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Artists Television Access on Valencia Street is another visible example of its legacy. Like other noncommercial art forms, however, rising cost of living seriously threatens the scene: Eviction last year \u003ca href=\"https://www.kqed.org/ourturbulentdecade/2016-evictions-and-the-ghost-ship-fire-pushed-oakland-artists-into-the-margins\">ended Black Hole\u003c/a>, an Oakland screening series that carried forward Canyon’s anti-institutional origins, but not before spawning the Light Field film festival. Challenges aside, the Bay Area remains a destination for filmmakers “ill at ease with cinema as entertainment but rather fondly fixated on the apparatus, the alchemy of light,” as curator Steve Seid described local postwar celluloid artists in the 2010 book \u003cem>Radical Light\u003c/em>. \u003c/p>\n\u003cp>Now, a renovated Victorian below Interstate 880 near Oakland’s Jack London District promises a sustainable, brick-and-mortar refuge for a community rooted in homespun exhibitions and collaborative intimacy. Gilbert Guerrero and Kathleen Quillian, founders of the \u003ca href=\"http://shapeshifterscinema.com/\">Shapeshifters\u003c/a> series at Temescal Arts Center (TAC), quietly opened the 1,200-square-foot space at 567 5th Street last year as a 40-seat microcinema, and they’re building an on-site nanobrewery with plans for a small taproom to subsidize film programming. Guerrero, an award-winning homebrewer, described the model as a response to diminishing grants funding for small arts organizations. “Shapeshifters has been a series,” he said. “We want this to be an institution.”\u003c/p>\n\u003cfigure id=\"attachment_13874351\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/2.jpg\" alt=\"The 40-seat microcinema will accommodate various projector configurations for experimental film screenings. \" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13874351\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/2-1020x574.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The 40-seat microcinema will accommodate various projector configurations for experimental film screenings. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Founded in 2012 as a free monthly event, Shapeshifters showcases “expanded cinema,” film generally involving live performance, for instance multi-projector work or sound-image collaboration. “It was at capacity almost immediately,” said TAC director and curator Leyya Tawil. Steve Polta, filmmaker and director of the \u003ca href=\"http://www.sfcinematheque.org/\">San Francisco Cinematheque\u003c/a>, called Shapeshifters a “space to workshop and experiment,” noting the evolution in programming fixtures such as Kit Young and Lori Varga. Other artists who’ve been featured in the series include Other Cinema founder Craig Baldwin, Sofía Córdova with Las Sucias, Greg Pope with Voicehandler, Kerry Laitala, Oracle Plus, Tommy Becker, Suki O’Kane and the late Paul Clipson. \u003c/p>\n\u003cp>Shapeshifters Cinema and Brewery will house Shapeshifters programming and events brought by other curators, filling a deep need for film exhibition space in Oakland. According to Polta, half of San Francisco Cinematheque attendees live in the East Bay. “So there’s a filmmaker community and also an audience community,” he said. And the microcinema is small and nimble enough for esoteric or technically-challenging work. For example, Polta hopes to bring Bruce Elder. The Canadian filmmaker’s shorter pieces run upwards of three hours, making them cost-prohibitive to show at many rental venues. As the head of a nonprofit, Polta also said he understands Shapeshifters’ transition to earned income: “Less grants and more competition.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Guerrero and Quillian met some 20 years ago as volunteers at Artists Television Access, where Guerrero is now on the board of directors, and founded Shapeshifters at first at the now-defunct Arbor cafe as a hub for the experimental film community closer to their home in Oakland. “One day I brought a chest of Tecate and thought, ‘I have way better beer at home,’” Guerrero said. He started Temescal Homebrewing in 2013, and in 2018 won first prize in the World Cup of Beer competition for his Synesthesia Pale Ale. A few years ago he took a small business course while considering launching a brewery, and then thought to combine the enterprise with Shapeshifters. Guerrero and Quillian signed a five-year lease on 567 5th St. in late 2018.\u003c/p>\n\u003cfigure id=\"attachment_13874353\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/use-4.jpg\" alt=\"Kathleen Quillian (L) and Gilbert Guerrero (R) are fundraising to complete construction on Shapeshifters Cinema and Brewery.\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13874353\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/use-4.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/use-4-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/use-4-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/use-4-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/use-4-1020x574.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Kathleen Quillian (L) and Gilbert Guerrero (R) are fundraising to complete construction on Shapeshifters Cinema and Brewery. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Visitors enter the space, which looks residential from the street, through what Guerrero and Quillian envision as a small taproom with regular evening hours, and then proceed to a venue already outfitted with a large screen and dozens of salvaged church chairs. The seats are on rearrangeable wooden bases, and an additional screen is planned to accommodate various projector configurations. Guerrero, a homebrewing workshop leader in addition to his day job in user-experience design, plans to create the 3.5 barrel “nanobrewery” in the back room, with a fermenter built into a large outdoor deck. Guerrero and Quillian have spent more than $100,000 on permitting and other pre-construction costs, and are currently \u003ca href=\"https://www.indiegogo.com/projects/shapeshifters-cinema-and-brewery#/\">raising\u003c/a> $30,000 on Indiegogo. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Meanwhile, Shapeshifters programming in the space is ongoing: A party and screening in association with Canyon Cinema for Shapeshifters “members,” a new category of ongoing financial supporters of the project, takes place on Saturday, Feb. 15, followed by a free presentation of Tommy Becker’s visual concept album \u003cem>Emotions in Metal\u003c/em> on Saturday, Mar. 14. Black Hole founder Tooth, who presented drawings and his film \u003cem>Broken Symmetry\u003c/em> at the space last year, and who now lives in New York, described Shapeshifters as a “luminous bright spot on the continuum of community-based, noncommercial artistic traditions.” He continued, “[It’s] one of the things that gives me hope that the Bay Area will weather the storm it finds itself in.” \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the Bay Area, alternative exhibition spaces for experimental film and video have long provided artists of the moving image a sense of community and interdisciplinary collaboration. In the early 1960s, filmmaker Bruce Baillie established Canyon Cinema as a screening series in the wooded East Bay hamlet of Canyon for avant-garde and family fare alike. Canyon filmmakers made inroads with composers at the San Francisco Tape Music Center, and published freewheeling newsletters that evinced a natural rapport with painters and poets. Instead of an indie studio system, Canyon inspired or anticipated other local artist-run organizations central to local developments in abstract, personal, vernacular and queer cinema. \u003c/p>\n\u003cp>Canyon endures as a distributor of 16mm avant-garde film prints, and its programming spinoff, San Francisco Cinematheque, curates the CROSSROADS film festival—this year at the San Francisco Museum of Modern Art. Artists Television Access on Valencia Street is another visible example of its legacy. Like other noncommercial art forms, however, rising cost of living seriously threatens the scene: Eviction last year \u003ca href=\"https://www.kqed.org/ourturbulentdecade/2016-evictions-and-the-ghost-ship-fire-pushed-oakland-artists-into-the-margins\">ended Black Hole\u003c/a>, an Oakland screening series that carried forward Canyon’s anti-institutional origins, but not before spawning the Light Field film festival. Challenges aside, the Bay Area remains a destination for filmmakers “ill at ease with cinema as entertainment but rather fondly fixated on the apparatus, the alchemy of light,” as curator Steve Seid described local postwar celluloid artists in the 2010 book \u003cem>Radical Light\u003c/em>. \u003c/p>\n\u003cp>Now, a renovated Victorian below Interstate 880 near Oakland’s Jack London District promises a sustainable, brick-and-mortar refuge for a community rooted in homespun exhibitions and collaborative intimacy. Gilbert Guerrero and Kathleen Quillian, founders of the \u003ca href=\"http://shapeshifterscinema.com/\">Shapeshifters\u003c/a> series at Temescal Arts Center (TAC), quietly opened the 1,200-square-foot space at 567 5th Street last year as a 40-seat microcinema, and they’re building an on-site nanobrewery with plans for a small taproom to subsidize film programming. Guerrero, an award-winning homebrewer, described the model as a response to diminishing grants funding for small arts organizations. “Shapeshifters has been a series,” he said. “We want this to be an institution.”\u003c/p>\n\u003cfigure id=\"attachment_13874351\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/2.jpg\" alt=\"The 40-seat microcinema will accommodate various projector configurations for experimental film screenings. \" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13874351\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/2-1020x574.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The 40-seat microcinema will accommodate various projector configurations for experimental film screenings. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Founded in 2012 as a free monthly event, Shapeshifters showcases “expanded cinema,” film generally involving live performance, for instance multi-projector work or sound-image collaboration. “It was at capacity almost immediately,” said TAC director and curator Leyya Tawil. Steve Polta, filmmaker and director of the \u003ca href=\"http://www.sfcinematheque.org/\">San Francisco Cinematheque\u003c/a>, called Shapeshifters a “space to workshop and experiment,” noting the evolution in programming fixtures such as Kit Young and Lori Varga. Other artists who’ve been featured in the series include Other Cinema founder Craig Baldwin, Sofía Córdova with Las Sucias, Greg Pope with Voicehandler, Kerry Laitala, Oracle Plus, Tommy Becker, Suki O’Kane and the late Paul Clipson. \u003c/p>\n\u003cp>Shapeshifters Cinema and Brewery will house Shapeshifters programming and events brought by other curators, filling a deep need for film exhibition space in Oakland. According to Polta, half of San Francisco Cinematheque attendees live in the East Bay. “So there’s a filmmaker community and also an audience community,” he said. And the microcinema is small and nimble enough for esoteric or technically-challenging work. For example, Polta hopes to bring Bruce Elder. The Canadian filmmaker’s shorter pieces run upwards of three hours, making them cost-prohibitive to show at many rental venues. As the head of a nonprofit, Polta also said he understands Shapeshifters’ transition to earned income: “Less grants and more competition.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Guerrero and Quillian met some 20 years ago as volunteers at Artists Television Access, where Guerrero is now on the board of directors, and founded Shapeshifters at first at the now-defunct Arbor cafe as a hub for the experimental film community closer to their home in Oakland. “One day I brought a chest of Tecate and thought, ‘I have way better beer at home,’” Guerrero said. He started Temescal Homebrewing in 2013, and in 2018 won first prize in the World Cup of Beer competition for his Synesthesia Pale Ale. A few years ago he took a small business course while considering launching a brewery, and then thought to combine the enterprise with Shapeshifters. Guerrero and Quillian signed a five-year lease on 567 5th St. in late 2018.