling old revolutionary posters, including ones in solidarity with African Americans, like Davis and the Black Panthers.\u003c/p>\n\u003cfigure id=\"attachment_13921807\" class=\"wp-caption aligncenter\" style=\"max-width: 2507px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13921807\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/07_Federal-Bureau-of-Investigation-FBI_Wanted-by-the-FBI_Aug_19_1970.jpg\" alt=\"Black and white image of wanted poster with fingerprints and pictures\" width=\"2507\" height=\"2503\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/07_Federal-Bureau-of-Investigation-FBI_Wanted-by-the-FBI_Aug_19_1970.jpg 2507w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/07_Federal-Bureau-of-Investigation-FBI_Wanted-by-the-FBI_Aug_19_1970-800x799.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/07_Federal-Bureau-of-Investigation-FBI_Wanted-by-the-FBI_Aug_19_1970-1020x1018.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/07_Federal-Bureau-of-Investigation-FBI_Wanted-by-the-FBI_Aug_19_1970-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/07_Federal-Bureau-of-Investigation-FBI_Wanted-by-the-FBI_Aug_19_1970-768x767.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/07_Federal-Bureau-of-Investigation-FBI_Wanted-by-the-FBI_Aug_19_1970-1536x1534.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/07_Federal-Bureau-of-Investigation-FBI_Wanted-by-the-FBI_Aug_19_1970-2048x2045.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/07_Federal-Bureau-of-Investigation-FBI_Wanted-by-the-FBI_Aug_19_1970-1920x1917.jpg 1920w\" sizes=\"(max-width: 2507px) 100vw, 2507px\">\u003cfigcaption class=\"wp-caption-text\">Federal Bureau of Investigation’s ‘Wanted by the FBI’ poster from August 18, 1970. \u003ccite>(Lisbet Tellefsen Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Another significant windfall for her collection came about 15 to 20 years ago when newspapers started liquidating their photo archives. Tellefsen was able to preserve thousands of Black Panther and Angela Davis Newswire photographs, some of which are on display in \u003cem>Seize the Time\u003c/em>.\u003c/p>\n\u003cp>“I started to see with all these pieces of the puzzle of her life story [how] her path was beginning to be reconstructed in a visual way,” Tellefsen says. “I started to look for more material and more threads. And as I embraced it as an archiving project, there was no detail too small.”\u003c/p>\n\u003cp>In the final room of the exhibit, I flip through binders of more — somehow still more! — documents and images that didn’t make the cut to be hung on the walls. It’s striking, says Tellefsen, “that one person could generate so much material, you know, pre-internet.”\u003c/p>\n\u003cp>“She’s not a Kardashian, she’s not a president,” she says. “It’s like, really, what did it mean for a young Black woman from America to be a symbol all around the world?”\u003c/p>\n\u003cfigure id=\"attachment_13921809\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13921809\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Angela-Davis-Royce-Hall-UCLA_1200.jpg\" alt=\"Overhead view of full lecture hall with Angela Davis on stage\" width=\"1200\" height=\"959\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Angela-Davis-Royce-Hall-UCLA_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Angela-Davis-Royce-Hall-UCLA_1200-800x639.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Angela-Davis-Royce-Hall-UCLA_1200-1020x815.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Angela-Davis-Royce-Hall-UCLA_1200-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Angela-Davis-Royce-Hall-UCLA_1200-768x614.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">UCLA Lecture, Oct. 6, 1969, UPI Telephoto. \u003ccite>(Lisbet Tellefsen Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘I was inspired to take action’\u003c/h2>\n\u003cp>Angela Davis’ courage of conviction meant something special to my mother, Andrea Proehl. As a 21-year-old senior at UCLA in 1969, she served as a teaching assistant for a class taught by the then 25-year-old Angela Davis. So of course I took my mother to see the exhibit. She was struck by the very first image in the exhibition, which shows Angela Davis giving a lecture at UCLA’s Royce Hall in 1969.\u003c/p>\n\u003cp>“I remember we had a meeting of all the TAs on the lawn,” my mother recalls. “She was just very captivating as she was speaking to us. And it was not anything about the mechanics of the class. She was really speaking to us about the sense of responsibility as a human being on this planet, as well as being a good citizen.”\u003c/p>\n\u003cp>Davis taught in the philosophy department at UCLA until the UC Regents fired her for being a communist. My mother said there was a big uprising in the free speech area of campus when the news came down: “The Black Student Union was representing and everybody was out in force.”\u003c/p>\n\u003cp>Davis’ image still stirs feelings of my mother’s time as a young woman, energized by Davis and coming into her own. “Whenever I see her silhouette – you always know it’s her,” my mother reflects. “Always makes me happy in some way. Not so much brings a smile, but just good memories and I think [it] was such a good growth period for me.”\u003c/p>\n\u003cp>She adds, “I was inspired to take action and not just sit and watch.”\u003c/p>\n\u003cfigure id=\"attachment_13921811\" class=\"wp-caption aligncenter\" style=\"max-width: 1170px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13921811\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Erica-Persons.jpg\" alt=\"Young Black woman on stage in front of mic\" width=\"1170\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Erica-Persons.jpg 1170w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Erica-Persons-800x547.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Erica-Persons-1020x697.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Erica-Persons-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Erica-Persons-768x525.jpg 768w\" sizes=\"(max-width: 1170px) 100vw, 1170px\">\u003cfigcaption class=\"wp-caption-text\">Erica Persons speaks at a Black History Month assembly at East Bay Innovation Academy. \u003ccite>(Courtesy of Erica Persons)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Davis’ enduring influence\u003c/h2>\n\u003cp>Today, Davis remains an influential activist and catalyst for change for younger generations. This is clear from Erica Persons, a 19-year-old Laney College student, who I spoke with during her visit to the museum.\u003c/p>\n\u003cp>“Auntie Angela, there she go!” Persons exclaims after taking in the show’s images. “She’s just so powerful in so many ways. It was a very meaningful and sacred experience to see her in that exhibit.”\u003c/p>\n\u003cp>Persons interns for the organization \u003ca href=\"https://rjoyoakland.org/\">RJOY: Restorative Justice for Oakland Youth\u003c/a>, founded by Fania Davis, Angela Davis’ sister. Persons also started and led two Black Student Unions at two different schools during her high school years, inspired by Davis and the Black Panther Party.\u003c/p>\n\u003cp>For Persons, Davis is an inspiration. “She’s just influenced me a whole lot just to speak out and not just be a bystander,” she says.\u003c/p>\n\u003cfigure id=\"attachment_13921810\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13921810\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/angela.jpg\" alt=\"Black woman in face mask raises right arm in solidarity\" width=\"1920\" height=\"1164\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/angela.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/angela-800x485.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/angela-1020x618.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/angela-160x97.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/angela-768x466.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/angela-1536x931.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Angela Davis addresses the assembled crowd at a Juneteenth rally at the Port of Oakland on June 19, 2020. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And it’s not just Davis’ past actions that speak to the present. Persons points to Davis’ continued presence in the community and ongoing commitment to fighting for social justice. She remembers being at an Oakland rally for George Floyd in 2020 that Davis attended.\u003c/p>\n\u003cp>“She popped out and was talking to us and I just thought that was super meaningful ’cause she’s still very active in the community,” Persons says. “You know, she didn’t just leave.”\u003c/p>\n\u003cp>When we head out from the exhibit, Persons pauses to read one more placard in the show and learns something new: “She grew up in Alabama. I never knew that.” Persons always thought Davis was from Oakland. It’s no matter, though: “She still a Town legend.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>‘Angela Davis – Seize the Time’ is on view at the Oakland Museum of California through June 11, 2023. \u003ca href=\"https://museumca.org/on-view/angela-davis-seize-the-time/\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"‘Seize the Time’ draws heavily from the archives of Lisbet Tellefsen to tell the enduring story of a local icon.","status":"publish","parent":0,"modified":1705006139,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":26,"wordCount":1293},"headData":{"title":"At OMCA, Angela Davis’ Influence is Felt Through Generations | KQED","description":"‘Seize the Time’ draws heavily from the archives of Lisbet Tellefsen to tell the enduring story of a local icon.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"At OMCA, Angela Davis’ Influence is Felt Through Generations","datePublished":"2022-11-18T16:00:47.000Z","dateModified":"2024-01-11T20:48:59.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"audioUrl":"https://traffic.omny.fm/d/clips/0af137ef-751e-4b19-a055-aaef00d2d578/ffca7e9f-6831-4[…]f-aaef00f5a073/fb988ba5-e57c-4629-a40c-af4d012f8c66/audio.mp3","sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","path":"/arts/13921805/omca-angela-davis-seize-the-time-influence-generations","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Her iconic afro silhouette. The recognizable cadence of her voice: both urgent and patient. Oakland-based activist and educator Angela Davis is a cultural icon whose life’s work has influenced so many. Her impact on generations past and present is the subject of \u003cem>\u003ca href=\"https://museumca.org/on-view/angela-davis-seize-the-time/\">Angela Davis – Seize the Time\u003c/a>\u003c/em>, an exhibition on view through June 11, 2023 at the Oakland Museum of California.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13891079","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp> The show centers around Davis’ incarceration, trial and the global campaigns to “Free Angela Davis.” Posters and artwork inspired by Davis line the walls. There are buttons, newspapers and vinyl albums enclosed in a glass case, along with an original pamphlet of Nikki Giovanni’s “Poem of Angela Yvonne Davis.” A \u003ca href=\"https://www.youtube.com/watch?v=Jq5ck1VV_gI\">video interview\u003c/a> of Davis from 2019 plays on loop in one area – on a recent visit, her voice reverberates through the space as I walk around.\u003c/p>\n\u003cp>But at the heart of the exhibition is the extensive archive of documents and media collected over decades by community archivist \u003ca href=\"https://www.kqed.org/arts/13891079/the-archivist-and-the-activist-behind-a-new-book-about-angela-davis\">Lisbet Tellefsen\u003c/a>.\u003c/p>\n\u003cp>“Most archival material never sees the light of day in this way,” says Tellefsen. “You might get a poster exhibit. You might have a research project where you would go into the stacks and request a box where you could see a handful of documents. But it is really rare for this type of material in this amount to be actually seen on gallery walls. To me, that’s revelatory.”\u003c/p>\n\u003cfigure id=\"attachment_13921812\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13921812\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Lisbet-at-exhibit-resized.jpg\" alt=\"Smiling woman stands against wall with profile of Angela Davis\" width=\"1280\" height=\"768\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Lisbet-at-exhibit-resized.jpg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Lisbet-at-exhibit-resized-800x480.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Lisbet-at-exhibit-resized-1020x612.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Lisbet-at-exhibit-resized-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Lisbet-at-exhibit-resized-768x461.jpg 768w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">Archivist Lisbet Tellefsen stands at the entry to ‘Angela Davis – Seize the Time’ at the Oakland Museum of California. \u003ccite>(Christine Cueto)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Tellefsen has known Davis socially for 40 years and was excited to preserve the history of Davis’ life and activism. “Every time I would visit Angela’s house, she would give me something else lying around,” Tellefsen recounts. “One time she took me to her storage unit in East Oakland and is giving me posters and I’m like, ‘Hey, I promise I’ll take good care of them.’”\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>Some of the very first Angela Davis posters Tellefsen collected — which are included in the show — came from a trip to Cuba in the mid-1980s, where the archivist stumbled across a shop selling old revolutionary posters, including ones in solidarity with African Americans, like Davis and the Black Panthers.\u003c/p>\n\u003cfigure id=\"attachment_13921807\" class=\"wp-caption aligncenter\" style=\"max-width: 2507px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13921807\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/07_Federal-Bureau-of-Investigation-FBI_Wanted-by-the-FBI_Aug_19_1970.jpg\" alt=\"Black and white image of wanted poster with fingerprints and pictures\" width=\"2507\" height=\"2503\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/07_Federal-Bureau-of-Investigation-FBI_Wanted-by-the-FBI_Aug_19_1970.jpg 2507w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/07_Federal-Bureau-of-Investigation-FBI_Wanted-by-the-FBI_Aug_19_1970-800x799.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/07_Federal-Bureau-of-Investigation-FBI_Wanted-by-the-FBI_Aug_19_1970-1020x1018.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/07_Federal-Bureau-of-Investigation-FBI_Wanted-by-the-FBI_Aug_19_1970-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/07_Federal-Bureau-of-Investigation-FBI_Wanted-by-the-FBI_Aug_19_1970-768x767.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/07_Federal-Bureau-of-Investigation-FBI_Wanted-by-the-FBI_Aug_19_1970-1536x1534.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/07_Federal-Bureau-of-Investigation-FBI_Wanted-by-the-FBI_Aug_19_1970-2048x2045.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/07_Federal-Bureau-of-Investigation-FBI_Wanted-by-the-FBI_Aug_19_1970-1920x1917.jpg 1920w\" sizes=\"(max-width: 2507px) 100vw, 2507px\">\u003cfigcaption class=\"wp-caption-text\">Federal Bureau of Investigation’s ‘Wanted by the FBI’ poster from August 18, 1970. \u003ccite>(Lisbet Tellefsen Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Another significant windfall for her collection came about 15 to 20 years ago when newspapers started liquidating their photo archives. Tellefsen was able to preserve thousands of Black Panther and Angela Davis Newswire photographs, some of which are on display in \u003cem>Seize the Time\u003c/em>.\u003c/p>\n\u003cp>“I started to see with all these pieces of the puzzle of her life story [how] her path was beginning to be reconstructed in a visual way,” Tellefsen says. “I started to look for more material and more threads. And as I embraced it as an archiving project, there was no detail too small.”\u003c/p>\n\u003cp>In the final room of the exhibit, I flip through binders of more — somehow still more! — documents and images that didn’t make the cut to be hung on the walls. It’s striking, says Tellefsen, “that one person could generate so much material, you know, pre-internet.”\u003c/p>\n\u003cp>“She’s not a Kardashian, she’s not a president,” she says. “It’s like, really, what did it mean for a young Black woman from America to be a symbol all around the world?”\u003c/p>\n\u003cfigure id=\"attachment_13921809\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13921809\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Angela-Davis-Royce-Hall-UCLA_1200.jpg\" alt=\"Overhead view of full lecture hall with Angela Davis on stage\" width=\"1200\" height=\"959\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Angela-Davis-Royce-Hall-UCLA_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Angela-Davis-Royce-Hall-UCLA_1200-800x639.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Angela-Davis-Royce-Hall-UCLA_1200-1020x815.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Angela-Davis-Royce-Hall-UCLA_1200-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Angela-Davis-Royce-Hall-UCLA_1200-768x614.