\u003c/p>\n\u003cfigure id=\"attachment_13874353\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/use-4.jpg\" alt=\"Kathleen Quillian (L) and Gilbert Guerrero (R) are fundraising to complete construction on Shapeshifters Cinema and Brewery.\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13874353\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/use-4.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/use-4-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/use-4-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/use-4-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/use-4-1020x574.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Kathleen Quillian (L) and Gilbert Guerrero (R) are fundraising to complete construction on Shapeshifters Cinema and Brewery. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Visitors enter the space, which looks residential from the street, through what Guerrero and Quillian envision as a small taproom with regular evening hours, and then proceed to a venue already outfitted with a large screen and dozens of salvaged church chairs. The seats are on rearrangeable wooden bases, and an additional screen is planned to accommodate various projector configurations. Guerrero, a homebrewing workshop leader in addition to his day job in user-experience design, plans to create the 3.5 barrel “nanobrewery” in the back room, with a fermenter built into a large outdoor deck. Guerrero and Quillian have spent more than $100,000 on permitting and other pre-construction costs, and are currently \u003ca href=\"https://www.indiegogo.com/projects/shapeshifters-cinema-and-brewery#/\">raising\u003c/a> $30,000 on Indiegogo. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Meanwhile, Shapeshifters programming in the space is ongoing: A party and screening in association with Canyon Cinema for Shapeshifters “members,” a new category of ongoing financial supporters of the project, takes place on Saturday, Feb. 15, followed by a free presentation of Tommy Becker’s visual concept album \u003cem>Emotions in Metal\u003c/em> on Saturday, Mar. 14. Black Hole founder Tooth, who presented drawings and his film \u003cem>Broken Symmetry\u003c/em> at the space last year, and who now lives in New York, described Shapeshifters as a “luminous bright spot on the continuum of community-based, noncommercial artistic traditions.” He continued, “[It’s] one of the things that gives me hope that the Bay Area will weather the storm it finds itself in.” \u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "violins-of-hope-survived-the-holocaust-now-they-tour-the-bay-area",
"title": "‘Violins of Hope’ Survived the Holocaust, Now They Tour the Bay Area",
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"headTitle": "‘Violins of Hope’ Survived the Holocaust, Now They Tour the Bay Area | KQED",
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"content": "\u003cp>Ask a musician: every instrument has a story behind it. Who played it, where, why and how. One father and son team in Israel has built a collection of 87 violins (and counting) that survived the Holocaust. Now they’re in the San Francisco Bay Area through mid-March, sharing those violins and their stories.\u003c/p>\n\u003cp>Most of the violins have been restored: revarnished, restrung, the bridge, chin rest and other parts replaced. But some have been left untouched, so you can see they’ve been to hell and back, literally. Violins are light enough to carry, even on a death march; valuable enough to bury in the backyard, or sell, if you’re starving.\u003c/p>\n\u003cp>Many musicians in the concentration camps could lengthen their lives by playing in orchestras there, because many Nazis liked to listen to classical music and forced their prisoners to entertain them. A surprising number of violins survived the Holocaust, even though their owners didn’t.\u003c/p>\n\u003cp>Tel Aviv luthier Amnon Weinstein, himself a son of Holocaust survivors from Lithuania, began collecting these violins after another Holocaust survivor brought him one to restore. When Weinstein opened up the man’s violin, he found ashes inside from the concentration camp the man had once played in.\u003c/p>\n\u003cp>Initially appalled, Weinsten began to lovingly restore them as vehicles for the transmission of history. His collection expanded on that of his father’s, who held on to instruments other Holocaust survivors were desperate to discard as they sloughed off all things German to start life anew in Israel.\u003c/p>\n\u003cfigure id=\"attachment_13874165\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13874165\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/RS40988_Music-at-Kohl-Amnon-Weinstein-working-on-Violins-of-Hope-photo-courtesy-Amnon-Weinstein-qut.jpg\" alt=\"Amnon Weinstein repairing a violin in his Tel Aviv workshop.\" width=\"1024\" height=\"683\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/RS40988_Music-at-Kohl-Amnon-Weinstein-working-on-Violins-of-Hope-photo-courtesy-Amnon-Weinstein-qut.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/RS40988_Music-at-Kohl-Amnon-Weinstein-working-on-Violins-of-Hope-photo-courtesy-Amnon-Weinstein-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/RS40988_Music-at-Kohl-Amnon-Weinstein-working-on-Violins-of-Hope-photo-courtesy-Amnon-Weinstein-qut-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/RS40988_Music-at-Kohl-Amnon-Weinstein-working-on-Violins-of-Hope-photo-courtesy-Amnon-Weinstein-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/RS40988_Music-at-Kohl-Amnon-Weinstein-working-on-Violins-of-Hope-photo-courtesy-Amnon-Weinstein-qut-1020x680.jpg 1020w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Amnon Weinstein repairing a violin in his Tel Aviv workshop. \u003ccite>(Courtesy of Amnon Weinstein)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Weinstein’s son Avshalom inherited his father’s love of violin-making, as well as his passion for keeping the memory of the Holocaust alive as the world’s collective memory of it fades with passing of the last generation of survivors. “There was music everywhere. Every camp had at least one orchestra,” he said.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Now they have 87 violins, a viola and a cello. That may seem like a lot, but consider that almost every Jewish household in Europe owned one or more violin before World War II. Each violin has a story, though not all the violins come with family members who know of it. Sometimes, the story is one of resilience and survival against the odds. Sometimes, the story is one of inevitable tragedy.\u003c/p>\n\u003cp>When the Weinsteins don’t know who the violin belonged to, they name it after a survivor they do know. One restored violin is named, for instance after Amnon’s wife’s grandfather, one of the three brothers who formed the Bielski brigade in Belarus who inspired the movie \u003ca href=\"https://www.youtube.com/watch?v=yw6Rwum7zcU\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Defiance\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>Father and son began touring in 2008, combining stories they know of with performances by local musicians. Both Weinsteins feel these violins must be played, not just put on display.\u003c/p>\n\u003cp>So it was this past week at \u003ca href=\"https://www.numulosgatos.org/exhibitions-2/voh\" target=\"_blank\" rel=\"noopener noreferrer\">New Museum Los Gatos\u003c/a>, that violinist \u003ca href=\"https://hannahtarley.weebly.com\" target=\"_blank\" rel=\"noopener noreferrer\">Hannah Tarley\u003c/a>, whose ancestors hailed from Belarus, picked up one of these surviving violins to play a Yiddish song from the 19th century called \u003cem>Oyfn Pripetshik\u003c/em>. It’s considered one of the most poignant musical memories of pre-holocaust Europe.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/752423227″ params=”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true&visual=true” width=”100%” height=”300″ iframe=”true” /]\u003c/p>\n\u003cp>As Tarley played before an audience full of members of \u003ca href=\"https://www.shirhadash.org\" target=\"_blank\" rel=\"noopener noreferrer\">Congregation Shir Hadash\u003c/a> in Los Gatos, many of them began to hum along, haunting proof of the way music has the capacity to survive the loss of so much cultural memory.\u003c/p>\n\u003cp>The lyrics of the fourth stanza reference the long history of persecution of Jews in Europe, but today, they eerily seem to prophesy worse horrors to come:\u003c/p>\n\u003cp>\u003cem>Ir vet, kinder, elter vern,\u003c/em>\u003cbr>\n\u003cem>Vet ir aleyn farshteyn,\u003c/em>\u003cbr>\n\u003cem>Vifl in di oysyes lign trern,\u003c/em>\u003cbr>\n\u003cem>Un vi fil geveyn.\u003c/em>\u003c/p>\n\u003cp>\u003cem>When you grow older, children,\u003c/em>\u003cbr>\n\u003cem>You will understand by yourselves,\u003c/em>\u003cbr>\n\u003cem>How many tears lie in these letters,\u003c/em>\u003cbr>\n\u003cem>And how much lament.\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"https://violinsofhopesfba.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Violins of Hope San Francisco Bay Area Project\u003c/a> has something — a concert, an exhibition, a classroom visit — planned for eight Bay Area counties. The two-month residency, involving more than 40 local arts, educational, community and religious institutions, is the brainchild of Patricia Kristof Moy, the executive director of \u003ca href=\"https://musicatkohl.org/violins-of-hope-2/\" target=\"_blank\" rel=\"noopener noreferrer\">Music at Kohl Mansion\u003c/a> in Burlingame.\u003c/p>\n\u003cfigure id=\"attachment_13874157\" class=\"wp-caption aligncenter\" style=\"max-width: 1045px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13874157\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/RS40992_Bielski-ViolinWEB.jpeg\" alt=\"Detail of an affordably priced German model circa 1870s, designed for an unknown Klezmer musician, hence the inlaid mother of pearl Star of David.\" width=\"1045\" height=\"695\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/RS40992_Bielski-ViolinWEB.jpeg 1045w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/RS40992_Bielski-ViolinWEB-160x106.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/RS40992_Bielski-ViolinWEB-800x532.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/RS40992_Bielski-ViolinWEB-768x511.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/RS40992_Bielski-ViolinWEB-1020x678.jpeg 1020w\" sizes=\"(max-width: 1045px) 100vw, 1045px\">\u003cfigcaption class=\"wp-caption-text\">Detail of an affordably priced German model circa 1870s, designed for an unknown Klezmer musician, hence the inlaid mother of pearl Star of David. \u003ccite>(Courtesy of Amnon Weinstein)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp id=\"yui_3_17_2_1_1580435548622_162\">Moy, also the descendent of Holocaust survivors, saw the Weinsteins in Cleveland several years ago and committed herself to lining up the funding and organizational support to bring them to the Bay Area.\u003c/p>\n\u003cp>“We really had no idea when we started planning this five years ago that our world would be in the state of turmoil that it’s in,” she said. “This extraordinary project is more timely than we ever knew. It’s the violins of hope. It’s not the violins of despair. To hope is to be human.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Violins of Hope San Francisco Bay Area Project \u003c/strong>runs through March 15, 2020, featuring more than 70 events region-wide including concerts, lectures, exhibits, films, community forums, ecumenical services, interfaith dialogues and educational workshops. For more information click \u003cstrong>\u003ca href=\"http://violinsofhopesfba.org/events\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>\u003c/strong>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ask a musician: every instrument has a story behind it. Who played it, where, why and how. One father and son team in Israel has built a collection of 87 violins (and counting) that survived the Holocaust. Now they’re in the San Francisco Bay Area through mid-March, sharing those violins and their stories.