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">UCLA Lecture, Oct. 6, 1969, UPI Telephoto. \u003ccite>(Lisbet Tellefsen Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘I was inspired to take action’\u003c/h2>\n\u003cp>Angela Davis’ courage of conviction meant something special to my mother, Andrea Proehl. As a 21-year-old senior at UCLA in 1969, she served as a teaching assistant for a class taught by the then 25-year-old Angela Davis. So of course I took my mother to see the exhibit. She was struck by the very first image in the exhibition, which shows Angela Davis giving a lecture at UCLA’s Royce Hall in 1969.\u003c/p>\n\u003cp>“I remember we had a meeting of all the TAs on the lawn,” my mother recalls. “She was just very captivating as she was speaking to us. And it was not anything about the mechanics of the class. She was really speaking to us about the sense of responsibility as a human being on this planet, as well as being a good citizen.”\u003c/p>\n\u003cp>Davis taught in the philosophy department at UCLA until the UC Regents fired her for being a communist. My mother said there was a big uprising in the free speech area of campus when the news came down: “The Black Student Union was representing and everybody was out in force.”\u003c/p>\n\u003cp>Davis’ image still stirs feelings of my mother’s time as a young woman, energized by Davis and coming into her own. “Whenever I see her silhouette – you always know it’s her,” my mother reflects. “Always makes me happy in some way. Not so much brings a smile, but just good memories and I think [it] was such a good growth period for me.”\u003c/p>\n\u003cp>She adds, “I was inspired to take action and not just sit and watch.”\u003c/p>\n\u003cfigure id=\"attachment_13921811\" class=\"wp-caption aligncenter\" style=\"max-width: 1170px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13921811\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Erica-Persons.jpg\" alt=\"Young Black woman on stage in front of mic\" width=\"1170\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Erica-Persons.jpg 1170w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Erica-Persons-800x547.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Erica-Persons-1020x697.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Erica-Persons-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Erica-Persons-768x525.jpg 768w\" sizes=\"(max-width: 1170px) 100vw, 1170px\">\u003cfigcaption class=\"wp-caption-text\">Erica Persons speaks at a Black History Month assembly at East Bay Innovation Academy. \u003ccite>(Courtesy of Erica Persons)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Davis’ enduring influence\u003c/h2>\n\u003cp>Today, Davis remains an influential activist and catalyst for change for younger generations. This is clear from Erica Persons, a 19-year-old Laney College student, who I spoke with during her visit to the museum.\u003c/p>\n\u003cp>“Auntie Angela, there she go!” Persons exclaims after taking in the show’s images. “She’s just so powerful in so many ways. It was a very meaningful and sacred experience to see her in that exhibit.”\u003c/p>\n\u003cp>Persons interns for the organization \u003ca href=\"https://rjoyoakland.org/\">RJOY: Restorative Justice for Oakland Youth\u003c/a>, founded by Fania Davis, Angela Davis’ sister. Persons also started and led two Black Student Unions at two different schools during her high school years, inspired by Davis and the Black Panther Party.\u003c/p>\n\u003cp>For Persons, Davis is an inspiration. “She’s just influenced me a whole lot just to speak out and not just be a bystander,” she says.\u003c/p>\n\u003cfigure id=\"attachment_13921810\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13921810\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/angela.jpg\" alt=\"Black woman in face mask raises right arm in solidarity\" width=\"1920\" height=\"1164\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/angela.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/angela-800x485.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/angela-1020x618.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/angela-160x97.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/angela-768x466.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/angela-1536x931.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Angela Davis addresses the assembled crowd at a Juneteenth rally at the Port of Oakland on June 19, 2020. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And it’s not just Davis’ past actions that speak to the present. Persons points to Davis’ continued presence in the community and ongoing commitment to fighting for social justice. She remembers being at an Oakland rally for George Floyd in 2020 that Davis attended.\u003c/p>\n\u003cp>“She popped out and was talking to us and I just thought that was super meaningful ’cause she’s still very active in the community,” Persons says. “You know, she didn’t just leave.”\u003c/p>\n\u003cp>When we head out from the exhibit, Persons pauses to read one more placard in the show and learns something new: “She grew up in Alabama. I never knew that.” Persons always thought Davis was from Oakland. It’s no matter, though: “She still a Town legend.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\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>‘Angela Davis – Seize the Time’ is on view at the Oakland Museum of California through June 11, 2023. \u003ca href=\"https://museumca.org/on-view/angela-davis-seize-the-time/\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13921805/omca-angela-davis-seize-the-time-influence-generations","authors":["11296"],"programs":["arts_140"],"categories":["arts_1","arts_835","arts_7862","arts_70"],"tags":["arts_4906","arts_10342","arts_2755","arts_769","arts_585"],"featImg":"arts_13921806","label":"arts_140"},"arts_13919178":{"type":"posts","id":"arts_13919178","meta":{"index":"posts_1591205157","site":"arts","id":"13919178","score":null,"sort":[1663271744000]},"guestAuthors":[],"slug":"rosario-dawson-normal-aint-offsides-productions-oakland","title":"Rosario Dawson’s New Oakland Web Series Premieres at the Oakland Museum","publishDate":1663271744,"format":"standard","headTitle":"Rosario Dawson’s New Oakland Web Series Premieres at the Oakland Museum | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>Before we all learned to accept our COVID-era existence, a lot of us spent the first year or two of the pandemic itching to go back to “normal.” But here in the Bay Area, with a housing crisis, out-of-reach cost of living and too many other issues to count, is the old “normal” really where we want to be?\u003c/p>\n\u003cp>That’s a question the new Oakland web series \u003ci>Normal Ain’t Normal\u003c/i> asks as it follows four characters grappling with today’s social struggles—including labor exploitation, rent hikes and, of course, the fallout of the pandemic. The show, created by Buzzfeed and \u003ca href=\"https://www.offsidesproductions.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Offsides Productions\u003c/a>, promises to tackle these themes with humor and empathy, challenging viewers to redefine our social norms in the process.\u003c/p>\n\u003cp>https://youtu.be/TU3ymEGQU8U\u003c/p>\n\u003cp>If you’ve seen Offsides’ previous mini series, \u003ca href=\"https://www.kqed.org/arts/13866020/oakland-web-series-the-north-pole-goes-deep-on-immigration-in-new-season\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>The North Pole\u003c/i>,\u003c/a> about a lovable trio of friends navigating gentrification and immigration issues in North Oakland, you’ll recognize this show’s mix of laughter, heart and real-world gravity. Rosario Dawson, who played a gutsy lawyer in the second \u003ci>North Pole\u003c/i> season, returns as co-producer and co-star. Yvan Iturriaga is back in the director’s seat, and \u003ci>Normal Ain’t Normal\u003c/i> also introduces a slate of Oakland’s cultural movers and shakers as collaborators.\u003c/p>\n\u003cp>Tommy Orange, author of the \u003ca href=\"https://www.kqed.org/arts/13835114/tommy-oranges-novel-there-there-is-a-gripping-portrait-of-oakland\" target=\"_blank\" rel=\"noopener noreferrer\">groundbreaking novel \u003ci>There There\u003c/i>\u003c/a>, which follows several generations of Native American characters in Oakland, comes on as a screenwriter. \u003ca href=\"https://www.kqed.org/forum/2010101888843/reem-assils-cookbook-arabiyya-weaves-recipes-for-resilience-with-reflections-on-the-arab-diaspora\" target=\"_blank\" rel=\"noopener noreferrer\">Chef Reem Assil\u003c/a>, an outspoken social justice advocate, makes her acting debut and is also a writer of the episode she stars in.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The aforementioned creatives, plus co-star Tristan Cunningham and series co-creator Josh Healey, are coming to the Oakland Museum of California this Saturday, Sept. 17, for \u003ca href=\"https://normalaintnormal.brownpapertickets.com/\" target=\"_blank\" rel=\"noopener noreferrer\">two screening at 6pm and 8pm\u003c/a>, both followed by a Q&A. And \u003ci>Normal Ain’t Normal\u003c/i> debuts on Buzzfeed on Sept. 27 with weekly episodes to follow.\u003c/p>\n\n","blocks":[],"excerpt":"From the creators of 'The North Pole,' 'Normal Ain't Normal' tackles pandemic-era inequities with humor. ","status":"publish","parent":0,"modified":1705006378,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":7,"wordCount":338},"headData":{"title":"Rosario Dawson’s New Oakland Web Series Premieres at the Oakland Museum | KQED","description":"From the creators of 'The North Pole,' 'Normal Ain't Normal' tackles pandemic-era inequities with humor. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Rosario Dawson’s New Oakland Web Series Premieres at the Oakland Museum","datePublished":"2022-09-15T19:55:44.000Z","dateModified":"2024-01-11T20:52:58.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","path":"/arts/13919178/rosario-dawson-normal-aint-offsides-productions-oakland","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Before we all learned to accept our COVID-era existence, a lot of us spent the first year or two of the pandemic itching to go back to “normal.” But here in the Bay Area, with a housing crisis, out-of-reach cost of living and too many other issues to count, is the old “normal” really where we want to be?\u003c/p>\n\u003cp>That’s a question the new Oakland web series \u003ci>Normal Ain’t Normal\u003c/i> asks as it follows four characters grappling with today’s social struggles—including labor exploitation, rent hikes and, of course, the fallout of the pandemic. The show, created by Buzzfeed and \u003ca href=\"https://www.offsidesproductions.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Offsides Productions\u003c/a>, promises to tackle these themes with humor and empathy, challenging viewers to redefine our social norms in the process.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/TU3ymEGQU8U'\n title='//www.youtube.com/embed/TU3ymEGQU8U'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>If you’ve seen Offsides’ previous mini series, \u003ca href=\"https://www.kqed.org/arts/13866020/oakland-web-series-the-north-pole-goes-deep-on-immigration-in-new-season\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>The North Pole\u003c/i>,\u003c/a> about a lovable trio of friends navigating gentrification and immigration issues in North Oakland, you’ll recognize this show’s mix of laughter, heart and real-world gravity. Rosario Dawson, who played a gutsy lawyer in the second \u003ci>North Pole\u003c/i> season, returns as co-producer and co-star. Yvan Iturriaga is back in the director’s seat, and \u003ci>Normal Ain’t Normal\u003c/i> also introduces a slate of Oakland’s cultural movers and shakers as collaborators.\u003c/p>\n\u003cp>Tommy Orange, author of the \u003ca href=\"https://www.kqed.org/arts/13835114/tommy-oranges-novel-there-there-is-a-gripping-portrait-of-oakland\" target=\"_blank\" rel=\"noopener noreferrer\">groundbreaking novel \u003ci>There There\u003c/i>\u003c/a>, which follows several generations of Native American characters in Oakland, comes on as a screenwriter. \u003ca href=\"https://www.kqed.org/forum/2010101888843/reem-assils-cookbook-arabiyya-weaves-recipes-for-resilience-with-reflections-on-the-arab-diaspora\" target=\"_blank\" rel=\"noopener noreferrer\">Chef Reem Assil\u003c/a>, an outspoken social justice advocate, makes her acting debut and is also a writer of the episode she stars in.\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>The aforementioned creatives, plus co-star Tristan Cunningham and series co-creator Josh Healey, are coming to the Oakland Museum of California this Saturday, Sept. 17, for \u003ca href=\"https://normalaintnormal.brownpapertickets.com/\" target=\"_blank\" rel=\"noopener noreferrer\">two screening at 6pm and 8pm\u003c/a>, both followed by a Q&A. And \u003ci>Normal Ain’t Normal\u003c/i> debuts on Buzzfeed on Sept. 27 with weekly episodes to follow.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13919178/rosario-dawson-normal-aint-offsides-productions-oakland","authors":["11387"],"programs":["arts_140"],"categories":["arts_1","arts_990"],"tags":["arts_928","arts_1297","arts_2755","arts_585"],"featImg":"arts_13919186","label":"arts_140"},"arts_13918463":{"type":"posts","id":"arts_13918463","meta":{"index":"posts_1591205157","site":"arts","id":"13918463","score":null,"sort":[1662055144000]},"guestAuthors":[],"slug":"fall-2022-bay-area-visual-art-gallery-museum-guide","title":"Reports of Our Visual Art Scene’s Death Have Been Greatly Exaggerated","publishDate":1662055144,"format":"aside","headTitle":"Reports of Our Visual Art Scene’s Death Have Been Greatly Exaggerated | KQED","labelTerm":{},"content":"\u003cp>Summer may be blockbuster time for the movie world, but for visual art, it’s all about fall. Which is why it was way too hard to put together this list of 10 recommendations. Not included are two shows I’m very excited about that didn’t quite make our date cutoffs: \u003ci>\u003ca href=\"https://bampfa.org/program/undoing-time-art-and-histories-incarceration\" target=\"_blank\" rel=\"noopener noreferrer\">Undoing Time\u003c/a>\u003c/i> at the Berkeley Art Museum and Pacific Film Archive (a group exhibition addressing images of incarceration) and \u003ci>\u003ca href=\"https://museum.stanford.edu/exhibitions/homeon-stage-asian-american-representation-photography-and-film\" target=\"_blank\" rel=\"noopener noreferrer\">At Home/On Stage: Asian American Representation in Photography and Film\u003c/a>\u003c/i> at the Cantor.\u003c/p>\n\u003cp>Despite \u003ca href=\"https://www.nytimes.com/2022/08/29/arts/design/san-francisco-art-market.html\" rel=\"noopener noreferrer\" target=\"_blank\">reports to the contrary\u003c/a>, the Bay Area art scene is going strong. Here’s a small sampling to whet your appetite for the months ahead.\u003c/p>\n\u003cfigure id=\"attachment_13918470\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13918470\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Milford-Graves_1920.jpg\" alt=\"Chaotic sculpture assemblage with models of body parts, human figures.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Milford-Graves_1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Milford-Graves_1920-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Milford-Graves_1920-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Milford-Graves_1920-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Milford-Graves_1920-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Milford-Graves_1920-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Milford Graves, Installation view of ‘A Mind-Body Deal’ at the Institute for Contemporary Art, University of Pennsylvania. \u003ccite>(Constance Mensch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://wattis.org/our-program/on-view/drum-listens-to-heart\" target=\"_blank\" rel=\"noopener noreferrer\">‘Drum Listens to Heart: Part I’\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Wattis Institute for Contemporary Arts, San Francisco\u003cbr>\nSept. 1–Oct. 15\u003c/i>\u003c/p>\n\u003cp>An ambitious three-part exhibition curated by Wattis director Anthony Huberman launches with a 10-person group show accompanied by live musical performances, a publication and a pop-up record shop. Each part of \u003ci>Drum Listens to Heart\u003c/i> is a fragment of the whole show, encouraging repeat visits for each successive reinstallation (Part II on Nov. 9 and Part III on Jan. 17). This framework itself is a nod to the idea of a percussive ensemble—singular rhythms that combine into a cacophonous whole. For Huberman, percussive polyrhythms provide a framework for thinking about both aesthetic and political issues as moments of impact and vibration. This former clash cymbal player buys it.\u003c/p>\n\u003cfigure id=\"attachment_13918471\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13918471\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Ireland_Black_comp.jpg\" alt=\"Photo of hallway with leaning broom sculpture, at right, paper sculptures of brooms\" width=\"1200\" height=\"838\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Ireland_Black_comp.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Ireland_Black_comp-800x559.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Ireland_Black_comp-1020x712.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Ireland_Black_comp-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Ireland_Black_comp-768x536.