\u003c/p>\n\u003cp>Most of the violins have been restored: revarnished, restrung, the bridge, chin rest and other parts replaced. But some have been left untouched, so you can see they’ve been to hell and back, literally. Violins are light enough to carry, even on a death march; valuable enough to bury in the backyard, or sell, if you’re starving.\u003c/p>\n\u003cp>Many musicians in the concentration camps could lengthen their lives by playing in orchestras there, because many Nazis liked to listen to classical music and forced their prisoners to entertain them. A surprising number of violins survived the Holocaust, even though their owners didn’t.\u003c/p>\n\u003cp>Tel Aviv luthier Amnon Weinstein, himself a son of Holocaust survivors from Lithuania, began collecting these violins after another Holocaust survivor brought him one to restore. When Weinstein opened up the man’s violin, he found ashes inside from the concentration camp the man had once played in.\u003c/p>\n\u003cp>Initially appalled, Weinsten began to lovingly restore them as vehicles for the transmission of history. His collection expanded on that of his father’s, who held on to instruments other Holocaust survivors were desperate to discard as they sloughed off all things German to start life anew in Israel.\u003c/p>\n\u003cfigure id=\"attachment_13874165\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13874165\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/RS40988_Music-at-Kohl-Amnon-Weinstein-working-on-Violins-of-Hope-photo-courtesy-Amnon-Weinstein-qut.jpg\" alt=\"Amnon Weinstein repairing a violin in his Tel Aviv workshop.\" width=\"1024\" height=\"683\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/RS40988_Music-at-Kohl-Amnon-Weinstein-working-on-Violins-of-Hope-photo-courtesy-Amnon-Weinstein-qut.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/RS40988_Music-at-Kohl-Amnon-Weinstein-working-on-Violins-of-Hope-photo-courtesy-Amnon-Weinstein-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/RS40988_Music-at-Kohl-Amnon-Weinstein-working-on-Violins-of-Hope-photo-courtesy-Amnon-Weinstein-qut-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/RS40988_Music-at-Kohl-Amnon-Weinstein-working-on-Violins-of-Hope-photo-courtesy-Amnon-Weinstein-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/RS40988_Music-at-Kohl-Amnon-Weinstein-working-on-Violins-of-Hope-photo-courtesy-Amnon-Weinstein-qut-1020x680.jpg 1020w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Amnon Weinstein repairing a violin in his Tel Aviv workshop. \u003ccite>(Courtesy of Amnon Weinstein)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Weinstein’s son Avshalom inherited his father’s love of violin-making, as well as his passion for keeping the memory of the Holocaust alive as the world’s collective memory of it fades with passing of the last generation of survivors. “There was music everywhere. Every camp had at least one orchestra,” he said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Now they have 87 violins, a viola and a cello. That may seem like a lot, but consider that almost every Jewish household in Europe owned one or more violin before World War II. Each violin has a story, though not all the violins come with family members who know of it. Sometimes, the story is one of resilience and survival against the odds. Sometimes, the story is one of inevitable tragedy.\u003c/p>\n\u003cp>When the Weinsteins don’t know who the violin belonged to, they name it after a survivor they do know. One restored violin is named, for instance after Amnon’s wife’s grandfather, one of the three brothers who formed the Bielski brigade in Belarus who inspired the movie \u003ca href=\"https://www.youtube.com/watch?v=yw6Rwum7zcU\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Defiance\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>Father and son began touring in 2008, combining stories they know of with performances by local musicians. Both Weinsteins feel these violins must be played, not just put on display.\u003c/p>\n\u003cp>So it was this past week at \u003ca href=\"https://www.numulosgatos.org/exhibitions-2/voh\" target=\"_blank\" rel=\"noopener noreferrer\">New Museum Los Gatos\u003c/a>, that violinist \u003ca href=\"https://hannahtarley.weebly.com\" target=\"_blank\" rel=\"noopener noreferrer\">Hannah Tarley\u003c/a>, whose ancestors hailed from Belarus, picked up one of these surviving violins to play a Yiddish song from the 19th century called \u003cem>Oyfn Pripetshik\u003c/em>. It’s considered one of the most poignant musical memories of pre-holocaust Europe.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”300″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/752423227″&visual=true&”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true&visual=true”'\n title='”https://api.soundcloud.com/tracks/752423227″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>As Tarley played before an audience full of members of \u003ca href=\"https://www.shirhadash.org\" target=\"_blank\" rel=\"noopener noreferrer\">Congregation Shir Hadash\u003c/a> in Los Gatos, many of them began to hum along, haunting proof of the way music has the capacity to survive the loss of so much cultural memory.\u003c/p>\n\u003cp>The lyrics of the fourth stanza reference the long history of persecution of Jews in Europe, but today, they eerily seem to prophesy worse horrors to come:\u003c/p>\n\u003cp>\u003cem>Ir vet, kinder, elter vern,\u003c/em>\u003cbr>\n\u003cem>Vet ir aleyn farshteyn,\u003c/em>\u003cbr>\n\u003cem>Vifl in di oysyes lign trern,\u003c/em>\u003cbr>\n\u003cem>Un vi fil geveyn.\u003c/em>\u003c/p>\n\u003cp>\u003cem>When you grow older, children,\u003c/em>\u003cbr>\n\u003cem>You will understand by yourselves,\u003c/em>\u003cbr>\n\u003cem>How many tears lie in these letters,\u003c/em>\u003cbr>\n\u003cem>And how much lament.\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"https://violinsofhopesfba.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Violins of Hope San Francisco Bay Area Project\u003c/a> has something — a concert, an exhibition, a classroom visit — planned for eight Bay Area counties. The two-month residency, involving more than 40 local arts, educational, community and religious institutions, is the brainchild of Patricia Kristof Moy, the executive director of \u003ca href=\"https://musicatkohl.org/violins-of-hope-2/\" target=\"_blank\" rel=\"noopener noreferrer\">Music at Kohl Mansion\u003c/a> in Burlingame.\u003c/p>\n\u003cfigure id=\"attachment_13874157\" class=\"wp-caption aligncenter\" style=\"max-width: 1045px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13874157\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/RS40992_Bielski-ViolinWEB.jpeg\" alt=\"Detail of an affordably priced German model circa 1870s, designed for an unknown Klezmer musician, hence the inlaid mother of pearl Star of David.\" width=\"1045\" height=\"695\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/RS40992_Bielski-ViolinWEB.jpeg 1045w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/RS40992_Bielski-ViolinWEB-160x106.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/RS40992_Bielski-ViolinWEB-800x532.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/RS40992_Bielski-ViolinWEB-768x511.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/RS40992_Bielski-ViolinWEB-1020x678.jpeg 1020w\" sizes=\"(max-width: 1045px) 100vw, 1045px\">\u003cfigcaption class=\"wp-caption-text\">Detail of an affordably priced German model circa 1870s, designed for an unknown Klezmer musician, hence the inlaid mother of pearl Star of David. \u003ccite>(Courtesy of Amnon Weinstein)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp id=\"yui_3_17_2_1_1580435548622_162\">Moy, also the descendent of Holocaust survivors, saw the Weinsteins in Cleveland several years ago and committed herself to lining up the funding and organizational support to bring them to the Bay Area.\u003c/p>\n\u003cp>“We really had no idea when we started planning this five years ago that our world would be in the state of turmoil that it’s in,” she said. “This extraordinary project is more timely than we ever knew. It’s the violins of hope. It’s not the violins of despair. To hope is to be human.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Violins of Hope San Francisco Bay Area Project \u003c/strong>runs through March 15, 2020, featuring more than 70 events region-wide including concerts, lectures, exhibits, films, community forums, ecumenical services, interfaith dialogues and educational workshops. For more information click \u003cstrong>\u003ca href=\"http://violinsofhopesfba.org/events\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>\u003c/strong>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cspan style=\"font-weight: 400\">Beloved Bay Area rapper The Jacka was shot and killed exactly five years ago this Sunday. Carrying on his legacy are his family, friends, fans and former manager, PK, who is working diligently to release a new album of work from the late artist. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">On top of that, PK is continuing to work with a number of other Bay Area based musicians, like Prezi from San Francisco, Philthy Rich from Oakland and producer Traxamillion from San Jose. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As was the case with The Jacka, PK works to connect these orators of Bay Area culture with crowds from all around the world who appreciate their artwork. The question is: what is it about Bay Area culture that allows it to flourish in other places?\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">From doing shows in places like Akron, Ohio to performing in the East African country of Djibouti, I talk to PK about what it means to take Bay Area culture around the world now, and what it was like to do so with The Jacka.\u003c/span>\u003c/p>\n\u003cp>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">Beloved Bay Area rapper The Jacka was shot and killed exactly five years ago this Sunday. Carrying on his legacy are his family, friends, fans and former manager, PK, who is working diligently to release a new album of work from the late artist. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">On top of that, PK is continuing to work with a number of other Bay Area based musicians, like Prezi from San Francisco, Philthy Rich from Oakland and producer Traxamillion from San Jose. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As was the case with The Jacka, PK works to connect these orators of Bay Area culture with crowds from all around the world who appreciate their artwork. The question is: what is it about Bay Area culture that allows it to flourish in other places?\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">From doing shows in places like Akron, Ohio to performing in the East African country of Djibouti, I talk to PK about what it means to take Bay Area culture around the world now, and what it was like to do so with The Jacka.\u003c/span>\u003c/p>\n\u003cp>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Aggregate Space Gallery, Displaced Last Year, to Reopen Blocks Away in West Oakland",
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"headTitle": "Aggregate Space Gallery, Displaced Last Year, to Reopen Blocks Away in West Oakland | KQED",
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"content": "\u003cp>\u003ca href=\"https://aggregatespacegallery.org/\">Aggregate Space Gallery\u003c/a>, the artist-run gallery displaced from its Oakland warehouse location of seven years last July, will reopen blocks away in a two-story unit previously occupied by a circus company in a move that promises stability and more than doubles its exhibition space. [aside postID=arts_13851268,arts_13847646,arts_13851209]\u003c/p>\n\u003cp>Aggregate founders Conrad and Willis Meyers, whose video and installation curating and museum-quality exhibitions made ASG a standout Oakland gallery, called the 3,500 square-foot commercial space at 1255 26th Street a lifeline in a forbidding rental market. “We can do everything we used to, plus the things we’ve dreamed of—and not be so cold,” Conrad said.\u003c/p>\n\u003cp>During a tour, the Meyers described the possibilities of an anticipated $150,000 buildout: A screening room upstairs in what was originally a performance venue with 20-foot high ceilings, and workspace for a residency program in one of the rooms along the mezzanine. Conrad, who’s also a contractor, was relieved to point out fire sprinklers and a wheelchair-accessible elevator.\u003c/p>\n\u003cfigure id=\"attachment_13874092\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13874092\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/1.jpg\" alt=\"Aggregate Space Gallery was displaced from its West Oakland location of nine years in 2018.\" width=\"1920\" height=\"1169\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/1-160x97.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/1-800x487.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/1-768x468.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/1-1020x621.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/1-1200x731.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Aggregate Space Gallery was displaced from its West Oakland location of nine years in 2018. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Downstairs is a large storefront with additional rooms for office or studio space. There the Meyers see an opportunity for both earned income and community engagement: Before opening, they plan to host neighbors to learn what kind of subtenant could fill the needs of the immediate area. “We want to involve neighbors in this process from the beginning,” Willis said.\u003c/p>\n\u003cp>New works by Nasim Moghadam, a Bay Area photographer and multimedia artist, will mark Aggregate’s first solo show in the new space, and 68th exhibition overall, come Friday, Apr. 3.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The downstairs portion opens Friday, Feb. 7 to show \u003cem>Invulnerable Routes\u003c/em>, a month-long exhibition derived from the gallery’s annual open call for video. The selections, curated by Conrad and Shaghayegh Cyrous, address relationships to society outside patriarchal structures.\u003c/p>\n\u003cp>The landlords, Jacqueline Jackson and her daughter Shannon, a scholar of art and social change at UC Berkeley, will provide the Meyers a decreasing rent subsidy over five years. The deal allows Aggregate, a nonprofit organization, to recover the fundraising momentum lost with its former home. The Jacksons “get Aggregate,” Willis said. “They’re officially our biggest donors.”\u003c/p>\n\u003cfigure id=\"attachment_13874094\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13874094\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/3.jpg\" alt=\"The mezzanine-lined upstairs portion of Aggregate Space Gallery's new 1255 26th Street location was originally build as a performance venue.\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/3.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/3-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/3-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/3-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/3-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/3-1200x675.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The mezzanine-lined upstairs portion of Aggregate Space Gallery’s new 1255 26th Street location was originally build as a performance venue. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>A Storied Location\u003c/strong>\u003c/p>\n\u003cp>Still, the Meyers hesitated. As KQED\u003ca href=\"https://www.kqed.org/arts/13847646/uc-berkeley-art-professor-displaces-dance-studio-to-create-new-art-space\"> previously reported\u003c/a>, the Jacksons displaced Skyhigh Odditorium, a circus arts studio in the space since 2012, after buying the property in 2017, a move seen as hypocritical given their mission to buoy the arts. “We’ve also struggled with a landlord, so we related,” Conrad said. “Whatever happens in our old place, I’ll probably be pissed.”\u003c/p>\n\u003cp>Shannon Jackson, a prominent figure in the local arts funding establishment, earlier declined to address displacing Skyhigh Odditorium in 2017. In a recent interview, she said she declined to renew the lease for Skyhigh and another tenant, an unpermitted cannabis cultivator, due to “all kinds of health and safety violations,” and that she restored the units to code compliance at “significant expense.”\u003c/p>\n\u003cp>Skyhigh Odditorium founder Madamn Burnz, a circus performer and teacher, said that she’s pleased to learn another arts organization is taking over the space. But she bristled at Jackson’s assertion of safety shortcomings. “That’s bullshit—the place was a dump and we remodeled it,” she said. “If that was her concern why didn’t she say so? … I never even met her before she evicted us.” (Jackson disputes this.)\u003c/p>\n\u003cfigure id=\"attachment_13847696\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13847696\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/12/Madamn-Burnz-1.jpg\" alt=\"Madamn Burnz founded dance studio and events space Skyhigh Odditorium in 2012.\" width=\"2048\" height=\"1152\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Madamn-Burnz-1.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Madamn-Burnz-1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Madamn-Burnz-1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Madamn-Burnz-1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Madamn-Burnz-1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Madamn-Burnz-1-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Madamn-Burnz-1-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Madamn-Burnz-1-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Madamn-Burnz-1-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Madamn-Burnz-1-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Madamn-Burnz-1-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Madamn-Burnz-1-520x293.jpg 520w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Madamn Burnz founded dance studio and events space Skyhigh Odditorium in 2012. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Although she has a sideline in Oakland real estate investment, Jackson said she acquired the $3.7 million property, which has 11 live-work units in addition to the commercial space, to create the conditions for an “adventurous aesthetic experiment while also adhering to codes for health and safety.” She continued, “We needed a partner who would be transparent and work with us.”\u003c/p>\n\u003cp>\u003cstrong>Keeping up Momentum\u003c/strong>\u003c/p>\n\u003cp>Aggregate was displaced from its Grand Avenue location last year after the owner insisted on a $1,500 monthly rent hike and for the Meyers to absorb the cost of an estimated $50,000 in code compliance work. The gallery had doubled its annual operating budget every year for the four years prior, in 2018 reaching $142,000, and was beginning to win grants from national funders such as the Andy Warhol Foundation for the Arts and the National Endowment for the Arts.\u003c/p>\n\u003cp>The closure, like \u003ca href=\"https://www.kqed.org/arts/13870004/flight-deck-oaklands-only-black-box-theater-to-close-in-march\" rel=\"noopener noreferrer\" target=\"_blank\">Flight Deck theater’s displacement\u003c/a>, showed the difficulties for Oakland’s growing and creatively rich but not yet institutional arts organizations. In the interim, Aggregate relocated \u003cem>Flash Point\u003c/em>, a video exhibition by Chicago artist Jefferson Pinder, to the San Francisco Art Institute. Oakland artist Leila Weefur sold an edition of \u003cem>Between Beauty & Horror\u003c/em>, which debuted at one of ASG’s \u003ca href=\"https://www.kqed.org/arts/13851209/leila-weefur-positions-black-experience-between-beauty-horror\">final shows\u003c/a> in the old gallery, to Kadist gallery in San Francisco.\u003c/p>\n\u003cfigure id=\"attachment_13851534\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13851534\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/02/seated-5-e1580347958946.jpg\" alt=\"Conrad and Willis Meyers sit in the workshop at Aggregate Space Gallerys original location on Grand Avenue.\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/seated-5-e1580347958946.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/seated-5-e1580347958946-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/seated-5-e1580347958946-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/seated-5-e1580347958946-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/seated-5-e1580347958946-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/seated-5-e1580347958946-1200x675.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Conrad and Willis Meyers sit in the workshop at Aggregate Space Gallery’s original location on Grand Avenue. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Before settling on the 26th St. location, the Meyers toured the Henry J. Kaiser Convention Center, which Orton Development is marketing \u003ca href=\"https://www.kqed.org/arts/13861121/kaiser-auditorium-redevelopment-proceeds-with-permanent-affordability-for-arts-groups\" rel=\"noopener noreferrer\" target=\"_blank\">partly to nonprofits\u003c/a>, and met with other real estate developers seeking commercial tenants below new housing. At the previous location in early 2019, Conrad \u003ca href=\"https://www.kqed.org/arts/13851268/despite-doubling-budget-aggregate-space-gallery-faces-displacement\">said\u003c/a> Aggregate wouldn’t move into “the all-windows bottom-floor of condos that’ll be a Gap by 2024.” As it turned out, Aggregate couldn’t afford the opportunity.\u003c/p>\n\u003cp>“Our pitch was a five-year partnership where we meet fundraising benchmarks and then accept rent increases,” Conrad said. “No one was receptive until the Jacksons.”\u003c/p>\n\u003cp>Aggregate struck Shannon Jackson as an organization with proven fundraising and curatorial abilities that needed a runway to fiscal stability, and developed the unique lease terms as an experiment. The rent subsidy is also intended to nudge other property owners “to figure out what we can do to sustain the Bay Area cultural life that we all say we adore,” Jackson said.\u003c/p>\n\u003cp>\u003cstrong>‘Reimagining’ the Space\u003c/strong>\u003c/p>\n\u003cp>The property is the site of earlier experiments: In the 2000s, the Northern California Land Trust spent millions creating the solar-powered live-work units and performance space on what was previously an underground venue called the “Noodle Factory,” keeping the name. The plan excited the local performing arts community, but the land trust’s project floundered amid the 2008 financial crisis, and an investment firm bought the property out of foreclosure in 2011.\u003c/p>\n\u003cp>When Burnz leased the space in 2012, it’d been neglected for years. She redid the floors and walls, and treated the place for bedbugs. The landlord at the time, Urban Green Investments, installed a since-removed kitchen and shower. Skyhigh offered classes in pole and aerial dancing, and subleased workspace to other artists. “We brought it back to life,” Burnz said. Since being displaced, Skyhigh has operated out of a nearby studio and a Richmond fitness facility.\u003c/p>\n\u003cfigure id=\"attachment_13847686\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13847686\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/12/Noodle-Factory-e1580348117675.jpg\" alt=\"The Northern California Land Trust spent millions creating 11 live-work units and the performance and rehearsal space at what was known as the Noodle Factory.\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-e1580348117675.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-e1580348117675-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-e1580348117675-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-e1580348117675-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-e1580348117675-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-e1580348117675-1200x675.