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">L: David Ireland, ‘Broom Collection with Boom,’ 1978/1988; R: Libby Black, ‘Brooms,’ 2022. \u003ccite>(©Henrik Kam; Courtesy the artist and 500 Capp Street)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://500cappstreet.org/upcoming/36953/\" target=\"_blank\" rel=\"noopener noreferrer\">Libby Black, ‘The Way Things Also Are’\u003c/a>\u003c/h2>\n\u003cp>\u003ci>500 Capp Street, San Francisco\u003cbr>\nSept. 10–Oct. 8\u003c/i>\u003c/p>\n\u003cp>Berkeley artist \u003ca href=\"https://www.libbyblack.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Libby Black\u003c/a>’s works on paper transcend the two-dimensional plane to become brightly painted and uncanny sculptural objects—often renditions of ordinary things that take on new meaning in her hands. For a solo exhibition in David Ireland’s former home, she creates new work inspired by items in the late artist’s archive and domestic space, including his early nudes, brooms (an Ireland favorite), dishes and chairs. The show, its name nodding to Ireland’s 2004 retrospective at the Oakland Museum of California, \u003ci>The Way Things Are\u003c/i>, promises a less exclusive and definitive take on the artistic legacy of 500 Capp, one that incorporates Black’s queer framework, and creates space for emerging artists Maryam Safanasab, AJ Serrano and Nicole Shaffer.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cfigure id=\"attachment_13918472\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13918472\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/2_Saunders_Home-Open.jpg\" alt='Collaged artwork with \"home open\" sign, flowers and advertisements' width=\"1500\" height=\"1501\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/2_Saunders_Home-Open.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/2_Saunders_Home-Open-800x801.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/2_Saunders_Home-Open-1020x1021.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/2_Saunders_Home-Open-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/2_Saunders_Home-Open-768x769.jpg 768w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">Raymond Saunders, ‘Untitled,’ n.d., mixed media on canvas. \u003ccite>(Courtesy of the artist and Casemore Gallery, San Francisco, and Andrew Kreps Gallery, New York)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://svma.org/exhibition/raymond-saunders-on-freedom/\" target=\"_blank\" rel=\"noopener noreferrer\">Raymond Saunders, ‘On Freedom and Trust’\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Sonoma Valley Museum of Art, Sonoma\u003cbr>\nSept. 10, 2022–Jan. 8, 2023\u003c/i>\u003c/p>\n\u003cp>After a 2021 show spread between two San Francisco locations—\u003ca href=\"https://www.casemorekirkeby.com/exhibitions/38-raymond-saunders-40-years-paris-oakland/works/\" target=\"_blank\" rel=\"noopener noreferrer\">Casemore Kirkeby\u003c/a> and an Andrew Kreps-rented downtown gallery—it was clear Oakland artist Raymond Saunders, now in his 80s, has plenty of work that needs to be seen. This exhibition of 25 large-scale mixed media paintings, some never exhibited before, will span the artist’s lengthy career. Expect his signature layerings of collaged found material, stenciling and painting; his delicate white lines on black surfaces; and references that encompass subjects like the history of the civil rights movement and Saunders’ own art education—all in one complex, mesmerizing work.\u003c/p>\n\u003cfigure id=\"attachment_13918517\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Learningtoswim_1200.jpg\" alt=\"Black man in swim trunks lays in kiddie pool in front of shipping containers\" width=\"1200\" height=\"830\" class=\"size-full wp-image-13918517\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Learningtoswim_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Learningtoswim_1200-800x553.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Learningtoswim_1200-1020x706.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Learningtoswim_1200-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Learningtoswim_1200-768x531.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Adrian Burrell, ‘Learning to Swim,’ Oakland, California, 2018. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.icasanjose.org/upcoming-exhibitions/mildred-howard-the-time-and-space-of-now/\" target=\"_blank\" rel=\"noopener noreferrer\">Mildred Howard, ‘The Time and Space of Now’\u003c/a>\u003cbr>\n\u003ca href=\"https://www.icasanjose.org/upcoming-exhibitions/adrian-burrell-sugarcane-and-lightning-pt-3-2/\" target=\"_blank\" rel=\"noopener noreferrer\">Adrian Burrell, ‘Sugarcane and Lightning pt 3’\u003c/a>\u003c/h2>\n\u003cp>\u003ci>ICA San José\u003cbr>\nSept. 16, 2022–Feb. 26, 2023\u003c/i>\u003c/p>\n\u003cp>Family history is at the center of the ICA San José’s two solo shows with Oakland artists Mildred Howard and Adrian Burrell. Howard, a key figure in the Bay Area art scene, presents a multimedia display that includes a short film inspired by the discovery of a decades-old 8 millimeter film in her mother’s purse, footage Howard shot as a 14-year-old in Texas. At the other end of the career spectrum, this will be the first solo exhibition for Burrell (even though his CV already includes a \u003ca href=\"https://www.kqed.org/arts/13894843/at-sfmoma-adrian-l-burrells-collective-self-portraits-defy-gravity\" target=\"_blank\" rel=\"noopener noreferrer\">commission from SFMOMA\u003c/a> and a \u003ca href=\"https://www.kqed.org/arts/13908852/watch-adrian-l-burrells-the-game-gods\" target=\"_blank\" rel=\"noopener noreferrer\">short film\u003c/a> that’s racking up awards on the festival circuit). For this show, Burrell worked with an investigative genealogist to connect with relatives in Louisiana and recreate images about their shared history of resistance.\u003c/p>\n\u003cfigure id=\"attachment_13918474\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13918474\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Kija-Lucas_Montezuma-294.jpg\" alt=\"Purple thistle-like flower against black backdrop\" width=\"800\" height=\"1000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Kija-Lucas_Montezuma-294.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Kija-Lucas_Montezuma-294-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Kija-Lucas_Montezuma-294-768x960.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kija Lucas, ‘In Search of Home, Montezuma 294,’ 2015. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://sfcamerawork.org/upcoming-exhibition\" target=\"_blank\" rel=\"noopener noreferrer\">Kija Lucas, ‘A Taxonomy of Belonging’\u003c/a>\u003c/h2>\n\u003cp>\u003ci>SF Camerawork, San Francisco\u003cbr>\nSept. 17–Dec. 17\u003c/i>\u003c/p>\n\u003cp>When SF Camerawork closed its Market Street location, I feared the worst for the nearly 50-year-old arts nonprofit. Happily, the organization is opening a new space at Fort Mason Center (the former SFMOMA Artists Gallery) with a solo exhibition by Bay Area photographer \u003ca href=\"https://www.kijalucas.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Kija Lucas\u003c/a>. \u003ci>A Taxonomy of Belonging\u003c/i> draws from Lucas’ ongoing project \u003ci>In Search of Home\u003c/i>, which has taken the artist through 13 states, scanning plants, rocks and other objects from locations connected to the movement of her own family over time. In her description of the series, Lucas references the racial taxonomy of Carl Linnaeus, an 18th-century Swedish scientist whose writings upheld and helped define racist systems of categorization by skin color. What, her project asks, do we consider worthy of collecting and documenting?\u003c/p>\n\u003cfigure id=\"attachment_13918476\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13918476\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Teruya_W_Ground_2017_1200.jpg\" alt=\"Figure bent over with white paper sculptures in hands underneath construction scaffolding\" width=\"1200\" height=\"633\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Teruya_W_Ground_2017_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Teruya_W_Ground_2017_1200-800x422.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Teruya_W_Ground_2017_1200-1020x538.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Teruya_W_Ground_2017_1200-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Teruya_W_Ground_2017_1200-768x405.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Weston Teruya, ‘Ground,’ 2017; still from video documentation of performance. \u003ccite>(Courtesy the artist and Headlands Center for the Arts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.headlands.org/event/project-space-weston-teruya/\" target=\"_blank\" rel=\"noopener noreferrer\">Project Space: Weston Teruya\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Headlands Center for the Arts, Sausalito\u003cbr>\nSept. 25–Oct. 23\u003c/i>\u003c/p>\n\u003cp>At the dreamy Marin Headlands, Oakland artist \u003ca href=\"https://westonteruya.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Weston Teruya\u003c/a> will be set up in one of the residency’s project spaces, periodically opening his studio to the public as he begins researching and making a new body of work about islands. In Teruya’s description of the project, he points to both historical and fictional islands as places that can tell a variety of stories: about anti-imperialism; as cross-cultural meeting places; about lush and volatile environments; and as spaces of memory. Teruya’s work often manifests as delicate and complex paper-based sculptural installations, sometimes made in collaboration with other artists and communities. Repeat visits to Headlands to check in on his progress likely won’t disappoint.\u003c/p>\n\u003cfigure id=\"attachment_13918538\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/JGibsonTBW1_1200.jpg\" alt=\"Image of gray sky with tree and moss interwoven in serrated pattern\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13918538\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/JGibsonTBW1_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/JGibsonTBW1_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/JGibsonTBW1_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/JGibsonTBW1_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/JGibsonTBW1_1200-768x432.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jeffrey Gibson, Still from ‘This Burning World,’ 2022. \u003ccite>(Courtesy the artist and ICA San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.icasf.org/exhibitions/2-this-burning-world\" target=\"_blank\" rel=\"noopener noreferrer\">Jeffrey Gibson, ‘This Burning World’\u003c/a>\u003c/h2>\n\u003cp>\u003ci>ICA San Francisco\u003cbr>\nOct. 1, 2022–March 26, 2023\u003c/i>\u003c/p>\n\u003cp>It’s not every day we get a new museum in town. The non-collecting institution formally opens in the Dogpatch with a solo exhibition from New York artist \u003ca href=\"https://www.jeffreygibson.net/\" target=\"_blank\" rel=\"noopener noreferrer\">Jeffrey Gibson\u003c/a>. Details about \u003ci>This Burning World\u003c/i> are sparse but intriguing: an architectural intervention, a projected installation, performances and—in a move founding director Ali Gass’ first tried out at the ICA San José—a vinyl wrap on the building’s exterior. Going off Gibson’s \u003ca href=\"https://www.kqed.org/arts/13888590/jeffrey-gibsons-nothing-is-eternal-is-perfectly-chaotic\" target=\"_blank\" rel=\"noopener noreferrer\">2020 video\u003c/a> commissioned by the Wattis Institute, we can expect dense, lush imagery that refuses to be pinned down into any tidy summary, a perfect start for an institution dedicated to “constant reinvention in the realm of contemporary art.”\u003c/p>\n\u003cfigure id=\"attachment_13918477\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13918477\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Bernice-Bing-1960.-Photograph-by-Grover-Sales.-Photograph-courtesy-Estate-of-Bernice-Bing.-Courtesy-of-the-Department-of-Special-Collections-Stanford-University-Libraries_1920.jpg\" alt=\"Black and white image of Asian American woman smoking cigarette in car\" width=\"1920\" height=\"1903\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Bernice-Bing-1960.-Photograph-by-Grover-Sales.-Photograph-courtesy-Estate-of-Bernice-Bing.-Courtesy-of-the-Department-of-Special-Collections-Stanford-University-Libraries_1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Bernice-Bing-1960.-Photograph-by-Grover-Sales.-Photograph-courtesy-Estate-of-Bernice-Bing.-Courtesy-of-the-Department-of-Special-Collections-Stanford-University-Libraries_1920-800x793.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Bernice-Bing-1960.-Photograph-by-Grover-Sales.-Photograph-courtesy-Estate-of-Bernice-Bing.-Courtesy-of-the-Department-of-Special-Collections-Stanford-University-Libraries_1920-1020x1011.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Bernice-Bing-1960.-Photograph-by-Grover-Sales.-Photograph-courtesy-Estate-of-Bernice-Bing.-Courtesy-of-the-Department-of-Special-Collections-Stanford-University-Libraries_1920-160x159.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Bernice-Bing-1960.-Photograph-by-Grover-Sales.-Photograph-courtesy-Estate-of-Bernice-Bing.-Courtesy-of-the-Department-of-Special-Collections-Stanford-University-Libraries_1920-768x761.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Bernice-Bing-1960.-Photograph-by-Grover-Sales.-Photograph-courtesy-Estate-of-Bernice-Bing.-Courtesy-of-the-Department-of-Special-Collections-Stanford-University-Libraries_1920-1536x1522.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Bernice Bing, 1960, photographed by Grover Sales. \u003ccite>(Courtesy Estate of Bernice Bing and the Department of Special Collections, Stanford University Libraries)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://exhibitions.asianart.org/exhibitions/into-view-bernice-bing/\" target=\"_blank\" rel=\"noopener noreferrer\">Bernice Bing, ‘Into View’\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Asian Art Museum, San Francisco\u003cbr>\nOct. 7, 2022–May 1, 2023\u003c/i>\u003c/p>\n\u003cp>While it’s always exciting to have big-name artists in our local museums, there’s a special kind of joy that comes from seeing local stars get splashy institutional attention. Celebrating the Asian Art Museum’s recent acquisition of 24 works by San Francisco-born artist Bernice Bing, \u003ci>Into View\u003c/i> presents paintings spanning the 1950s to the ’90s. Bing’s work documents both Bay Area artistic trends (Abstract Expressionism, figuration, Zen calligraphy and modernism) and the influence of the many legends she studied under in her time at the schools now known as CCA and SFAI. Her story is also one of community arts initiatives: in the 1970s, she was part of San Francisco’s Neighborhood Arts Program; in the 1980s she was the first executive director of what is now SOMArts. The Asian Art Museum now holds the largest collection of Bing’s work, and we, the Bay Area public, are the beneficiaries of this investment in our own region’s rich art history.\u003c/p>\n\u003cfigure id=\"attachment_13918479\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13918479\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/03_Bruce_Free-Angela_1971_1200.jpg\" alt=\"Graphic image with Angela Davis' face, words "Free Angela" and pointing fingers\" width=\"1200\" height=\"924\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/03_Bruce_Free-Angela_1971_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/03_Bruce_Free-Angela_1971_1200-800x616.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/03_Bruce_Free-Angela_1971_1200-1020x785.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/03_Bruce_Free-Angela_1971_1200-160x123.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/03_Bruce_Free-Angela_1971_1200-768x591.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Herb Bruce, ‘Free Angela,’ 1971. \u003ccite>(Courtesy Lisbet Tellefsen Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://museumca.org/exhibit/angela-davis%E2%80%93seize-time\" target=\"_blank\" rel=\"noopener noreferrer\">‘Angela Davis—Seize the Time’\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Oakland Museum of California\u003cbr>\nOct. 7, 2022–June 11, 2023\u003c/i>\u003c/p>\n\u003cp>This exhibition, first shown at Rutgers University, looks at the life of the Oakland icon through multiple lenses to examine her image, influence and activism. While the show’s main focus will be on her arrest and the campaigns to free her, \u003ci>Seize the Time\u003c/i> also promises to explore Davis’ influence on artists past and present, and her continued fight for prison abolition. Whether visitors are new to her work or looking to dive more deeply into her scholarship and legacy, this show should be on everyone’s must-see list for the fall.\u003c/p>\n\u003cfigure id=\"attachment_13918536\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/23_Joan-Brown_Woman-Preparing-for-a-Shower_1975_1200.jpg\" alt=\"Painting of woman in robe in shower cap in turquoise tiled shower, dog stands behind her\" width=\"1200\" height=\"1390\" class=\"size-full wp-image-13918536\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/23_Joan-Brown_Woman-Preparing-for-a-Shower_1975_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/23_Joan-Brown_Woman-Preparing-for-a-Shower_1975_1200-800x927.