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The Northern California Land Trust spent millions creating 11 live-work units and the performance and rehearsal space at what was known as the Noodle Factory. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The land trust planned affordable live-work condominiums occupied by working artists who could also use the performance and rehearsal space. Jackson revived the Noodle Factory moniker in a nod to the vision, and said she’s interested in integrating the various tenants. In November, 2018 Jackson and the San Francisco nonprofit Community Arts Stabilization Trust hosted an event attended by local artists and gallerists billed “Reimagining the Noodle Factory.”\u003c/p>\n\u003cp>Jackson, who last fall joined Oakland city officials in an “empowering artists” delegation to France, said that when the Noodle Factory came on the market, she sensed an opportunity. “My mother and I wanted to use our connection to the field of real estate to support a space that could be the embodiment of our values,” she said. Other bidders, she said, wanted to redevelop the whole site. “So we saw it was about to become another story in the gentrification chronicle.”\u003c/p>\n\u003cp>When the Meyers poured their personal resources into the Grand Avenue warehouse in 2011 without a long-term plan for sustainability they were “overconfident and naive,” Conrad said. Now, though, he feels the gallery is fortunate to have a financial partner in the Jacksons who also appreciate Aggregate’s mission. “I want people to have the feeling here that nothing like this will ever happen again,” Conrad said. “And come back in four weeks to feel like that again.”\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Update: This article has been updated to clarify that Skyhigh Odditorium was not legally evicted, but that its lease was not renewed.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://aggregatespacegallery.org/\">Aggregate Space Gallery\u003c/a>, the artist-run gallery displaced from its Oakland warehouse location of seven years last July, will reopen blocks away in a two-story unit previously occupied by a circus company in a move that promises stability and more than doubles its exhibition space. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Aggregate founders Conrad and Willis Meyers, whose video and installation curating and museum-quality exhibitions made ASG a standout Oakland gallery, called the 3,500 square-foot commercial space at 1255 26th Street a lifeline in a forbidding rental market. “We can do everything we used to, plus the things we’ve dreamed of—and not be so cold,” Conrad said.\u003c/p>\n\u003cp>During a tour, the Meyers described the possibilities of an anticipated $150,000 buildout: A screening room upstairs in what was originally a performance venue with 20-foot high ceilings, and workspace for a residency program in one of the rooms along the mezzanine. Conrad, who’s also a contractor, was relieved to point out fire sprinklers and a wheelchair-accessible elevator.\u003c/p>\n\u003cfigure id=\"attachment_13874092\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13874092\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/1.jpg\" alt=\"Aggregate Space Gallery was displaced from its West Oakland location of nine years in 2018.\" width=\"1920\" height=\"1169\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/1-160x97.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/1-800x487.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/1-768x468.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/1-1020x621.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/1-1200x731.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Aggregate Space Gallery was displaced from its West Oakland location of nine years in 2018. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Downstairs is a large storefront with additional rooms for office or studio space. There the Meyers see an opportunity for both earned income and community engagement: Before opening, they plan to host neighbors to learn what kind of subtenant could fill the needs of the immediate area. “We want to involve neighbors in this process from the beginning,” Willis said.\u003c/p>\n\u003cp>New works by Nasim Moghadam, a Bay Area photographer and multimedia artist, will mark Aggregate’s first solo show in the new space, and 68th exhibition overall, come Friday, Apr. 3.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The downstairs portion opens Friday, Feb. 7 to show \u003cem>Invulnerable Routes\u003c/em>, a month-long exhibition derived from the gallery’s annual open call for video. The selections, curated by Conrad and Shaghayegh Cyrous, address relationships to society outside patriarchal structures.\u003c/p>\n\u003cp>The landlords, Jacqueline Jackson and her daughter Shannon, a scholar of art and social change at UC Berkeley, will provide the Meyers a decreasing rent subsidy over five years. The deal allows Aggregate, a nonprofit organization, to recover the fundraising momentum lost with its former home. The Jacksons “get Aggregate,” Willis said. “They’re officially our biggest donors.”\u003c/p>\n\u003cfigure id=\"attachment_13874094\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13874094\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/3.jpg\" alt=\"The mezzanine-lined upstairs portion of Aggregate Space Gallery's new 1255 26th Street location was originally build as a performance venue.\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/3.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/3-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/3-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/3-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/3-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/3-1200x675.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The mezzanine-lined upstairs portion of Aggregate Space Gallery’s new 1255 26th Street location was originally build as a performance venue. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>A Storied Location\u003c/strong>\u003c/p>\n\u003cp>Still, the Meyers hesitated. As KQED\u003ca href=\"https://www.kqed.org/arts/13847646/uc-berkeley-art-professor-displaces-dance-studio-to-create-new-art-space\"> previously reported\u003c/a>, the Jacksons displaced Skyhigh Odditorium, a circus arts studio in the space since 2012, after buying the property in 2017, a move seen as hypocritical given their mission to buoy the arts. “We’ve also struggled with a landlord, so we related,” Conrad said. “Whatever happens in our old place, I’ll probably be pissed.”\u003c/p>\n\u003cp>Shannon Jackson, a prominent figure in the local arts funding establishment, earlier declined to address displacing Skyhigh Odditorium in 2017. In a recent interview, she said she declined to renew the lease for Skyhigh and another tenant, an unpermitted cannabis cultivator, due to “all kinds of health and safety violations,” and that she restored the units to code compliance at “significant expense.”\u003c/p>\n\u003cp>Skyhigh Odditorium founder Madamn Burnz, a circus performer and teacher, said that she’s pleased to learn another arts organization is taking over the space. But she bristled at Jackson’s assertion of safety shortcomings. “That’s bullshit—the place was a dump and we remodeled it,” she said. “If that was her concern why didn’t she say so? … I never even met her before she evicted us.” (Jackson disputes this.)\u003c/p>\n\u003cfigure id=\"attachment_13847696\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13847696\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/12/Madamn-Burnz-1.jpg\" alt=\"Madamn Burnz founded dance studio and events space Skyhigh Odditorium in 2012.\" width=\"2048\" height=\"1152\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Madamn-Burnz-1.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Madamn-Burnz-1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Madamn-Burnz-1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Madamn-Burnz-1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Madamn-Burnz-1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Madamn-Burnz-1-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Madamn-Burnz-1-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Madamn-Burnz-1-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Madamn-Burnz-1-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Madamn-Burnz-1-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Madamn-Burnz-1-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Madamn-Burnz-1-520x293.jpg 520w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Madamn Burnz founded dance studio and events space Skyhigh Odditorium in 2012. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Although she has a sideline in Oakland real estate investment, Jackson said she acquired the $3.7 million property, which has 11 live-work units in addition to the commercial space, to create the conditions for an “adventurous aesthetic experiment while also adhering to codes for health and safety.” She continued, “We needed a partner who would be transparent and work with us.”\u003c/p>\n\u003cp>\u003cstrong>Keeping up Momentum\u003c/strong>\u003c/p>\n\u003cp>Aggregate was displaced from its Grand Avenue location last year after the owner insisted on a $1,500 monthly rent hike and for the Meyers to absorb the cost of an estimated $50,000 in code compliance work. The gallery had doubled its annual operating budget every year for the four years prior, in 2018 reaching $142,000, and was beginning to win grants from national funders such as the Andy Warhol Foundation for the Arts and the National Endowment for the Arts.\u003c/p>\n\u003cp>The closure, like \u003ca href=\"https://www.kqed.org/arts/13870004/flight-deck-oaklands-only-black-box-theater-to-close-in-march\" rel=\"noopener noreferrer\" target=\"_blank\">Flight Deck theater’s displacement\u003c/a>, showed the difficulties for Oakland’s growing and creatively rich but not yet institutional arts organizations. In the interim, Aggregate relocated \u003cem>Flash Point\u003c/em>, a video exhibition by Chicago artist Jefferson Pinder, to the San Francisco Art Institute. Oakland artist Leila Weefur sold an edition of \u003cem>Between Beauty & Horror\u003c/em>, which debuted at one of ASG’s \u003ca href=\"https://www.kqed.org/arts/13851209/leila-weefur-positions-black-experience-between-beauty-horror\">final shows\u003c/a> in the old gallery, to Kadist gallery in San Francisco.\u003c/p>\n\u003cfigure id=\"attachment_13851534\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13851534\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/02/seated-5-e1580347958946.jpg\" alt=\"Conrad and Willis Meyers sit in the workshop at Aggregate Space Gallerys original location on Grand Avenue.\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/seated-5-e1580347958946.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/seated-5-e1580347958946-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/seated-5-e1580347958946-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/seated-5-e1580347958946-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/seated-5-e1580347958946-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/seated-5-e1580347958946-1200x675.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Conrad and Willis Meyers sit in the workshop at Aggregate Space Gallery’s original location on Grand Avenue. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Before settling on the 26th St. location, the Meyers toured the Henry J. Kaiser Convention Center, which Orton Development is marketing \u003ca href=\"https://www.kqed.org/arts/13861121/kaiser-auditorium-redevelopment-proceeds-with-permanent-affordability-for-arts-groups\" rel=\"noopener noreferrer\" target=\"_blank\">partly to nonprofits\u003c/a>, and met with other real estate developers seeking commercial tenants below new housing. At the previous location in early 2019, Conrad \u003ca href=\"https://www.kqed.org/arts/13851268/despite-doubling-budget-aggregate-space-gallery-faces-displacement\">said\u003c/a> Aggregate wouldn’t move into “the all-windows bottom-floor of condos that’ll be a Gap by 2024.” As it turned out, Aggregate couldn’t afford the opportunity.\u003c/p>\n\u003cp>“Our pitch was a five-year partnership where we meet fundraising benchmarks and then accept rent increases,” Conrad said. “No one was receptive until the Jacksons.”\u003c/p>\n\u003cp>Aggregate struck Shannon Jackson as an organization with proven fundraising and curatorial abilities that needed a runway to fiscal stability, and developed the unique lease terms as an experiment. The rent subsidy is also intended to nudge other property owners “to figure out what we can do to sustain the Bay Area cultural life that we all say we adore,” Jackson said.\u003c/p>\n\u003cp>\u003cstrong>‘Reimagining’ the Space\u003c/strong>\u003c/p>\n\u003cp>The property is the site of earlier experiments: In the 2000s, the Northern California Land Trust spent millions creating the solar-powered live-work units and performance space on what was previously an underground venue called the “Noodle Factory,” keeping the name. The plan excited the local performing arts community, but the land trust’s project floundered amid the 2008 financial crisis, and an investment firm bought the property out of foreclosure in 2011.\u003c/p>\n\u003cp>When Burnz leased the space in 2012, it’d been neglected for years. She redid the floors and walls, and treated the place for bedbugs. The landlord at the time, Urban Green Investments, installed a since-removed kitchen and shower. Skyhigh offered classes in pole and aerial dancing, and subleased workspace to other artists. “We brought it back to life,” Burnz said. Since being displaced, Skyhigh has operated out of a nearby studio and a Richmond fitness facility.\u003c/p>\n\u003cfigure id=\"attachment_13847686\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13847686\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/12/Noodle-Factory-e1580348117675.jpg\" alt=\"The Northern California Land Trust spent millions creating 11 live-work units and the performance and rehearsal space at what was known as the Noodle Factory.\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-e1580348117675.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-e1580348117675-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-e1580348117675-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-e1580348117675-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-e1580348117675-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-e1580348117675-1200x675.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The Northern California Land Trust spent millions creating 11 live-work units and the performance and rehearsal space at what was known as the Noodle Factory. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The land trust planned affordable live-work condominiums occupied by working artists who could also use the performance and rehearsal space. Jackson revived the Noodle Factory moniker in a nod to the vision, and said she’s interested in integrating the various tenants. In November, 2018 Jackson and the San Francisco nonprofit Community Arts Stabilization Trust hosted an event attended by local artists and gallerists billed “Reimagining the Noodle Factory.”\u003c/p>\n\u003cp>Jackson, who last fall joined Oakland city officials in an “empowering artists” delegation to France, said that when the Noodle Factory came on the market, she sensed an opportunity. “My mother and I wanted to use our connection to the field of real estate to support a space that could be the embodiment of our values,” she said. Other bidders, she said, wanted to redevelop the whole site. “So we saw it was about to become another story in the gentrification chronicle.”\u003c/p>\n\u003cp>When the Meyers poured their personal resources into the Grand Avenue warehouse in 2011 without a long-term plan for sustainability they were “overconfident and naive,” Conrad said. Now, though, he feels the gallery is fortunate to have a financial partner in the Jacksons who also appreciate Aggregate’s mission. “I want people to have the feeling here that nothing like this will ever happen again,” Conrad said. “And come back in four weeks to feel like that again.”\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Update: This article has been updated to clarify that Skyhigh Odditorium was not legally evicted, but that its lease was not renewed.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The sex industry is all around us, but there’s a lot of grey area when it comes to understanding the different types of involvement. Involvement can include everything from people who dance on poles, to people who dominate others with whips and chains, to people selling sex on the streets.\u003c/p>\n\u003cp>And in understanding this spectrum, it should be made clear that there can be a big difference between sex trafficking and consensual sex work. Sex trafficking is coercing someone (sometimes an underaged person) to have sex for money. Consensual sex work is when people choose to participate in the exchange.\u003c/p>\n\u003cp>But not everyone knows that.\u003c/p>\n\u003cp>Luckily, there are people like Dr. Connie Wun, founder of the \u003cspan style=\"font-weight: 400\">\u003ca style=\"color: #41a62a\" href=\"https://www.instagram.com/aapiwomenlead/?hl=en\">AAPI Women Lead \u003c/a>\u003c/span>organization and is an adjunct professor at Mills College in Oakland. Dr. Wun wants to deepen the public’s understanding of the sex industry. On top of that, she wants to address how schools relate to the sex industry. She says while schools are often seen as some sort of safe space, they can also be oppressive, punitive and hurtful to young people.\u003c/p>\n\u003cp>Dr. Wun’s work is based in research, as well as her personal experience as a former counselor and \u003ca href=\"https://www.instagram.com/p/B7Rxf33A9je/\">a former consensual sex worker\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.instagram.com/p/B7Rxf33A9je/\u003c/p>\n\u003cp>Now, as the national conversation around aspects of the sex industry grows—with elected officials pushing for the rights of consensual sex workers, and others pushing to put an end to sex trafficking—there’s a need for further understanding. And Connie says a great place to start is by listening to those who know the sex industry most intimately.\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The sex industry is all around us, but there’s a lot of grey area when it comes to understanding the different types of involvement. Involvement can include everything from people who dance on poles, to people who dominate others with whips and chains, to people selling sex on the streets.\u003c/p>\n\u003cp>And in understanding this spectrum, it should be made clear that there can be a big difference between sex trafficking and consensual sex work. Sex trafficking is coercing someone (sometimes an underaged person) to have sex for money. Consensual sex work is when people choose to participate in the exchange.\u003c/p>\n\u003cp>But not everyone knows that.\u003c/p>\n\u003cp>Luckily, there are people like Dr. Connie Wun, founder of the \u003cspan style=\"font-weight: 400\">\u003ca style=\"color: #41a62a\" href=\"https://www.instagram.com/aapiwomenlead/?hl=en\">AAPI Women Lead \u003c/a>\u003c/span>organization and is an adjunct professor at Mills College in Oakland. Dr. Wun wants to deepen the public’s understanding of the sex industry. On top of that, she wants to address how schools relate to the sex industry. She says while schools are often seen as some sort of safe space, they can also be oppressive, punitive and hurtful to young people.\u003c/p>\n\u003cp>Dr. Wun’s work is based in research, as well as her personal experience as a former counselor and \u003ca href=\"https://www.instagram.com/p/B7Rxf33A9je/\">a former consensual sex worker\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Candice Antique juggles a lot. On top of being a new mother, she’s the CEO of the arts and education non-profit \u003ca href=\"http://edutainmentforequity.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Edutainment for Equity\u003c/a> and the lead vocalist of the group\u003ca href=\"https://antiquenakedsoul.bandcamp.com/\"> Antique Naked Soul. \u003c/a>\u003c/p>\n\u003cp>The quartet also features talented vocalists \u003cspan class=\"bcTruncateMore\">\u003cspan class=\"peekaboo-text\">Jayme Brown and N’gala McCoy, as well as\u003c/span>\u003c/span> well-known b\u003cspan class=\"bcTruncateMore\">\u003cspan class=\"peekaboo-text\">eatboxer and emcee Tommy Soulati Shepherd.\u003c/span>\u003c/span>\u003c/p>\n\u003cp>They all come together and make music only using sounds made with their mouths. I’m talking about beatboxing that imitates actual drums, and puckering up their lips to sound like wind instruments. While there is some assistance from sampling and looping machines, their art is pretty much all vocal wizardry.\u003c/p>\n\u003cp>Antique Naked Soul’s funky melodies are reminiscent of bebop, soul and swing from the late ’40s through the early ’60s, and the group’s attire is from those eras as well.\u003c/p>\n\u003cp>In talking to Candice about the group’s forthcoming album, \u003cem>Diamond & Bullets\u003c/em>, which drops in March, she told me that it covers a lot of topics, but the central focus is injustice and police brutality, especially on the song “Burn\u003cem>.”\u003c/em> The lyrics to that track spoke to me: “Give me an apocalypse / And I would dance / ‘Cause I gave democracy its last chance.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I too have felt like I’m done with this country, especially since my daughter was born.\u003c/p>\n\u003cp>Candice agreed. As an African-American mother, she thinks about what lies ahead for her son often. But the best way to deal with these anxieties, she says, is to first shower your kid with love. And secondly, make art to create change.\u003c/p>\n\u003cp>I agree with that.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>A shorter version of this episode was first broadcast on September 6, 2019.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Candice Antique juggles a lot. On top of being a new mother, she’s the CEO of the arts and education non-profit \u003ca href=\"http://edutainmentforequity.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Edutainment for Equity\u003c/a> and the lead vocalist of the group\u003ca href=\"https://antiquenakedsoul.bandcamp.com/\"> Antique Naked Soul. \u003c/a>\u003c/p>\n\u003cp>The quartet also features talented vocalists \u003cspan class=\"bcTruncateMore\">\u003cspan class=\"peekaboo-text\">Jayme Brown and N’gala McCoy, as well as\u003c/span>\u003c/span> well-known b\u003cspan class=\"bcTruncateMore\">\u003cspan class=\"peekaboo-text\">eatboxer and emcee Tommy Soulati Shepherd.\u003c/span>\u003c/span>\u003c/p>\n\u003cp>They all come together and make music only using sounds made with their mouths. I’m talking about beatboxing that imitates actual drums, and puckering up their lips to sound like wind instruments. While there is some assistance from sampling and looping machines, their art is pretty much all vocal wizardry.\u003c/p>\n\u003cp>Antique Naked Soul’s funky melodies are reminiscent of bebop, soul and swing from the late ’40s through the early ’60s, and the group’s attire is from those eras as well.\u003c/p>\n\u003cp>In talking to Candice about the group’s forthcoming album, \u003cem>Diamond & Bullets\u003c/em>, which drops in March, she told me that it covers a lot of topics, but the central focus is injustice and police brutality, especially on the song “Burn\u003cem>.”\u003c/em> The lyrics to that track spoke to me: “Give me an apocalypse / And I would dance / ‘Cause I gave democracy its last chance.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I too have felt like I’m done with this country, especially since my daughter was born.\u003c/p>\n\u003cp>Candice agreed. As an African-American mother, she thinks about what lies ahead for her son often. But the best way to deal with these anxieties, she says, is to first shower your kid with love. And secondly, make art to create change.\u003c/p>\n\u003cp>I agree with that.