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/23_Joan-Brown_Woman-Preparing-for-a-Shower_1975_1200-1020x1182.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/23_Joan-Brown_Woman-Preparing-for-a-Shower_1975_1200-160x185.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/23_Joan-Brown_Woman-Preparing-for-a-Shower_1975_1200-768x890.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Joan Brown, ‘Woman Preparing for a Shower,’ 1975; di Rosa Center for Contemporary Art, Napa, California. \u003ccite>(© Estate of Joan Brown; Photo courtesy Venus Over Manhattan, New York)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfmoma.org/exhibition/joan-brown/\" target=\"_blank\" rel=\"noopener noreferrer\">Joan Brown\u003c/a>\u003c/h2>\n\u003cp>\u003ci>San Francisco Museum of Modern Art\u003cbr>\nNov. 19, 2022–March 12, 2023\u003c/i>\u003c/p>\n\u003cp>Remember what I said about local art stars getting their flowers? This survey of the San Francisco-born painter brings around 80 pieces together for the most significant presentation of Brown’s work in over two decades. How do you know when a painting show is going to knock your socks off? When the museum’s press release is peppered with phrases like “definitely independent,” “once dismissed by critics as unserious” and “charmingly offbeat,” and the artist is described as having a “fiery disinclination for the commercial side of the art world.” If the above—and fantastical images of humans, animals and snazzy patterns—doesn’t pique your interest, I will make one more attempt to enlist you in my Joan Brown fan club. As an avid open-water swimmer, she and a group of women successfully sued three all-male Bay Area swim clubs in 1974. Two bathing suits left behind in one of those clubs after her untimely death in 1990 are now part of SFAI’s archive.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"This fall brings exciting solo shows, well-deserved retrospectives and a celebration of Angela Davis’ righteous legacy.","status":"publish","parent":0,"modified":1705006425,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":24,"wordCount":1835},"headData":{"title":"Your Fall 2022 Bay Area Visual Arts Preview | KQED","description":"This fall brings exciting solo shows, well-deserved retrospectives and a celebration of Angela Davis’ righteous legacy.","ogTitle":"Reports of Our Visual Art Scene’s Death Have Been Greatly Exaggerated","ogDescription":"","ogImgId":"","twTitle":"Reports of Our Visual Art Scene’s Death Have Been Greatly Exaggerated","twDescription":"","twImgId":"","socialTitle":"Your Fall 2022 Bay Area Visual Arts Preview %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"Reports of Our Visual Art Scene’s Death Have Been Greatly Exaggerated","datePublished":"2022-09-01T17:59:04.000Z","dateModified":"2024-01-11T20:53:45.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"source":"Fall Arts Guide 2022","sourceUrl":"https://www.kqed.org/fallarts2022","sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","path":"/arts/13918463/fall-2022-bay-area-visual-art-gallery-museum-guide","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Summer may be blockbuster time for the movie world, but for visual art, it’s all about fall. Which is why it was way too hard to put together this list of 10 recommendations. Not included are two shows I’m very excited about that didn’t quite make our date cutoffs: \u003ci>\u003ca href=\"https://bampfa.org/program/undoing-time-art-and-histories-incarceration\" target=\"_blank\" rel=\"noopener noreferrer\">Undoing Time\u003c/a>\u003c/i> at the Berkeley Art Museum and Pacific Film Archive (a group exhibition addressing images of incarceration) and \u003ci>\u003ca href=\"https://museum.stanford.edu/exhibitions/homeon-stage-asian-american-representation-photography-and-film\" target=\"_blank\" rel=\"noopener noreferrer\">At Home/On Stage: Asian American Representation in Photography and Film\u003c/a>\u003c/i> at the Cantor.\u003c/p>\n\u003cp>Despite \u003ca href=\"https://www.nytimes.com/2022/08/29/arts/design/san-francisco-art-market.html\" rel=\"noopener noreferrer\" target=\"_blank\">reports to the contrary\u003c/a>, the Bay Area art scene is going strong. Here’s a small sampling to whet your appetite for the months ahead.\u003c/p>\n\u003cfigure id=\"attachment_13918470\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13918470\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Milford-Graves_1920.jpg\" alt=\"Chaotic sculpture assemblage with models of body parts, human figures.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Milford-Graves_1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Milford-Graves_1920-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Milford-Graves_1920-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Milford-Graves_1920-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Milford-Graves_1920-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Milford-Graves_1920-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Milford Graves, Installation view of ‘A Mind-Body Deal’ at the Institute for Contemporary Art, University of Pennsylvania. \u003ccite>(Constance Mensch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://wattis.org/our-program/on-view/drum-listens-to-heart\" target=\"_blank\" rel=\"noopener noreferrer\">‘Drum Listens to Heart: Part I’\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Wattis Institute for Contemporary Arts, San Francisco\u003cbr>\nSept. 1–Oct. 15\u003c/i>\u003c/p>\n\u003cp>An ambitious three-part exhibition curated by Wattis director Anthony Huberman launches with a 10-person group show accompanied by live musical performances, a publication and a pop-up record shop. Each part of \u003ci>Drum Listens to Heart\u003c/i> is a fragment of the whole show, encouraging repeat visits for each successive reinstallation (Part II on Nov. 9 and Part III on Jan. 17). This framework itself is a nod to the idea of a percussive ensemble—singular rhythms that combine into a cacophonous whole. For Huberman, percussive polyrhythms provide a framework for thinking about both aesthetic and political issues as moments of impact and vibration. This former clash cymbal player buys it.\u003c/p>\n\u003cfigure id=\"attachment_13918471\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13918471\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Ireland_Black_comp.jpg\" alt=\"Photo of hallway with leaning broom sculpture, at right, paper sculptures of brooms\" width=\"1200\" height=\"838\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Ireland_Black_comp.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Ireland_Black_comp-800x559.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Ireland_Black_comp-1020x712.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Ireland_Black_comp-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Ireland_Black_comp-768x536.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">L: David Ireland, ‘Broom Collection with Boom,’ 1978/1988; R: Libby Black, ‘Brooms,’ 2022. \u003ccite>(©Henrik Kam; Courtesy the artist and 500 Capp Street)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://500cappstreet.org/upcoming/36953/\" target=\"_blank\" rel=\"noopener noreferrer\">Libby Black, ‘The Way Things Also Are’\u003c/a>\u003c/h2>\n\u003cp>\u003ci>500 Capp Street, San Francisco\u003cbr>\nSept. 10–Oct. 8\u003c/i>\u003c/p>\n\u003cp>Berkeley artist \u003ca href=\"https://www.libbyblack.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Libby Black\u003c/a>’s works on paper transcend the two-dimensional plane to become brightly painted and uncanny sculptural objects—often renditions of ordinary things that take on new meaning in her hands. For a solo exhibition in David Ireland’s former home, she creates new work inspired by items in the late artist’s archive and domestic space, including his early nudes, brooms (an Ireland favorite), dishes and chairs. The show, its name nodding to Ireland’s 2004 retrospective at the Oakland Museum of California, \u003ci>The Way Things Are\u003c/i>, promises a less exclusive and definitive take on the artistic legacy of 500 Capp, one that incorporates Black’s queer framework, and creates space for emerging artists Maryam Safanasab, AJ Serrano and Nicole Shaffer.\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\u003cfigure id=\"attachment_13918472\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13918472\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/2_Saunders_Home-Open.jpg\" alt='Collaged artwork with \"home open\" sign, flowers and advertisements' width=\"1500\" height=\"1501\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/2_Saunders_Home-Open.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/2_Saunders_Home-Open-800x801.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/2_Saunders_Home-Open-1020x1021.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/2_Saunders_Home-Open-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/2_Saunders_Home-Open-768x769.jpg 768w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">Raymond Saunders, ‘Untitled,’ n.d., mixed media on canvas. \u003ccite>(Courtesy of the artist and Casemore Gallery, San Francisco, and Andrew Kreps Gallery, New York)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://svma.org/exhibition/raymond-saunders-on-freedom/\" target=\"_blank\" rel=\"noopener noreferrer\">Raymond Saunders, ‘On Freedom and Trust’\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Sonoma Valley Museum of Art, Sonoma\u003cbr>\nSept. 10, 2022–Jan. 8, 2023\u003c/i>\u003c/p>\n\u003cp>After a 2021 show spread between two San Francisco locations—\u003ca href=\"https://www.casemorekirkeby.com/exhibitions/38-raymond-saunders-40-years-paris-oakland/works/\" target=\"_blank\" rel=\"noopener noreferrer\">Casemore Kirkeby\u003c/a> and an Andrew Kreps-rented downtown gallery—it was clear Oakland artist Raymond Saunders, now in his 80s, has plenty of work that needs to be seen. This exhibition of 25 large-scale mixed media paintings, some never exhibited before, will span the artist’s lengthy career. Expect his signature layerings of collaged found material, stenciling and painting; his delicate white lines on black surfaces; and references that encompass subjects like the history of the civil rights movement and Saunders’ own art education—all in one complex, mesmerizing work.\u003c/p>\n\u003cfigure id=\"attachment_13918517\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Learningtoswim_1200.jpg\" alt=\"Black man in swim trunks lays in kiddie pool in front of shipping containers\" width=\"1200\" height=\"830\" class=\"size-full wp-image-13918517\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Learningtoswim_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Learningtoswim_1200-800x553.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Learningtoswim_1200-1020x706.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Learningtoswim_1200-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Learningtoswim_1200-768x531.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Adrian Burrell, ‘Learning to Swim,’ Oakland, California, 2018. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.icasanjose.org/upcoming-exhibitions/mildred-howard-the-time-and-space-of-now/\" target=\"_blank\" rel=\"noopener noreferrer\">Mildred Howard, ‘The Time and Space of Now’\u003c/a>\u003cbr>\n\u003ca href=\"https://www.icasanjose.org/upcoming-exhibitions/adrian-burrell-sugarcane-and-lightning-pt-3-2/\" target=\"_blank\" rel=\"noopener noreferrer\">Adrian Burrell, ‘Sugarcane and Lightning pt 3’\u003c/a>\u003c/h2>\n\u003cp>\u003ci>ICA San José\u003cbr>\nSept. 16, 2022–Feb. 26, 2023\u003c/i>\u003c/p>\n\u003cp>Family history is at the center of the ICA San José’s two solo shows with Oakland artists Mildred Howard and Adrian Burrell. Howard, a key figure in the Bay Area art scene, presents a multimedia display that includes a short film inspired by the discovery of a decades-old 8 millimeter film in her mother’s purse, footage Howard shot as a 14-year-old in Texas. At the other end of the career spectrum, this will be the first solo exhibition for Burrell (even though his CV already includes a \u003ca href=\"https://www.kqed.org/arts/13894843/at-sfmoma-adrian-l-burrells-collective-self-portraits-defy-gravity\" target=\"_blank\" rel=\"noopener noreferrer\">commission from SFMOMA\u003c/a> and a \u003ca href=\"https://www.kqed.org/arts/13908852/watch-adrian-l-burrells-the-game-gods\" target=\"_blank\" rel=\"noopener noreferrer\">short film\u003c/a> that’s racking up awards on the festival circuit). For this show, Burrell worked with an investigative genealogist to connect with relatives in Louisiana and recreate images about their shared history of resistance.\u003c/p>\n\u003cfigure id=\"attachment_13918474\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13918474\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Kija-Lucas_Montezuma-294.jpg\" alt=\"Purple thistle-like flower against black backdrop\" width=\"800\" height=\"1000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Kija-Lucas_Montezuma-294.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Kija-Lucas_Montezuma-294-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Kija-Lucas_Montezuma-294-768x960.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kija Lucas, ‘In Search of Home, Montezuma 294,’ 2015. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://sfcamerawork.org/upcoming-exhibition\" target=\"_blank\" rel=\"noopener noreferrer\">Kija Lucas, ‘A Taxonomy of Belonging’\u003c/a>\u003c/h2>\n\u003cp>\u003ci>SF Camerawork, San Francisco\u003cbr>\nSept. 17–Dec. 17\u003c/i>\u003c/p>\n\u003cp>When SF Camerawork closed its Market Street location, I feared the worst for the nearly 50-year-old arts nonprofit. Happily, the organization is opening a new space at Fort Mason Center (the former SFMOMA Artists Gallery) with a solo exhibition by Bay Area photographer \u003ca href=\"https://www.kijalucas.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Kija Lucas\u003c/a>. \u003ci>A Taxonomy of Belonging\u003c/i> draws from Lucas’ ongoing project \u003ci>In Search of Home\u003c/i>, which has taken the artist through 13 states, scanning plants, rocks and other objects from locations connected to the movement of her own family over time. In her description of the series, Lucas references the racial taxonomy of Carl Linnaeus, an 18th-century Swedish scientist whose writings upheld and helped define racist systems of categorization by skin color. What, her project asks, do we consider worthy of collecting and documenting?\u003c/p>\n\u003cfigure id=\"attachment_13918476\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13918476\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Teruya_W_Ground_2017_1200.jpg\" alt=\"Figure bent over with white paper sculptures in hands underneath construction scaffolding\" width=\"1200\" height=\"633\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Teruya_W_Ground_2017_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Teruya_W_Ground_2017_1200-800x422.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Teruya_W_Ground_2017_1200-1020x538.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Teruya_W_Ground_2017_1200-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Teruya_W_Ground_2017_1200-768x405.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Weston Teruya, ‘Ground,’ 2017; still from video documentation of performance. \u003ccite>(Courtesy the artist and Headlands Center for the Arts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.headlands.org/event/project-space-weston-teruya/\" target=\"_blank\" rel=\"noopener noreferrer\">Project Space: Weston Teruya\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Headlands Center for the Arts, Sausalito\u003cbr>\nSept. 25–Oct. 23\u003c/i>\u003c/p>\n\u003cp>At the dreamy Marin Headlands, Oakland artist \u003ca href=\"https://westonteruya.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Weston Teruya\u003c/a> will be set up in one of the residency’s project spaces, periodically opening his studio to the public as he begins researching and making a new body of work about islands. In Teruya’s description of the project, he points to both historical and fictional islands as places that can tell a variety of stories: about anti-imperialism; as cross-cultural meeting places; about lush and volatile environments; and as spaces of memory. Teruya’s work often manifests as delicate and complex paper-based sculptural installations, sometimes made in collaboration with other artists and communities. Repeat visits to Headlands to check in on his progress likely won’t disappoint.\u003c/p>\n\u003cfigure id=\"attachment_13918538\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/JGibsonTBW1_1200.jpg\" alt=\"Image of gray sky with tree and moss interwoven in serrated pattern\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13918538\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/JGibsonTBW1_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/JGibsonTBW1_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/JGibsonTBW1_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/JGibsonTBW1_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/JGibsonTBW1_1200-768x432.