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>A shorter version of this episode was first broadcast on September 6, 2019.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">R\u003c/span>ight before Dr. Martin Luther King, Jr. was assassinated in 1968, he worked for over a year on something called the Poor People’s Campaign. The plan, in short, was to organize economically disenfranchised folks of all races, from all across the nation, and have them set up camp on Washington DC’s National Mall. King’s hope was that the visible public encampment would show the need for “radical wealth redistribution,” since economic inequality in America was, and still is, a national emergency.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>“There is nothing wrong with the traffic law which says you have to stop for the red light,” King said, during \u003ca href=\"https://www.youtube.com/watch?v=WWcD4xt7Mnk\" target=\"_blank\" rel=\"noopener noreferrer\">a radio broadcast\u003c/a> prior to the launch of the campaign. However, King added, “when a fire is raging, the fire truck goes right through that red light, and normal traffic had better get out of its way.” He explained that oppressive conditions had created “a fire raging now for the Negroes and the poor of this society,” and subsequently, the country would “need brigades of ambulance drivers that will ignore the red lights of the present system, until the emergency is solved.”\u003c/p>\n\u003cp>The current housing system in California, and especially the Bay Area, is a red light. Housing insecurity continues to spread like wildfire. It’s time to disregard the stop signs and send in all the fire trucks and ambulances we can muster.\u003c/p>\n\u003cfigure id=\"attachment_13873362\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13873362\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/Resurrection_City-800x534.jpg\" alt=\"Resurrection City in 1968, on the National Mall in Washington D.C.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Resurrection_City-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Resurrection_City-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Resurrection_City-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Resurrection_City-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Resurrection_City.jpg 1136w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Resurrection City in 1968, on the National Mall in Washington D.C. \u003ccite>(Henry Zbyszynski / CC 2.0)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span>s we’ve seen in near-daily headlines, the alarms have been ringing for some time now. The sprawling tent cities alone are a wailing siren.\u003c/p>\n\u003cp>In Oakland, Mayor Libby Schaaf responded by housing people in Tuff Sheds, small buildings originally designed for storage and garden tools. In September of last year, President Trump threatened sanctions by the Environmental Protection Agency against San Francisco, saying, “They have to clean it up. We can’t have our cities going to hell.” A year earlier, a similar sentiment was shared by an official from the \u003ca href=\"https://www.kqed.org/news/11700750/after-scathing-un-report-on-homelessness-advocates-demand-oakland-stop-sidewalk-sweeps\">United Nations\u003c/a>, calling conditions in the Bay Area “cruel and inhuman.”\u003c/p>\n\u003cp>Last month, \u003ca href=\"https://www.nytimes.com/interactive/2019/12/17/us/oakland-california-homeless-camp.html\">two New York Times\u003c/a> reporters compared and contrasted conditions in the Bay Area versus those of a slum in Central America. They found two advantages to living in a “shanty village” outside of Mexico City over being homeless on High Street in East Oakland: stability and running water.\u003c/p>\n\u003cp>As if those signs of distress aren’t loud enough, just last week Governor Gavin Newsom signed \u003ca href=\"https://www.gov.ca.gov/2020/01/08/governor-newsom-previews-1-billion-in-budget-proposal-to-jump-start-new-homeless-fund-and-provide-behavioral-health-services-signs-order-to-accelerate-state-action-to-fight-homelessness/\" target=\"_blank\" rel=\"noopener noreferrer\">an executive order\u003c/a> that “requires state agencies to take urgent and immediate action” to find space on state property where shelters can be built; the deadline is Jan. 31, and the order is supported by over $1 billion in funding. According to Governor Newsom, “the State of California is treating (homelessness) as a real emergency—because it is one.”\u003c/p>\n\u003cfigure id=\"attachment_13873365\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13873365\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/Moms4Housing-800x500.jpg\" alt=\"Members of the group Moms 4 Housing — Sharena Thomas, left, Carroll Fife, center, Dominique Walker, second from right, and Tolani KIng, right — outside a formerly vacant house on Magnolia Street in West Oakland, which they've occupied since November, despite an eviction order. \" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Moms4Housing-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Moms4Housing-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Moms4Housing-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Moms4Housing.jpg 1020w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Members of the group Moms 4 Housing — Sharena Thomas, left, Carroll Fife, center, Dominique Walker, second from right, and Tolani KIng, right — outside a formerly vacant house on Magnolia Street in West Oakland. \u003ccite>(Kate Wolffe/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">S\u003c/span>o on Nov. 18, when Dominique Walker, Sameerah Karim and the Moms 4 Housing collective \u003ca href=\"https://www.kqed.org/news/11793299/moms-4-housing-in-oakland-vow-to-fight-potential-eviction\" target=\"_blank\" rel=\"noopener noreferrer\">took up residency in a vacant two-story house\u003c/a> on the 2900 block of Magnolia Street in West Oakland, they constituted, in essence, an emergency response vehicle racing toward a burning fire.\u003c/p>\n\u003cp>Their assertion that “\u003ca href=\"https://www.kqed.org/news/11793704/west-oakland-housing-human-right-moms4housing\" target=\"_blank\" rel=\"noopener noreferrer\">housing is a human right\u003c/a>” was driven by morality, while their occupation of the house completely disregarded the red light of the legal housing system.\u003c/p>\n\u003cp>They stayed in the house for nearly two months before being legally evicted last week and \u003ca href=\"https://www.kqed.org/news/11795944/moms-4-housing-members-evicted-from-oakland-home-4-arrested\" target=\"_blank\" rel=\"noopener noreferrer\">forcibly removed\u003c/a> this week. Although it appears they’ve lost the battle to live in the home that’s legally owned by Wedgewood, the country’s biggest “\u003ca href=\"https://www.huffpost.com/entry/a-working-class-family-co_b_9551862?guccounter=1\" target=\"_blank\" rel=\"noopener noreferrer\">fix and flip\u003c/a>” investment company, their action brought awareness to a major component of the housing emergency: the fact that it’s sometimes more profitable for property owners to keep a house empty than to rent it.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As of last year, \u003ca href=\"https://www.kqed.org/news/11787750/two-homeless-moms-occupy-vacant-house-to-protest-oakland-housing-crisis\" target=\"_blank\" rel=\"noopener noreferrer\">there were 4,071 unhoused people in Oakland, and 4,366 vacant homes\u003c/a>.\u003c/p>\n\u003cp>Combine that with the fact that in 2019, the average rent for an apartment in Oakland rose to \u003ca href=\"https://www.rentcafe.com/average-rent-market-trends/us/ca/oakland/\" target=\"_blank\" rel=\"noopener noreferrer\">$2,905\u003c/a>, a 7% increase from the previous year. Meanwhile, on Jan. 1, 2020, Oakland’s minimum wage rose only slightly, from $13.80 to $14.14.\u003c/p>\n\u003cp>Add on the context that Oakland’s homeless population rose \u003ca href=\"https://www.kqed.org/forum/2010101872510/oakland-homelessness-increases-47-in-two-years\" target=\"_blank\" rel=\"noopener noreferrer\">47%\u003c/a> between 2017 and 2019, just for flavor.\u003c/p>\n\u003cp>And then add the not-so-secret ingredient: the fact that \u003ca href=\"https://www.oaklandhomelessresponse.com/the-problem\" target=\"_blank\" rel=\"noopener noreferrer\">70%\u003c/a> of the unhoused population in Oakland is African American, while the city’s total population is around 25% African American, and declining.\u003c/p>\n\u003cp>You see why there’s a big-ass emergency cake in the oven. But Oakland isn’t the only bakery that’s on fire.\u003c/p>\n\u003cp>In California as a whole, black folks account for only \u003ca href=\"https://calmatters.org/explainers/californias-homelessness-crisis-explained/\" target=\"_blank\" rel=\"noopener noreferrer\">6.5%\u003c/a> of the total population in this state, but roughly 30% of unhoused people. And nationally, African Americans account for only \u003ca href=\"https://endhomelessness.org/homelessness-in-america/what-causes-homelessness/inequality/\" target=\"_blank\" rel=\"noopener noreferrer\">13%\u003c/a> of the total population, but account for 40% of unhoused individuals in the United States.\u003c/p>\n\u003cp>I look at those numbers, and I think about the other stories I’ve read, like how the City of Detroit, America’s largest majority African American city, erroneously \u003ca href=\"https://www.revealnews.org/episodes/the-lost-homes-of-detroit/\" target=\"_blank\" rel=\"noopener noreferrer\">over-taxed its homeowners\u003c/a>. And the story of \u003ca href=\"https://www.theatlantic.com/magazine/archive/2019/09/this-land-was-our-land/594742/\">black farmers in the Mississippi delta\u003c/a> being duped out of the deeds to their land. How “\u003ca href=\"https://features.propublica.org/black-land-loss/heirs-property-rights-why-black-families-lose-land-south/\" target=\"_blank\" rel=\"noopener noreferrer\">heirs property\u003c/a>” clauses conned folks of color in the Carolinas. The history of redlining and the subprime mortgage crisis. And how last July, \u003ca href=\"https://www.curbed.com/2018/3/13/17101142/black-homeownership-fair-housing-act\">home ownership among African Americans\u003c/a> fell to roughly the same rate it was when President Johnson signed the Fair Housing Act, not long after MLK’s assassination.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=WWcD4xt7Mnk\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">D\u003c/span>r. King never got to see the Poor People’s Campaign come to fruition. But after his death, the action was carried out under the guidance of Southern Christian Leadership Conference’s new president, Ralph Abernathy. The first people to occupy the space known as Resurrection City were a caravan of women’s groups, \u003ca href=\"https://kinginstitute.stanford.edu/encyclopedia/poor-peoples-campaign\" target=\"_blank\" rel=\"noopener noreferrer\">led by Coretta Scott King\u003c/a>.\u003c/p>\n\u003cp>King \u003ca href=\"https://www.theatlantic.com/magazine/archive/2018/02/coretta-scott-king/552557/\" target=\"_blank\" rel=\"noopener noreferrer\">reportedly\u003c/a> started her trek to the capital after rallying people while standing on the very balcony where her husband was assassinated, telling the crowd that she wanted an America “where not some but all of God’s children have food, where not some but all of God’s children have decent housing, where not some but all of God’s children have a guaranteed annual income in keeping with the principles of liberty and grace.”\u003c/p>\n\u003cp>That sure sounds like an obvious precursor to the moral argument presented by Moms 4 Housing.\u003c/p>\n\u003cp>In the 50-plus years since Martin Luther King, Jr. made his ambulance analogy, homelessness, inequality and class division have proven to be, as they say, \u003cem>as American as apple pie.\u003c/em> Or rather, as American as the electric stoplight, which was actually invented here.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">R\u003c/span>ight before Dr. Martin Luther King, Jr. was assassinated in 1968, he worked for over a year on something called the Poor People’s Campaign. The plan, in short, was to organize economically disenfranchised folks of all races, from all across the nation, and have them set up camp on Washington DC’s National Mall. King’s hope was that the visible public encampment would show the need for “radical wealth redistribution,” since economic inequality in America was, and still is, a national emergency.