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jeffrey Gibson, Still from ‘This Burning World,’ 2022. \u003ccite>(Courtesy the artist and ICA San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.icasf.org/exhibitions/2-this-burning-world\" target=\"_blank\" rel=\"noopener noreferrer\">Jeffrey Gibson, ‘This Burning World’\u003c/a>\u003c/h2>\n\u003cp>\u003ci>ICA San Francisco\u003cbr>\nOct. 1, 2022–March 26, 2023\u003c/i>\u003c/p>\n\u003cp>It’s not every day we get a new museum in town. The non-collecting institution formally opens in the Dogpatch with a solo exhibition from New York artist \u003ca href=\"https://www.jeffreygibson.net/\" target=\"_blank\" rel=\"noopener noreferrer\">Jeffrey Gibson\u003c/a>. Details about \u003ci>This Burning World\u003c/i> are sparse but intriguing: an architectural intervention, a projected installation, performances and—in a move founding director Ali Gass’ first tried out at the ICA San José—a vinyl wrap on the building’s exterior. Going off Gibson’s \u003ca href=\"https://www.kqed.org/arts/13888590/jeffrey-gibsons-nothing-is-eternal-is-perfectly-chaotic\" target=\"_blank\" rel=\"noopener noreferrer\">2020 video\u003c/a> commissioned by the Wattis Institute, we can expect dense, lush imagery that refuses to be pinned down into any tidy summary, a perfect start for an institution dedicated to “constant reinvention in the realm of contemporary art.”\u003c/p>\n\u003cfigure id=\"attachment_13918477\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13918477\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Bernice-Bing-1960.-Photograph-by-Grover-Sales.-Photograph-courtesy-Estate-of-Bernice-Bing.-Courtesy-of-the-Department-of-Special-Collections-Stanford-University-Libraries_1920.jpg\" alt=\"Black and white image of Asian American woman smoking cigarette in car\" width=\"1920\" height=\"1903\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Bernice-Bing-1960.-Photograph-by-Grover-Sales.-Photograph-courtesy-Estate-of-Bernice-Bing.-Courtesy-of-the-Department-of-Special-Collections-Stanford-University-Libraries_1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Bernice-Bing-1960.-Photograph-by-Grover-Sales.-Photograph-courtesy-Estate-of-Bernice-Bing.-Courtesy-of-the-Department-of-Special-Collections-Stanford-University-Libraries_1920-800x793.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Bernice-Bing-1960.-Photograph-by-Grover-Sales.-Photograph-courtesy-Estate-of-Bernice-Bing.-Courtesy-of-the-Department-of-Special-Collections-Stanford-University-Libraries_1920-1020x1011.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Bernice-Bing-1960.-Photograph-by-Grover-Sales.-Photograph-courtesy-Estate-of-Bernice-Bing.-Courtesy-of-the-Department-of-Special-Collections-Stanford-University-Libraries_1920-160x159.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Bernice-Bing-1960.-Photograph-by-Grover-Sales.-Photograph-courtesy-Estate-of-Bernice-Bing.-Courtesy-of-the-Department-of-Special-Collections-Stanford-University-Libraries_1920-768x761.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Bernice-Bing-1960.-Photograph-by-Grover-Sales.-Photograph-courtesy-Estate-of-Bernice-Bing.-Courtesy-of-the-Department-of-Special-Collections-Stanford-University-Libraries_1920-1536x1522.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Bernice Bing, 1960, photographed by Grover Sales. \u003ccite>(Courtesy Estate of Bernice Bing and the Department of Special Collections, Stanford University Libraries)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://exhibitions.asianart.org/exhibitions/into-view-bernice-bing/\" target=\"_blank\" rel=\"noopener noreferrer\">Bernice Bing, ‘Into View’\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Asian Art Museum, San Francisco\u003cbr>\nOct. 7, 2022–May 1, 2023\u003c/i>\u003c/p>\n\u003cp>While it’s always exciting to have big-name artists in our local museums, there’s a special kind of joy that comes from seeing local stars get splashy institutional attention. Celebrating the Asian Art Museum’s recent acquisition of 24 works by San Francisco-born artist Bernice Bing, \u003ci>Into View\u003c/i> presents paintings spanning the 1950s to the ’90s. Bing’s work documents both Bay Area artistic trends (Abstract Expressionism, figuration, Zen calligraphy and modernism) and the influence of the many legends she studied under in her time at the schools now known as CCA and SFAI. Her story is also one of community arts initiatives: in the 1970s, she was part of San Francisco’s Neighborhood Arts Program; in the 1980s she was the first executive director of what is now SOMArts. The Asian Art Museum now holds the largest collection of Bing’s work, and we, the Bay Area public, are the beneficiaries of this investment in our own region’s rich art history.\u003c/p>\n\u003cfigure id=\"attachment_13918479\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13918479\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/03_Bruce_Free-Angela_1971_1200.jpg\" alt=\"Graphic image with Angela Davis' face, words "Free Angela" and pointing fingers\" width=\"1200\" height=\"924\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/03_Bruce_Free-Angela_1971_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/03_Bruce_Free-Angela_1971_1200-800x616.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/03_Bruce_Free-Angela_1971_1200-1020x785.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/03_Bruce_Free-Angela_1971_1200-160x123.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/03_Bruce_Free-Angela_1971_1200-768x591.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Herb Bruce, ‘Free Angela,’ 1971. \u003ccite>(Courtesy Lisbet Tellefsen Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://museumca.org/exhibit/angela-davis%E2%80%93seize-time\" target=\"_blank\" rel=\"noopener noreferrer\">‘Angela Davis—Seize the Time’\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Oakland Museum of California\u003cbr>\nOct. 7, 2022–June 11, 2023\u003c/i>\u003c/p>\n\u003cp>This exhibition, first shown at Rutgers University, looks at the life of the Oakland icon through multiple lenses to examine her image, influence and activism. While the show’s main focus will be on her arrest and the campaigns to free her, \u003ci>Seize the Time\u003c/i> also promises to explore Davis’ influence on artists past and present, and her continued fight for prison abolition. Whether visitors are new to her work or looking to dive more deeply into her scholarship and legacy, this show should be on everyone’s must-see list for the fall.\u003c/p>\n\u003cfigure id=\"attachment_13918536\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/23_Joan-Brown_Woman-Preparing-for-a-Shower_1975_1200.jpg\" alt=\"Painting of woman in robe in shower cap in turquoise tiled shower, dog stands behind her\" width=\"1200\" height=\"1390\" class=\"size-full wp-image-13918536\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/23_Joan-Brown_Woman-Preparing-for-a-Shower_1975_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/23_Joan-Brown_Woman-Preparing-for-a-Shower_1975_1200-800x927.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/23_Joan-Brown_Woman-Preparing-for-a-Shower_1975_1200-1020x1182.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/23_Joan-Brown_Woman-Preparing-for-a-Shower_1975_1200-160x185.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/23_Joan-Brown_Woman-Preparing-for-a-Shower_1975_1200-768x890.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Joan Brown, ‘Woman Preparing for a Shower,’ 1975; di Rosa Center for Contemporary Art, Napa, California. \u003ccite>(© Estate of Joan Brown; Photo courtesy Venus Over Manhattan, New York)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfmoma.org/exhibition/joan-brown/\" target=\"_blank\" rel=\"noopener noreferrer\">Joan Brown\u003c/a>\u003c/h2>\n\u003cp>\u003ci>San Francisco Museum of Modern Art\u003cbr>\nNov. 19, 2022–March 12, 2023\u003c/i>\u003c/p>\n\u003cp>Remember what I said about local art stars getting their flowers? This survey of the San Francisco-born painter brings around 80 pieces together for the most significant presentation of Brown’s work in over two decades. How do you know when a painting show is going to knock your socks off? When the museum’s press release is peppered with phrases like “definitely independent,” “once dismissed by critics as unserious” and “charmingly offbeat,” and the artist is described as having a “fiery disinclination for the commercial side of the art world.” If the above—and fantastical images of humans, animals and snazzy patterns—doesn’t pique your interest, I will make one more attempt to enlist you in my Joan Brown fan club. As an avid open-water swimmer, she and a group of women successfully sued three all-male Bay Area swim clubs in 1974. Two bathing suits left behind in one of those clubs after her untimely death in 1990 are now part of SFAI’s archive.\u003c/p>\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\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13918463/fall-2022-bay-area-visual-art-gallery-museum-guide","authors":["61"],"categories":["arts_1","arts_70"],"tags":["arts_6336","arts_4906","arts_2250","arts_18294","arts_18457","arts_10278","arts_3649","arts_1006","arts_11661","arts_3648","arts_2755","arts_1381","arts_6487"],"featImg":"arts_13918479","label":"source_arts_13918463"},"arts_13917326":{"type":"posts","id":"arts_13917326","meta":{"index":"posts_1591205157","site":"arts","id":"13917326","score":null,"sort":[1660062669000]},"guestAuthors":[],"slug":"hella-feminist-omca-oakland-review","title":"In OMCA’s ‘Hella Feminist,’ 150 Years of Collective Action Points the Way Forward","publishDate":1660062669,"format":"standard","headTitle":"In OMCA’s ‘Hella Feminist,’ 150 Years of Collective Action Points the Way Forward | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>Behind frosted glass are silhouettes of silk undergarments, protecting parts of a woman only seen after dark. At first it feels intrusive to be so close to these items, culled from the Oakland Museum of California’s collection of historical objects. But after passing through the rest of the museum’s \u003ca href=\"https://museumca.org/exhibit/hella-feminist\" rel=\"noopener noreferrer\" target=\"_blank\">\u003cem>Hella Feminist\u003c/em>\u003c/a> exhibition, the intimacy of this opening display is a fitting introduction to the show’s stories of strength, courage, power and resilience. \u003c/p>\n\u003cp>[aside postID='arts_13916997']Running until January 2023, the multimedia exhibit guides viewers through the waves of Bay Area feminist movements, highlighting both broad trends and impactful moments. A tidbit of hyper-local history lives in a photograph of \u003ca href=\"https://www.kqed.org/arts/13875504/lydia-diamond\" rel=\"noopener noreferrer\" target=\"_blank\">Toni Stone\u003c/a>, the first Black woman to play professional baseball in the United States, who later joined the San Francisco Sea Lions.\u003c/p>\n\u003cfigure id=\"attachment_13917331\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Unknown-Photograph-Toni-Stone_1200.jpg\" alt=\"Black and white image of female baseball player putting on face powder in mirror\" width=\"1200\" height=\"1466\" class=\"size-full wp-image-13917331\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Unknown-Photograph-Toni-Stone_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Unknown-Photograph-Toni-Stone_1200-800x977.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Unknown-Photograph-Toni-Stone_1200-1020x1246.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Unknown-Photograph-Toni-Stone_1200-160x195.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Unknown-Photograph-Toni-Stone_1200-768x938.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Toni Stone in 1954. \u003ccite>(Collection of OMCA; purchase from the Estate of Marcenia Lyle Alberga, a.k.a. Toni (Tomboy) Stone)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Curated by Carin Adams, Erendina Delgadillo and Lisa Silberstein, \u003cem>Hella Feminist\u003c/em> was originally supposed to open in 2020, paying homage to the 100th anniversary of the passage of the 19th Amendment. During the pandemic-induced delay, the political stakes for feminism have changed dramatically, allowing visitors to reflect even more deeply on that milestone of women’s suffrage (which at the time represented only partial victory—Black women would continue to fight for the right to vote). \u003c/p>\n\u003cp>Each piece in the exhibition, which is a mix of items from the museum’s collection and commissioned artwork from contemporary artists, was chosen with the intention of moving away from, as the curators say, “frameworks that center whiteness and other forms of privilege.” Like meditation and mindfulness, the exhibit partakes in a holistic viewpoint of the human experience—sectioned by the mind, body and spirit—with each thematic display going a layer deeper. \u003c/p>\n\u003cfigure id=\"attachment_13917327\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Flo_1200.jpg\" alt=\"Print of woman's face, pink lips, blue eyeshadow, brown hair up\" width=\"1200\" height=\"1244\" class=\"size-full wp-image-13917327\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Flo_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Flo_1200-800x829.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Flo_1200-1020x1057.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Flo_1200-160x166.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Flo_1200-768x796.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Beth Van Hoesen, ‘Flo,’ 1973. \u003ccite>(© The E. Mark Adams and Beth Van Hoesen Adams Trust)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The Mind” explores the realities of showing up in a world of physical expectations largely decreed by the male gaze. We see a projection of a “perfect” hourglass-shaped torso tightly interlaced by a corset. Even today, undergarment brands like SKIMS normalize and even encourage a certain waist-to-hip ratio. The corset, a physical manifestation of painfully unsolicited beauty standards, becomes a symbol of emotional restriction and physical suffocation. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Moving into the next section, “The Body,” viewers can expect to reflect on sexual pleasure (or lack thereof) and body autonomy. Whether it’s related to gender identity, sex work or reproductive choices, the message is the same: our bodies, our choice. In the wake of the Supreme Court’s decision to overturn Roe v. Wade, this section of \u003cem>Hella Feminist\u003c/em> is all the more bittersweet. It’s poignant to think about what’s been lost this year—with near-total abortion bans currently enacted in eight states—but a look at past organizing around reproductive rights is heartening. We’ve been down this road before.\u003c/p>\n\u003cp>In this section, an audio-visual piece catches my eye. Large white text against a black wall says: “You know, there’s abortion doulas.” It’s a reference to the individuals who accompany and support women through the process of having an abortion, like a friend you didn’t know you needed. I reflect on the potential loneliness of terminating a pregnancy and how much more isolating it may become. \u003c/p>\n\u003cfigure id=\"attachment_13917329\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Shes-On-The-Rag-menstrual-blood-series_1200.jpg\" alt=\"Red and pink print creates by folding paper in half\" width=\"1200\" height=\"927\" class=\"size-full wp-image-13917329\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Shes-On-The-Rag-menstrual-blood-series_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Shes-On-The-Rag-menstrual-blood-series_1200-800x618.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Shes-On-The-Rag-menstrual-blood-series_1200-1020x788.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Shes-On-The-Rag-menstrual-blood-series_1200-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Shes-On-The-Rag-menstrual-blood-series_1200-768x593.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Xandra Ibarra, ‘She’s On the Rag/Rorschach Test 1,’ 2018. \u003ccite>(Courtesy of the artist; © Xandra Ibarra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nearby, various sex toys of different colors, materials, sizes and shapes find a home in a display case. All of the toys were provided by Feelmore Adult Gallery, the only Black woman-owned sex shop in Oakland or Berkeley. The owner, \u003ca href=\"https://www.kqed.org/arts/13858579/rightnowish-nenna-joiners-inclusive-sex-toys-at-feelmore-adult-gallery-in-oakland\" rel=\"noopener noreferrer\" target=\"_blank\">Nenna Joiner\u003c/a>, supports destigmatizing the dialogue around sex and hopes to decriminalize sex work.[aside postID='arts_13858579'] \u003c/p>\n\u003cp>“The Spirit” looks at collective healing and the interplanar world that connects us all. Oakland artist \u003ca href=\"https://malayatuyay.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Malaya Tuyay\u003c/a> explores individuality within conformity through the mixed media textile work \u003cem>My Memories, Ideas, and Experiences Make Me Full\u003c/em>. Stretching wide across the exhibition’s back wall, the piece showcases various women with their arms up as if they’re next in the ring. “These are spirits of past selves and past moments of learning and unlearning,” Tuyay explains in the accompanying wall text. I read it as an ode to fighting the trauma that lingers between generations. \u003c/p>\n\u003cp>\u003cem>Hella Feminist\u003c/em> is a journey. At first, I felt grief and perhaps a little shame as I moved through the exhibition. Installations like “Restorative Realm” touched the darkest corners of my soul. Behind floor-length curtains is a magical space with objects—like a mortar and pestle or a glass jar of blood-stained spools of thread—that signify different approaches to healing. Sometimes the true work of mending what’s fallen apart happens behind closed doors. \u003c/p>\n\u003cp>Each work of art and its story represents a step towards a better day. I felt energized by simply taking in the exhibition with eyes wide open. For the curators, the way ahead requires both collaborative action and self-reflection. “Working together means being personally responsible and open to guidance and that practice begins at one’s emotional core,” they write.\u003c/p>\n\u003cp>We’re still working on acknowledging the intersectionalities within feminism, such as recognizing trans rights or supporting sexual assault survivors, but OMCA’s exhibition is proof of just how much feminist movements have achieved over the past 150 years. \u003cem>Hella Feminist\u003c/em> is informative and inspiring, but most importantly, it is a place to pause and issue a sigh of relief before the next big sprint.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Hella Feminist’ is on view at the Oakland Museum of California through January 2023. \u003ca href=\"https://museumca.org/exhibit/hella-feminist\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"The expansive exhibition of objects and artwork captures diverse chapters of East Bay feminist history.","status":"publish","parent":0,"modified":1705006516,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":16,"wordCount":1012},"headData":{"title":"‘Hella Feminist’ Review: Inspiring History and Moving Art at OMCA | KQED","description":"The expansive exhibition of objects and artwork captures diverse chapters of East Bay feminist history.","ogTitle":"In OMCA’s ‘Hella Feminist,’ 150 Years of Collective Action Points the Way Forward","ogDescription":"","ogImgId":"","twTitle":"In OMCA’s ‘Hella Feminist,’ 150 Years of Collective Action Points the Way Forward","twDescription":"","twImgId":"","socialTitle":"‘Hella Feminist’ Review: Inspiring History and Moving Art at OMCA %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"In OMCA’s ‘Hella Feminist,’ 150 Years of Collective Action Points the Way Forward","datePublished":"2022-08-09T16:31:09.000Z","dateModified":"2024-01-11T20:55:16.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Amyra Soriano","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13917326/hella-feminist-omca-oakland-review","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Behind frosted glass are silhouettes of silk undergarments, protecting parts of a woman only seen after dark. At first it feels intrusive to be so close to these items, culled from the Oakland Museum of California’s collection of historical objects. But after passing through the rest of the museum’s \u003ca href=\"https://museumca.org/exhibit/hella-feminist\" rel=\"noopener noreferrer\" target=\"_blank\">\u003cem>Hella Feminist\u003c/em>\u003c/a> exhibition, the intimacy of this opening display is a fitting introduction to the show’s stories of strength, courage, power and resilience. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13916997","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Running until January 2023, the multimedia exhibit guides viewers through the waves of Bay Area feminist movements, highlighting both broad trends and impactful moments. A tidbit of hyper-local history lives in a photograph of \u003ca href=\"https://www.kqed.org/arts/13875504/lydia-diamond\" rel=\"noopener noreferrer\" target=\"_blank\">Toni Stone\u003c/a>, the first Black woman to play professional baseball in the United States, who later joined the San Francisco Sea Lions.\u003c/p>\n\u003cfigure id=\"attachment_13917331\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Unknown-Photograph-Toni-Stone_1200.jpg\" alt=\"Black and white image of female baseball player putting on face powder in mirror\" width=\"1200\" height=\"1466\" class=\"size-full wp-image-13917331\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Unknown-Photograph-Toni-Stone_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Unknown-Photograph-Toni-Stone_1200-800x977.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Unknown-Photograph-Toni-Stone_1200-1020x1246.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Unknown-Photograph-Toni-Stone_1200-160x195.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Unknown-Photograph-Toni-Stone_1200-768x938.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Toni Stone in 1954. \u003ccite>(Collection of OMCA; purchase from the Estate of Marcenia Lyle Alberga, a.k.a. Toni (Tomboy) Stone)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Curated by Carin Adams, Erendina Delgadillo and Lisa Silberstein, \u003cem>Hella Feminist\u003c/em> was originally supposed to open in 2020, paying homage to the 100th anniversary of the passage of the 19th Amendment. During the pandemic-induced delay, the political stakes for feminism have changed dramatically, allowing visitors to reflect even more deeply on that milestone of women’s suffrage (which at the time represented only partial victory—Black women would continue to fight for the right to vote). \u003c/p>\n\u003cp>Each piece in the exhibition, which is a mix of items from the museum’s collection and commissioned artwork from contemporary artists, was chosen with the intention of moving away from, as the curators say, “frameworks that center whiteness and other forms of privilege.” Like meditation and mindfulness, the exhibit partakes in a holistic viewpoint of the human experience—sectioned by the mind, body and spirit—with each thematic display going a layer deeper. \u003c/p>\n\u003cfigure id=\"attachment_13917327\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Flo_1200.jpg\" alt=\"Print of woman's face, pink lips, blue eyeshadow, brown hair up\" width=\"1200\" height=\"1244\" class=\"size-full wp-image-13917327\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Flo_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Flo_1200-800x829.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Flo_1200-1020x1057.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Flo_1200-160x166.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Flo_1200-768x796.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Beth Van Hoesen, ‘Flo,’ 1973. \u003ccite>(© The E. Mark Adams and Beth Van Hoesen Adams Trust)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The Mind” explores the realities of showing up in a world of physical expectations largely decreed by the male gaze. We see a projection of a “perfect” hourglass-shaped torso tightly interlaced by a corset. Even today, undergarment brands like SKIMS normalize and even encourage a certain waist-to-hip ratio. The corset, a physical manifestation of painfully unsolicited beauty standards, becomes a symbol of emotional restriction and physical suffocation. \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>Moving into the next section, “The Body,” viewers can expect to reflect on sexual pleasure (or lack thereof) and body autonomy. Whether it’s related to gender identity, sex work or reproductive choices, the message is the same: our bodies, our choice. In the wake of the Supreme Court’s decision to overturn Roe v. Wade, this section of \u003cem>Hella Feminist\u003c/em> is all the more bittersweet. It’s poignant to think about what’s been lost this year—with near-total abortion bans currently enacted in eight states—but a look at past organizing around reproductive rights is heartening. We’ve been down this road before.\u003c/p>\n\u003cp>In this section, an audio-visual piece catches my eye. Large white text against a black wall says: “You know, there’s abortion doulas.” It’s a reference to the individuals who accompany and support women through the process of having an abortion, like a friend you didn’t know you needed. I reflect on the potential loneliness of terminating a pregnancy and how much more isolating it may become. \u003c/p>\n\u003cfigure id=\"attachment_13917329\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Shes-On-The-Rag-menstrual-blood-series_1200.jpg\" alt=\"Red and pink print creates by folding paper in half\" width=\"1200\" height=\"927\" class=\"size-full wp-image-13917329\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Shes-On-The-Rag-menstrual-blood-series_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Shes-On-The-Rag-menstrual-blood-series_1200-800x618.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Shes-On-The-Rag-menstrual-blood-series_1200-1020x788.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Shes-On-The-Rag-menstrual-blood-series_1200-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Shes-On-The-Rag-menstrual-blood-series_1200-768x593.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Xandra Ibarra, ‘She’s On the Rag/Rorschach Test 1,’ 2018. \u003ccite>(Courtesy of the artist; © Xandra Ibarra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nearby, various sex toys of different colors, materials, sizes and shapes find a home in a display case. All of the toys were provided by Feelmore Adult Gallery, the only Black woman-owned sex shop in Oakland or Berkeley. The owner, \u003ca href=\"https://www.kqed.org/arts/13858579/rightnowish-nenna-joiners-inclusive-sex-toys-at-feelmore-adult-gallery-in-oakland\" rel=\"noopener noreferrer\" target=\"_blank\">Nenna Joiner\u003c/a>, supports destigmatizing the dialogue around sex and hopes to decriminalize sex work.\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13858579","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp> \u003c/p>\n\u003cp>“The Spirit” looks at collective healing and the interplanar world that connects us all. Oakland artist \u003ca href=\"https://malayatuyay.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Malaya Tuyay\u003c/a> explores individuality within conformity through the mixed media textile work \u003cem>My Memories, Ideas, and Experiences Make Me Full\u003c/em>. Stretching wide across the exhibition’s back wall, the piece showcases various women with their arms up as if they’re next in the ring. “These are spirits of past selves and past moments of learning and unlearning,” Tuyay explains in the accompanying wall text. I read it as an ode to fighting the trauma that lingers between generations. \u003c/p>\n\u003cp>\u003cem>Hella Feminist\u003c/em> is a journey. At first, I felt grief and perhaps a little shame as I moved through the exhibition. Installations like “Restorative Realm” touched the darkest corners of my soul. Behind floor-length curtains is a magical space with objects—like a mortar and pestle or a glass jar of blood-stained spools of thread—that signify different approaches to healing. Sometimes the true work of mending what’s fallen apart happens behind closed doors. \u003c/p>\n\u003cp>Each work of art and its story represents a step towards a better day. I felt energized by simply taking in the exhibition with eyes wide open. For the curators, the way ahead requires both collaborative action and self-reflection. “Working together means being personally responsible and open to guidance and that practice begins at one’s emotional core,” they write.\u003c/p>\n\u003cp>We’re still working on acknowledging the intersectionalities within feminism, such as recognizing trans rights or supporting sexual assault survivors, but OMCA’s exhibition is proof of just how much feminist movements have achieved over the past 150 years. \u003cem>Hella Feminist\u003c/em> is informative and inspiring, but most importantly, it is a place to pause and issue a sigh of relief before the next big sprint.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Hella Feminist’ is on view at the Oakland Museum of California through January 2023. \u003ca href=\"https://museumca.org/exhibit/hella-feminist\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13917326/hella-feminist-omca-oakland-review","authors":["byline_arts_13917326"],"programs":["arts_140"],"categories":["arts_1","arts_7862","arts_70"],"tags":["arts_10342","arts_10278","arts_1962","arts_2640","arts_2755","arts_585"],"featImg":"arts_13917328","label":"arts_140"},"arts_13907649":{"type":"posts","id":"arts_13907649","meta":{"index":"posts_1591205157","site":"arts","id":"13907649","score":null,"sort":[1641342706000]},"guestAuthors":[],"slug":"january-2022-bay-area-art-guide","title":"New Year, New Art: What to See in the Bay Area This Month","publishDate":1641342706,"format":"standard","headTitle":"New Year, New Art: What to See in the Bay Area This Month | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>There’s not much good to say about the transition from 2021 to 2022, but I’m always looking for a silver lining. So while this has been a fraught and stressful holiday season, the new year means galleries and museums are back to their regular hours, with many of them opening shows in the weeks to come.\u003c/p>\n\u003cp>Even better: After a 2021 hiatus, January sees the return of the \u003ca href=\"https://www.fogfair.com/\" target=\"_blank\" rel=\"noopener noreferrer\">FOG Design+Art Fair\u003c/a>, and the Bay Area’s art spaces are putting out their best in anticipation of the out-of-towners’ arrival. Even if you’re not up for milling around Fort Mason’s Festival Pavilion, there’s plenty to see and experience (including remotely). Stay safe and enjoy!\u003c/p>\n\u003cfigure id=\"attachment_13907663\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/01/JF_01_1200.jpg\" alt=\"Yellow and black textile piece.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13907663\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/JF_01_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/JF_01_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/JF_01_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/JF_01_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/JF_01_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Josh Faught, ‘A Positive Light,’ 2019; Hand dyed, hand woven hemp and cotton; abstraction woven from a late 1980s AIDS vigil; textile paint and spray enamel on stretched linen, 92 x 64.5 x 2 inches. \u003ccite>(Photo: Patrick Jameson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Josh Faught, ‘Look Across the Water Into the Darkness, Look for the Fog’\u003c/h2>\n\u003cp>\u003ci>Jan. 13–March 5\u003cbr>\n\u003ca href=\"https://wattis.org/our-program/on-view/josh-faught-solo-exhibition\" target=\"_blank\" rel=\"noopener noreferrer\">Wattis Institute for Contemporary Art\u003c/a>, San Francisco\u003c/i>\u003c/p>\n\u003cp>San Francisco artist Josh Faught uses textiles to tell stories—about high and low culture, about queer communities, about the objects that come to represent larger political and social histories. (Fittingly, the exhibition title is a quote from John Carpenter’s 1980 horror movie \u003ci>The Fog\u003c/i>, about a town haunted by the misdeeds of its past.) His assemblages, featuring hand-woven and hand-dyed textiles, often hold objects sourced from thrift stores or “queer identified internet sellers.” In this exhibition, references to the ’80s and ’90s connect the current environment to another era of illness and paranoia, creating a bridge between past coping mechanisms and present ones.\u003c/p>\n\u003cfigure id=\"attachment_13907769\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/01/Julia-Couzens-Flip-the-Spin-2020.jpeg\" alt=\"Textile piece against brick wall, light green, peach and white colors.\" width=\"960\" height=\"960\" class=\"size-full wp-image-13907769\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Julia-Couzens-Flip-the-Spin-2020.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Julia-Couzens-Flip-the-Spin-2020-800x800.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Julia-Couzens-Flip-the-Spin-2020-160x160.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Julia-Couzens-Flip-the-Spin-2020-768x768.jpeg 768w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-caption-text\">Julia Couzens, ‘Flip the Spin,’ 2020. \u003ccite>(Diana Jahns Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Julia Couzens\u003c/h2>\n\u003cp>\u003ci>Jan. 14–March 2\u003cbr>\n\u003ca href=\"http://www.rollupproject.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Roll Up Project\u003c/a>, Oakland\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In 2017, artist Squeak Carnwath and community organizer Gary Knecht turned two windows on a Jack London Square warehouse into an alternative gallery space, exhibiting artists two slightly-above-street-level windows for about two months at a time. This low lift, heavy impact mode of exhibiting work was all the more important starting in March 2020, when opportunities for showing and seeing art became few and far between. There’s still time to catch paintings by Michael S. Moore through Jan. 12, then roll by two days later to see Julia Couzens’ textile-based constructions.\u003c/p>\n\u003cfigure id=\"attachment_13907713\" class=\"wp-caption aligncenter\" style=\"max-width: 1106px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13907713\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/01/Marcel-Pardo-Ariza-Les-Hermanes-2021.jpeg\" alt=\"Two figures embrace, shirtless, heads turned away from camera\" width=\"1106\" height=\"1400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Marcel-Pardo-Ariza-Les-Hermanes-2021.jpeg 1106w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Marcel-Pardo-Ariza-Les-Hermanes-2021-800x1013.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Marcel-Pardo-Ariza-Les-Hermanes-2021-1020x1291.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Marcel-Pardo-Ariza-Les-Hermanes-2021-160x203.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Marcel-Pardo-Ariza-Les-Hermanes-2021-768x972.jpeg 768w\" sizes=\"(max-width: 1106px) 100vw, 1106px\">\u003cfigcaption class=\"wp-caption-text\">Marcel Pardo Ariza, ‘Les Hermanes,’ 2021. \u003ccite>(Courtesy of the artist and Ochi Projects)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Image Gardeners’\u003c/h2>\n\u003cp>\u003ci>Jan. 14–April 30\u003cbr>\n\u003ca href=\"https://www.mcevoyarts.org/exhibition/image-gardeners/\" target=\"_blank\" rel=\"noopener noreferrer\">McEvoy Foundation for the Arts\u003c/a>, San Francisco\u003c/i>\u003c/p>\n\u003cp>In this group show, “image gardeners” refers to artists who do not snap pictures and move on opportunistically, but cultivate relationships, preserve memories and collaborate with their subjects. Spanning eight decades of photographic work, the show includes portraits by Diane Arbus and Vivian Maier alongside newly commissioned work by locals like Marcel Pardo Ariza, Carolyn Drake and Chanell Stone. An accompanying short film program, curated by former SFMOMA film program manager Gina Basso, \u003ci>seen only, heard only through someone else’s description\u003c/i>, features work by and about women and non-binary artists.\u003c/p>\n\u003cfigure id=\"attachment_13907695\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13907695\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/01/KHO059_Khoury_1_combo_1200.jpg\" alt=\"Two sculptures with spindly supports\" width=\"1200\" height=\"765\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/KHO059_Khoury_1_combo_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/KHO059_Khoury_1_combo_1200-800x510.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/KHO059_Khoury_1_combo_1200-1020x650.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/KHO059_Khoury_1_combo_1200-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/KHO059_Khoury_1_combo_1200-768x490.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Work by Sahar Khoury from ‘Orchard.’ \u003ccite>(Courtesy the artist and Rebecca Camacho Presents)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Sahar Khoury, ‘Orchard’\u003c/h2>\n\u003cp>\u003ci>Jan. 15–Feb. 18\u003cbr>\n\u003ca href=\"https://www.rebeccacamacho.com/exhibitions/profile/sahar-khoury-orchard\" target=\"_blank\" rel=\"noopener noreferrer\">Rebecca Camacho Presents\u003c/a>, San Francisco\u003c/i>\u003c/p>\n\u003cp>In Oakland sculptor Sahar Khoury’s second show in the Tenderloin gallery, the artist presents “landscapes” made of metal, ceramic, paper mâché and “wood pruned from the artists’ own walnut and apple trees.” Khoury’s richly textured multimedia works often incorporate surprising combinations of made and found materials, mingling various fasteners (hardware, belts) with glazed ceramic surfaces bearing satisfying traces of the artist’s hands.\u003c/p>\n\u003cfigure id=\"attachment_13907662\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13907662\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/01/Delaney_Coffee-and-a-Sandwich-on-Union-Square-1985.jpeg\" alt=\"Man eating in a diner, light on his face.\" width=\"960\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Delaney_Coffee-and-a-Sandwich-on-Union-Square-1985.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Delaney_Coffee-and-a-Sandwich-on-Union-Square-1985-800x800.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Delaney_Coffee-and-a-Sandwich-on-Union-Square-1985-160x160.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Delaney_Coffee-and-a-Sandwich-on-Union-Square-1985-768x768.jpeg 768w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-caption-text\">Janet Delaney, ‘Coffee and a Sandwich on Union Square,’ 1985; Archival pigment print, 20 x 20 inches. \u003ccite>(Courtesy of the artist and EUQINOM Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Janet Delaney, ‘New York in the 80s’\u003cbr>\nNick Lawrence, ‘Lower East Side Teenagers in the 1960s’\u003c/h2>\n\u003cp>\u003ci>Jan. 15–Feb. 26\u003cbr>\n\u003ca href=\"https://euqinomgallery.com/future-exhibitions\" target=\"_blank\" rel=\"noopener noreferrer\">EUQINOM\u003c/a>, San Francisco\u003c/i>\u003c/p>\n\u003cp>While Janet Delaney is perhaps best known as a prescient documentarian of San Francisco’s changing South of Market neighborhood in the ’70s and ’80s, but around the same time she also turned her lens to the early morning streets of New York—a place she visited while couriering for a local photo lab. Wandering through Chinatown into SoHo and further north, Delaney captured street life, architecture and fashion in beautiful medium-format color film, images now gathered in the new book \u003ci>\u003ca href=\"https://www.mackbooks.us/products/red-eye-to-new-york-br-janet-delaney\" target=\"_blank\" rel=\"noopener noreferrer\">Red Eye to New York\u003c/a>\u003c/i>. Alongside her own work, Delaney curates a show of black-and-white images by Berkeley artist Nick Lawrence, who photographed his students—Lower East Side junior high schoolers—in the 1960s.\u003c/p>\n\u003cfigure id=\"attachment_13907710\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13907710\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/01/blatant-header-jan2022_crop.png\" alt=\"Headshots of three women\" width=\"960\" height=\"420\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/blatant-header-jan2022_crop.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/blatant-header-jan2022_crop-800x350.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/blatant-header-jan2022_crop-160x70.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/blatant-header-jan2022_crop-768x336.png 768w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-caption-text\">Ricky Weaver, Ashara Ekundayo and Erica Deeman. \u003ccite>(Courtesy MoAD)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>BLATANT: A Forum on Art, Joy and Rage\u003c/h2>\n\u003cp>\u003ci>Jan. 18, 4–5:30pm\u003cbr>\n\u003ca href=\"https://www.moadsf.org/event/blatant-a-forum-on-art-joy-and-rage-with-host-ashara-ekundayo-and-guests-erica-deeman-and-ricky-weaver/?instance_id=16177\" target=\"_blank\" rel=\"noopener noreferrer\">Museum of the African Diaspora\u003c/a> via Zoom\u003c/i>\u003c/p>\n\u003cp>This month, the “live zine series” hosted by curator Ashara Ekundayo features Bay Area artist Erica Deeman and Ypsilanti, Michigan-based artist Ricky Weaver in a conversation about their practices and experiences. At a moment when many Bay Area institutions have fully returned to in-person events, it’s great to see MoAD bringing a hybridized approach to their programming —and fully taking advantage of the virtual meeting space’s ability to bring disparately located people together for meaningful discussions.\u003c/p>\n\u003cfigure id=\"attachment_13907707\" class=\"wp-caption aligncenter\" style=\"max-width: 1240px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13907707\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/01/02_American-Dream-Pillows.jpeg\" alt=\"Four ceramic sculptures.\" width=\"1240\" height=\"828\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/02_American-Dream-Pillows.jpeg 1240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/02_American-Dream-Pillows-800x534.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/02_American-Dream-Pillows-1020x681.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/02_American-Dream-Pillows-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/02_American-Dream-Pillows-768x513.jpeg 768w\" sizes=\"(max-width: 1240px) 100vw, 1240px\">\u003cfigcaption class=\"wp-caption-text\">Cathy Lu, ‘American Dream Pillows.’ \u003ccite>(Photo: Cathy Lu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Cathy Lu, ‘Interior Garden’\u003c/h2>\n\u003cp>\u003ci>Jan. 20–Dec. 17\u003cbr>\n\u003ca href=\"https://www.cccsf.us/post/xianrui-2022-interior-garden\" target=\"_blank\" rel=\"noopener noreferrer\">Chinese Culture Center\u003c/a>, San Francisco\u003c/i>\u003c/p>\n\u003cp>Richmond artist Cathy Lu presents a year-long exhibition of new, large-scale ceramics, referencing two creation myths: the Immortal Peach Garden and the Garden of Eden. The show promises to become a contemplative space—one where visitors can reflect on the promises versus the realities of life in the United States of immigrants and people of color. Given what Lu was able to accomplish in the very small space of Irving Street Projects for her steamy 2018 installation \u003ci>\u003ca href=\"https://www.kqed.org/arts/13841781/cathy-lus-peach-garden-steams-up-the-outer-sunset\" target=\"_blank\" rel=\"noopener noreferrer\">Peach Garden\u003c/a>\u003c/i>, the more expansive opportunities at the CCC won’t disappoint.\u003c/p>\n\u003cfigure id=\"attachment_13907682\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13907682\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/01/ICA-FLASH-scaled.jpg\" alt=\"Black-and-white graphic images\" width=\"2560\" height=\"2011\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/ICA-FLASH-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/ICA-FLASH-800x629.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/ICA-FLASH-1020x801.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/ICA-FLASH-160x126.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/ICA-FLASH-768x603.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/ICA-FLASH-1536x1207.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/ICA-FLASH-2048x1609.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/ICA-FLASH-1920x1509.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Tattoo flash designed by Chris Martin. \u003ccite>(Courtesy the artist and ICA SF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Chris Martin, ‘Ancient as Time’\u003c/h2>\n\u003cp>\u003ci>Jan. 22–April 16\u003cbr>\n\u003ca href=\"https://www.icasanfrancisco.org/programsandexhibitions\" target=\"_blank\" rel=\"noopener noreferrer\">ICA San Francisco\u003c/a>\u003c/i>\u003c/p>\n\u003cp>Before the new Institute of Contemporary Art San Francisco officially opens in the fall of 2022, the space will play host to a series of temporary programs called “Meantime.” Up first: an installation by Oakland artist Chris Martin of soft sculptures and hand-sewn banners. Those banners, which measure four to 15 feet long, feature black-and-white graphics that reference traditional tattoo designs. (Martin is also a tattoo artist; pandemic permitting, his project will end with a pop-up parlor later this year.) Familiar nautical motifs shift in scale from skin to cotton banners— becoming monumental illustrations—and reclamations—of the African American experience.\u003c/p>\n\u003cfigure id=\"attachment_13902045\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902045\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/13-095-063_edit_1200.jpg\" alt=\"Light-skinned hands use a tool on a dark clay teacup.\" width=\"1200\" height=\"836\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/13-095-063_edit_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/13-095-063_edit_1200-800x557.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/13-095-063_edit_1200-1020x711.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/13-095-063_edit_1200-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/13-095-063_edit_1200-768x535.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">‘Untitled (Finishing a Teacup Edited),’ c. 1970; photographic print from the Edith and Brian Heath Collection in the Environmental Design Archives, UC Berkeley. \u003ccite>(Oakland Museum of California)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Edith Heath: A Life in Clay’\u003c/h2>\n\u003cp>\u003ci>Jan. 29–Oct. 30\u003cbr>\n\u003ca href=\"https://museumca.org/exhibit/edith-heath-life-clay\" target=\"_blank\" rel=\"noopener noreferrer\">Oakland Museum of California\u003c/a>\u003c/i>\u003c/p>\n\u003cp>OMCA was hit hard by the October 2021 rains, leading to weeks of closure and a further delay to their Edith Heath exhibition (a show that was originally supposed to open in 2020). I’ve recommended it before and I’m recommending it again, hoping that this time the forces of nature and the still pernicious pandemic won’t stand in the way of this well-deserved look back at Heath’s contributions to the field of ceramics.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>This article has been updated to reflect changes in the ICA San Francisco’s programming.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"Bay Area museums and galleries are rolling out fresh offerings—plus remote options for those staying home. ","status":"publish","parent":0,"modified":1705007353,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":23,"wordCount":1358},"headData":{"title":"SF Bay Area Art Guide: What’s New in January 2022 | KQED","description":"Bay Area museums and galleries are rolling out fresh offerings—plus remote options for those staying home. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","socialTitle":"SF Bay Area Art Guide: What’s New in January 2022 %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"New Year, New Art: What to See in the Bay Area This Month","datePublished":"2022-01-05T00:31:46.000Z","dateModified":"2024-01-11T21:09:13.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","path":"/arts/13907649/january-2022-bay-area-art-guide","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>There’s not much good to say about the transition from 2021 to 2022, but I’m always looking for a silver lining. So while this has been a fraught and stressful holiday season, the new year means galleries and museums are back to their regular hours, with many of them opening shows in the weeks to come.\u003c/p>\n\u003cp>Even better: After a 2021 hiatus, January sees the return of the \u003ca href=\"https://www.fogfair.com/\" target=\"_blank\" rel=\"noopener noreferrer\">FOG Design+Art Fair\u003c/a>, and the Bay Area’s art spaces are putting out their best in anticipation of the out-of-towners’ arrival. Even if you’re not up for milling around Fort Mason’s Festival Pavilion, there’s plenty to see and experience (including remotely). Stay safe and enjoy!\u003c/p>\n\u003cfigure id=\"attachment_13907663\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/01/JF_01_1200.jpg\" alt=\"Yellow and black textile piece.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13907663\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/JF_01_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/JF_01_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/JF_01_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/JF_01_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/JF_01_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Josh Faught, ‘A Positive Light,’ 2019; Hand dyed, hand woven hemp and cotton; abstraction woven from a late 1980s AIDS vigil; textile paint and spray enamel on stretched linen, 92 x 64.5 x 2 inches. \u003ccite>(Photo: Patrick Jameson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Josh Faught, ‘Look Across the Water Into the Darkness, Look for the Fog’\u003c/h2>\n\u003cp>\u003ci>Jan. 13–March 5\u003cbr>\n\u003ca href=\"https://wattis.org/our-program/on-view/josh-faught-solo-exhibition\" target=\"_blank\" rel=\"noopener noreferrer\">Wattis Institute for Contemporary Art\u003c/a>, San Francisco\u003c/i>\u003c/p>\n\u003cp>San Francisco artist Josh Faught uses textiles to tell stories—about high and low culture, about queer communities, about the objects that come to represent larger political and social histories. (Fittingly, the exhibition title is a quote from John Carpenter’s 1980 horror movie \u003ci>The Fog\u003c/i>, about a town haunted by the misdeeds of its past.) His assemblages, featuring hand-woven and hand-dyed textiles, often hold objects sourced from thrift stores or “queer identified internet sellers.” In this exhibition, references to the ’80s and ’90s connect the current environment to another era of illness and paranoia, creating a bridge between past coping mechanisms and present ones.\u003c/p>\n\u003cfigure id=\"attachment_13907769\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/01/Julia-Couzens-Flip-the-Spin-2020.jpeg\" alt=\"Textile piece against brick wall, light green, peach and white colors.\" width=\"960\" height=\"960\" class=\"size-full wp-image-13907769\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Julia-Couzens-Flip-the-Spin-2020.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Julia-Couzens-Flip-the-Spin-2020-800x800.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Julia-Couzens-Flip-the-Spin-2020-160x160.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Julia-Couzens-Flip-the-Spin-2020-768x768.jpeg 768w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-caption-text\">Julia Couzens, ‘Flip the Spin,’ 2020. \u003ccite>(Diana Jahns Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Julia Couzens\u003c/h2>\n\u003cp>\u003ci>Jan. 14–March 2\u003cbr>\n\u003ca href=\"http://www.rollupproject.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Roll Up Project\u003c/a>, Oakland\u003c/i>\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 2017, artist Squeak Carnwath and community organizer Gary Knecht turned two windows on a Jack London Square warehouse into an alternative gallery space, exhibiting artists two slightly-above-street-level windows for about two months at a time. This low lift, heavy impact mode of exhibiting work was all the more important starting in March 2020, when opportunities for showing and seeing art became few and far between. There’s still time to catch paintings by Michael S. Moore through Jan. 12, then roll by two days later to see Julia Couzens’ textile-based constructions.\u003c/p>\n\u003cfigure id=\"attachment_13907713\" class=\"wp-caption aligncenter\" style=\"max-width: 1106px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13907713\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/01/Marcel-Pardo-Ariza-Les-Hermanes-2021.jpeg\" alt=\"Two figures embrace, shirtless, heads turned away from camera\" width=\"1106\" height=\"1400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Marcel-Pardo-Ariza-Les-Hermanes-2021.jpeg 1106w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Marcel-Pardo-Ariza-Les-Hermanes-2021-800x1013.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Marcel-Pardo-Ariza-Les-Hermanes-2021-1020x1291.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Marcel-Pardo-Ariza-Les-Hermanes-2021-160x203.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Marcel-Pardo-Ariza-Les-Hermanes-2021-768x972.jpeg 768w\" sizes=\"(max-width: 1106px) 100vw, 1106px\">\u003cfigcaption class=\"wp-caption-text\">Marcel Pardo Ariza, ‘Les Hermanes,’ 2021. \u003ccite>(Courtesy of the artist and Ochi Projects)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Image Gardeners’\u003c/h2>\n\u003cp>\u003ci>Jan. 14–April 30\u003cbr>\n\u003ca href=\"https://www.mcevoyarts.org/exhibition/image-gardeners/\" target=\"_blank\" rel=\"noopener noreferrer\">McEvoy Foundation for the Arts\u003c/a>, San Francisco\u003c/i>\u003c/p>\n\u003cp>In this group show, “image gardeners” refers to artists who do not snap pictures and move on opportunistically, but cultivate relationships, preserve memories and collaborate with their subjects. Spanning eight decades of photographic work, the show includes portraits by Diane Arbus and Vivian Maier alongside newly commissioned work by locals like Marcel Pardo Ariza, Carolyn Drake and Chanell Stone. An accompanying short film program, curated by former SFMOMA film program manager Gina Basso, \u003ci>seen only, heard only through someone else’s description\u003c/i>, features work by and about women and non-binary artists.\u003c/p>\n\u003cfigure id=\"attachment_13907695\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13907695\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/01/KHO059_Khoury_1_combo_1200.jpg\" alt=\"Two sculptures with spindly supports\" width=\"1200\" height=\"765\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/KHO059_Khoury_1_combo_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/KHO059_Khoury_1_combo_1200-800x510.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/KHO059_Khoury_1_combo_1200-1020x650.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/KHO059_Khoury_1_combo_1200-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/KHO059_Khoury_1_combo_1200-768x490.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Work by Sahar Khoury from ‘Orchard.’ \u003ccite>(Courtesy the artist and Rebecca Camacho Presents)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Sahar Khoury, ‘Orchard’\u003c/h2>\n\u003cp>\u003ci>Jan. 15–Feb. 18\u003cbr>\n\u003ca href=\"https://www.rebeccacamacho.com/exhibitions/profile/sahar-khoury-orchard\" target=\"_blank\" rel=\"noopener noreferrer\">Rebecca Camacho Presents\u003c/a>, San Francisco\u003c/i>\u003c/p>\n\u003cp>In Oakland sculptor Sahar Khoury’s second show in the Tenderloin gallery, the artist presents “landscapes” made of metal, ceramic, paper mâché and “wood pruned from the artists’ own walnut and apple trees.” Khoury’s richly textured multimedia works often incorporate surprising combinations of made and found materials, mingling various fasteners (hardware, belts) with glazed ceramic surfaces bearing satisfying traces of the artist’s hands.\u003c/p>\n\u003cfigure id=\"attachment_13907662\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13907662\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/01/Delaney_Coffee-and-a-Sandwich-on-Union-Square-1985.jpeg\" alt=\"Man eating in a diner, light on his face.\" width=\"960\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Delaney_Coffee-and-a-Sandwich-on-Union-Square-1985.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Delaney_Coffee-and-a-Sandwich-on-Union-Square-1985-800x800.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Delaney_Coffee-and-a-Sandwich-on-Union-Square-1985-160x160.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Delaney_Coffee-and-a-Sandwich-on-Union-Square-1985-768x768.jpeg 768w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-caption-text\">Janet Delaney, ‘Coffee and a Sandwich on Union Square,’ 1985; Archival pigment print, 20 x 20 inches. \u003ccite>(Courtesy of the artist and EUQINOM Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Janet Delaney, ‘New York in the 80s’\u003cbr>\nNick Lawrence, ‘Lower East Side Teenagers in the 1960s’\u003c/h2>\n\u003cp>\u003ci>Jan. 15–Feb. 26\u003cbr>\n\u003ca href=\"https://euqinomgallery.com/future-exhibitions\" target=\"_blank\" rel=\"noopener noreferrer\">EUQINOM\u003c/a>, San Francisco\u003c/i>\u003c/p>\n\u003cp>While Janet Delaney is perhaps best known as a prescient documentarian of San Francisco’s changing South of Market neighborhood in the ’70s and ’80s, but around the same time she also turned her lens to the early morning streets of New York—a place she visited while couriering for a local photo lab. Wandering through Chinatown into SoHo and further north, Delaney captured street life, architecture and fashion in beautiful medium-format color film, images now gathered in the new book \u003ci>\u003ca href=\"https://www.mackbooks.us/products/red-eye-to-new-york-br-janet-delaney\" target=\"_blank\" rel=\"noopener noreferrer\">Red Eye to New York\u003c/a>\u003c/i>. Alongside her own work, Delaney curates a show of black-and-white images by Berkeley artist Nick Lawrence, who photographed his students—Lower East Side junior high schoolers—in the 1960s.\u003c/p>\n\u003cfigure id=\"attachment_13907710\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13907710\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/01/blatant-header-jan2022_crop.png\" alt=\"Headshots of three women\" width=\"960\" height=\"420\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/blatant-header-jan2022_crop.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/blatant-header-jan2022_crop-800x350.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/blatant-header-jan2022_crop-160x70.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/blatant-header-jan2022_crop-768x336.png 768w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-caption-text\">Ricky Weaver, Ashara Ekundayo and Erica Deeman. \u003ccite>(Courtesy MoAD)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>BLATANT: A Forum on Art, Joy and Rage\u003c/h2>\n\u003cp>\u003ci>Jan. 18, 4–5:30pm\u003cbr>\n\u003ca href=\"https://www.moadsf.org/event/blatant-a-forum-on-art-joy-and-rage-with-host-ashara-ekundayo-and-guests-erica-deeman-and-ricky-weaver/?instance_id=16177\" target=\"_blank\" rel=\"noopener noreferrer\">Museum of the African Diaspora\u003c/a> via Zoom\u003c/i>\u003c/p>\n\u003cp>This month, the “live zine series” hosted by curator Ashara Ekundayo features Bay Area artist Erica Deeman and Ypsilanti, Michigan-based artist Ricky Weaver in a conversation about their practices and experiences. At a moment when many Bay Area institutions have fully returned to in-person events, it’s great to see MoAD bringing a hybridized approach to their programming —and fully taking advantage of the virtual meeting space’s ability to bring disparately located people together for meaningful discussions.\u003c/p>\n\u003cfigure id=\"attachment_13907707\" class=\"wp-caption aligncenter\" style=\"max-width: 1240px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13907707\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/01/02_American-Dream-Pillows.jpeg\" alt=\"Four ceramic sculptures.\" width=\"1240\" height=\"828\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/02_American-Dream-Pillows.jpeg 1240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/02_American-Dream-Pillows-800x534.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/02_American-Dream-Pillows-1020x681.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/02_American-Dream-Pillows-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/02_American-Dream-Pillows-768x513.jpeg 768w\" sizes=\"(max-width: 1240px) 100vw, 1240px\">\u003cfigcaption class=\"wp-caption-text\">Cathy Lu, ‘American Dream Pillows.’ \u003ccite>(Photo: Cathy Lu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Cathy Lu, ‘Interior Garden’\u003c/h2>\n\u003cp>\u003ci>Jan. 20–Dec. 17\u003cbr>\n\u003ca href=\"https://www.cccsf.us/post/xianrui-2022-interior-garden\" target=\"_blank\" rel=\"noopener noreferrer\">Chinese Culture Center\u003c/a>, San Francisco\u003c/i>\u003c/p>\n\u003cp>Richmond artist Cathy Lu presents a year-long exhibition of new, large-scale ceramics, referencing two creation myths: the Immortal Peach Garden and the Garden of Eden. The show promises to become a contemplative space—one where visitors can reflect on the promises versus the realities of life in the United States of immigrants and people of color. Given what Lu was able to accomplish in the very small space of Irving Street Projects for her steamy 2018 installation \u003ci>\u003ca href=\"https://www.kqed.org/arts/13841781/cathy-lus-peach-garden-steams-up-the-outer-sunset\" target=\"_blank\" rel=\"noopener noreferrer\">Peach Garden\u003c/a>\u003c/i>, the more expansive opportunities at the CCC won’t disappoint.\u003c/p>\n\u003cfigure id=\"attachment_13907682\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13907682\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/01/ICA-FLASH-scaled.jpg\" alt=\"Black-and-white graphic images\" width=\"2560\" height=\"2011\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/ICA-FLASH-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/ICA-FLASH-800x629.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/ICA-FLASH-1020x801.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/ICA-FLASH-160x126.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/ICA-FLASH-768x603.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/ICA-FLASH-1536x1207.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/ICA-FLASH-2048x1609.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/ICA-FLASH-1920x1509.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Tattoo flash designed by Chris Martin. \u003ccite>(Courtesy the artist and ICA SF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Chris Martin, ‘Ancient as Time’\u003c/h2>\n\u003cp>\u003ci>Jan. 22–April 16\u003cbr>\n\u003ca href=\"https://www.icasanfrancisco.org/programsandexhibitions\" target=\"_blank\" rel=\"noopener noreferrer\">ICA San Francisco\u003c/a>\u003c/i>\u003c/p>\n\u003cp>Before the new Institute of Contemporary Art San Francisco officially opens in the fall of 2022, the space will play host to a series of temporary programs called “Meantime.” Up first: an installation by Oakland artist Chris Martin of soft sculptures and hand-sewn banners. Those banners, which measure four to 15 feet long, feature black-and-white graphics that reference traditional tattoo designs. (Martin is also a tattoo artist; pandemic permitting, his project will end with a pop-up parlor later this year.) Familiar nautical motifs shift in scale from skin to cotton banners— becoming monumental illustrations—and reclamations—of the African American experience.\u003c/p>\n\u003cfigure id=\"attachment_13902045\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902045\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/13-095-063_edit_1200.jpg\" alt=\"Light-skinned hands use a tool on a dark clay teacup.\" width=\"1200\" height=\"836\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/13-095-063_edit_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/13-095-063_edit_1200-800x557.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/13-095-063_edit_1200-1020x711.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/13-095-063_edit_1200-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/13-095-063_edit_1200-768x535.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">‘Untitled (Finishing a Teacup Edited),’ c. 1970; photographic print from the Edith and Brian Heath Collection in the Environmental Design Archives, UC Berkeley. \u003ccite>(Oakland Museum of California)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Edith Heath: A Life in Clay’\u003c/h2>\n\u003cp>\u003ci>Jan. 29–Oct. 30\u003cbr>\n\u003ca href=\"https://museumca.org/exhibit/edith-heath-life-clay\" target=\"_blank\" rel=\"noopener noreferrer\">Oakland Museum of California\u003c/a>\u003c/i>\u003c/p>\n\u003cp>OMCA was hit hard by the October 2021 rains, leading to weeks of closure and a further delay to their Edith Heath exhibition (a show that was originally supposed to open in 2020). I’ve recommended it before and I’m recommending it again, hoping that this time the forces of nature and the still pernicious pandemic won’t stand in the way of this well-deserved look back at Heath’s contributions to the field of ceramics.\u003c/p>\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>This article has been updated to reflect changes in the ICA San Francisco’s programming.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13907649/january-2022-bay-area-art-guide","authors":["61"],"programs":["arts_140"],"categories":["arts_1"],"tags":["arts_16340","arts_10278","arts_1006","arts_1987","arts_2755","arts_1334","arts_901"],"featImg":"arts_13907723","label":"arts_140"}},"programsReducer":{"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"}},"1a":{"id":"1a","title":"1A","info":"1A is home to the national conversation. 1A brings on great guests and frames the best debate in ways that make you think, share and engage.","airtime":"MON-THU 11pm-12am","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/1a.jpg","officialWebsiteLink":"https://the1a.org/","meta":{"site":"news","source":"npr"},"link":"/radio/program/1a","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=1188724250&at=11l79Y&ct=nprdirectory","tuneIn":"https://tunein.com/radio/1A-p947376/","rss":"https://feeds.npr.org/510316/podcast.xml"}},"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":"13"},"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":"4"},"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","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvbmV3cy9jYXRlZ29yeS9iYXktY3VyaW91cy1wb2RjYXN0L2ZlZWQvcG9kY2FzdA","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"}},"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. 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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. 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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"}},"our-body-politic":{"id":"our-body-politic","title":"Our Body Politic","info":"Presented by KQED, KCRW and KPCC, and created and hosted by award-winning journalist Farai Chideya, Our Body Politic is unapologetically centered on reporting on not just how women of color experience the major political events of today, but how they’re impacting those very issues.","airtime":"SAT 6pm-7pm, SUN 1am-2am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Our-Body-Politic-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://our-body-politic.simplecast.com/","meta":{"site":"news","source":"kcrw"},"link":"/radio/program/our-body-politic","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/our-body-politic/id1533069868","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5zaW1wbGVjYXN0LmNvbS9feGFQaHMxcw","spotify":"https://open.spotify.com/show/4ApAiLT1kV153TttWAmqmc","rss":"https://feeds.simplecast.com/_xaPhs1s","tuneIn":"https://tunein.com/podcasts/News--Politics-Podcasts/Our-Body-Politic-p1369211/"}},"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 of daily listener commentaries since 1991","info":"KQED's series of of daily listener commentaries since 1991.","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Perspectives-Podcast-Tile-703x703-1.jpg","officialWebsiteLink":"/perspectives/","meta":{"site":"radio","source":"kqed","order":"15"},"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. 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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"}},"says-you":{"id":"says-you","title":"Says You!","info":"Public radio's game show of bluff and bluster, words and whimsy. 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