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>“There is nothing wrong with the traffic law which says you have to stop for the red light,” King said, during \u003ca href=\"https://www.youtube.com/watch?v=WWcD4xt7Mnk\" target=\"_blank\" rel=\"noopener noreferrer\">a radio broadcast\u003c/a> prior to the launch of the campaign. However, King added, “when a fire is raging, the fire truck goes right through that red light, and normal traffic had better get out of its way.” He explained that oppressive conditions had created “a fire raging now for the Negroes and the poor of this society,” and subsequently, the country would “need brigades of ambulance drivers that will ignore the red lights of the present system, until the emergency is solved.”\u003c/p>\n\u003cp>The current housing system in California, and especially the Bay Area, is a red light. Housing insecurity continues to spread like wildfire. It’s time to disregard the stop signs and send in all the fire trucks and ambulances we can muster.\u003c/p>\n\u003cfigure id=\"attachment_13873362\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13873362\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/Resurrection_City-800x534.jpg\" alt=\"Resurrection City in 1968, on the National Mall in Washington D.C.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Resurrection_City-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Resurrection_City-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Resurrection_City-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Resurrection_City-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Resurrection_City.jpg 1136w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Resurrection City in 1968, on the National Mall in Washington D.C. \u003ccite>(Henry Zbyszynski / CC 2.0)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span>s we’ve seen in near-daily headlines, the alarms have been ringing for some time now. The sprawling tent cities alone are a wailing siren.\u003c/p>\n\u003cp>In Oakland, Mayor Libby Schaaf responded by housing people in Tuff Sheds, small buildings originally designed for storage and garden tools. In September of last year, President Trump threatened sanctions by the Environmental Protection Agency against San Francisco, saying, “They have to clean it up. We can’t have our cities going to hell.” A year earlier, a similar sentiment was shared by an official from the \u003ca href=\"https://www.kqed.org/news/11700750/after-scathing-un-report-on-homelessness-advocates-demand-oakland-stop-sidewalk-sweeps\">United Nations\u003c/a>, calling conditions in the Bay Area “cruel and inhuman.”\u003c/p>\n\u003cp>Last month, \u003ca href=\"https://www.nytimes.com/interactive/2019/12/17/us/oakland-california-homeless-camp.html\">two New York Times\u003c/a> reporters compared and contrasted conditions in the Bay Area versus those of a slum in Central America. They found two advantages to living in a “shanty village” outside of Mexico City over being homeless on High Street in East Oakland: stability and running water.\u003c/p>\n\u003cp>As if those signs of distress aren’t loud enough, just last week Governor Gavin Newsom signed \u003ca href=\"https://www.gov.ca.gov/2020/01/08/governor-newsom-previews-1-billion-in-budget-proposal-to-jump-start-new-homeless-fund-and-provide-behavioral-health-services-signs-order-to-accelerate-state-action-to-fight-homelessness/\" target=\"_blank\" rel=\"noopener noreferrer\">an executive order\u003c/a> that “requires state agencies to take urgent and immediate action” to find space on state property where shelters can be built; the deadline is Jan. 31, and the order is supported by over $1 billion in funding. According to Governor Newsom, “the State of California is treating (homelessness) as a real emergency—because it is one.”\u003c/p>\n\u003cfigure id=\"attachment_13873365\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13873365\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/Moms4Housing-800x500.jpg\" alt=\"Members of the group Moms 4 Housing — Sharena Thomas, left, Carroll Fife, center, Dominique Walker, second from right, and Tolani KIng, right — outside a formerly vacant house on Magnolia Street in West Oakland, which they've occupied since November, despite an eviction order. \" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Moms4Housing-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Moms4Housing-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Moms4Housing-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Moms4Housing.jpg 1020w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Members of the group Moms 4 Housing — Sharena Thomas, left, Carroll Fife, center, Dominique Walker, second from right, and Tolani KIng, right — outside a formerly vacant house on Magnolia Street in West Oakland. \u003ccite>(Kate Wolffe/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">S\u003c/span>o on Nov. 18, when Dominique Walker, Sameerah Karim and the Moms 4 Housing collective \u003ca href=\"https://www.kqed.org/news/11793299/moms-4-housing-in-oakland-vow-to-fight-potential-eviction\" target=\"_blank\" rel=\"noopener noreferrer\">took up residency in a vacant two-story house\u003c/a> on the 2900 block of Magnolia Street in West Oakland, they constituted, in essence, an emergency response vehicle racing toward a burning fire.\u003c/p>\n\u003cp>Their assertion that “\u003ca href=\"https://www.kqed.org/news/11793704/west-oakland-housing-human-right-moms4housing\" target=\"_blank\" rel=\"noopener noreferrer\">housing is a human right\u003c/a>” was driven by morality, while their occupation of the house completely disregarded the red light of the legal housing system.\u003c/p>\n\u003cp>They stayed in the house for nearly two months before being legally evicted last week and \u003ca href=\"https://www.kqed.org/news/11795944/moms-4-housing-members-evicted-from-oakland-home-4-arrested\" target=\"_blank\" rel=\"noopener noreferrer\">forcibly removed\u003c/a> this week. Although it appears they’ve lost the battle to live in the home that’s legally owned by Wedgewood, the country’s biggest “\u003ca href=\"https://www.huffpost.com/entry/a-working-class-family-co_b_9551862?guccounter=1\" target=\"_blank\" rel=\"noopener noreferrer\">fix and flip\u003c/a>” investment company, their action brought awareness to a major component of the housing emergency: the fact that it’s sometimes more profitable for property owners to keep a house empty than to rent it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As of last year, \u003ca href=\"https://www.kqed.org/news/11787750/two-homeless-moms-occupy-vacant-house-to-protest-oakland-housing-crisis\" target=\"_blank\" rel=\"noopener noreferrer\">there were 4,071 unhoused people in Oakland, and 4,366 vacant homes\u003c/a>.\u003c/p>\n\u003cp>Combine that with the fact that in 2019, the average rent for an apartment in Oakland rose to \u003ca href=\"https://www.rentcafe.com/average-rent-market-trends/us/ca/oakland/\" target=\"_blank\" rel=\"noopener noreferrer\">$2,905\u003c/a>, a 7% increase from the previous year. Meanwhile, on Jan. 1, 2020, Oakland’s minimum wage rose only slightly, from $13.80 to $14.14.\u003c/p>\n\u003cp>Add on the context that Oakland’s homeless population rose \u003ca href=\"https://www.kqed.org/forum/2010101872510/oakland-homelessness-increases-47-in-two-years\" target=\"_blank\" rel=\"noopener noreferrer\">47%\u003c/a> between 2017 and 2019, just for flavor.\u003c/p>\n\u003cp>And then add the not-so-secret ingredient: the fact that \u003ca href=\"https://www.oaklandhomelessresponse.com/the-problem\" target=\"_blank\" rel=\"noopener noreferrer\">70%\u003c/a> of the unhoused population in Oakland is African American, while the city’s total population is around 25% African American, and declining.\u003c/p>\n\u003cp>You see why there’s a big-ass emergency cake in the oven. But Oakland isn’t the only bakery that’s on fire.\u003c/p>\n\u003cp>In California as a whole, black folks account for only \u003ca href=\"https://calmatters.org/explainers/californias-homelessness-crisis-explained/\" target=\"_blank\" rel=\"noopener noreferrer\">6.5%\u003c/a> of the total population in this state, but roughly 30% of unhoused people. And nationally, African Americans account for only \u003ca href=\"https://endhomelessness.org/homelessness-in-america/what-causes-homelessness/inequality/\" target=\"_blank\" rel=\"noopener noreferrer\">13%\u003c/a> of the total population, but account for 40% of unhoused individuals in the United States.\u003c/p>\n\u003cp>I look at those numbers, and I think about the other stories I’ve read, like how the City of Detroit, America’s largest majority African American city, erroneously \u003ca href=\"https://www.revealnews.org/episodes/the-lost-homes-of-detroit/\" target=\"_blank\" rel=\"noopener noreferrer\">over-taxed its homeowners\u003c/a>. And the story of \u003ca href=\"https://www.theatlantic.com/magazine/archive/2019/09/this-land-was-our-land/594742/\">black farmers in the Mississippi delta\u003c/a> being duped out of the deeds to their land. How “\u003ca href=\"https://features.propublica.org/black-land-loss/heirs-property-rights-why-black-families-lose-land-south/\" target=\"_blank\" rel=\"noopener noreferrer\">heirs property\u003c/a>” clauses conned folks of color in the Carolinas. The history of redlining and the subprime mortgage crisis. And how last July, \u003ca href=\"https://www.curbed.com/2018/3/13/17101142/black-homeownership-fair-housing-act\">home ownership among African Americans\u003c/a> fell to roughly the same rate it was when President Johnson signed the Fair Housing Act, not long after MLK’s assassination.\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/WWcD4xt7Mnk'\n title='//www.youtube.com/embed/WWcD4xt7Mnk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">D\u003c/span>r. King never got to see the Poor People’s Campaign come to fruition. But after his death, the action was carried out under the guidance of Southern Christian Leadership Conference’s new president, Ralph Abernathy. The first people to occupy the space known as Resurrection City were a caravan of women’s groups, \u003ca href=\"https://kinginstitute.stanford.edu/encyclopedia/poor-peoples-campaign\" target=\"_blank\" rel=\"noopener noreferrer\">led by Coretta Scott King\u003c/a>.\u003c/p>\n\u003cp>King \u003ca href=\"https://www.theatlantic.com/magazine/archive/2018/02/coretta-scott-king/552557/\" target=\"_blank\" rel=\"noopener noreferrer\">reportedly\u003c/a> started her trek to the capital after rallying people while standing on the very balcony where her husband was assassinated, telling the crowd that she wanted an America “where not some but all of God’s children have food, where not some but all of God’s children have decent housing, where not some but all of God’s children have a guaranteed annual income in keeping with the principles of liberty and grace.”\u003c/p>\n\u003cp>That sure sounds like an obvious precursor to the moral argument presented by Moms 4 Housing.\u003c/p>\n\u003cp>In the 50-plus years since Martin Luther King, Jr. made his ambulance analogy, homelessness, inequality and class division have proven to be, as they say, \u003cem>as American as apple pie.\u003c/em> Or rather, as American as the electric stoplight, which was actually invented here.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "An Oakland Metalsmith Risks Instability to Bring Metal Arts to Black Girls",
"headTitle": "An Oakland Metalsmith Risks Instability to Bring Metal Arts to Black Girls | KQED",
"content": "\u003cp>Earlier this month, Oakland metalsmith \u003ca href=\"https://karensmithmetalartist.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Karen Smith\u003c/a> put the finishing touches on \u003cem>Mamedjarra the Sacred\u003c/em>, a sterling silver necklace. After nearly a year of work on the piece—a hammered crescent with dangling discs and frizzy strands—she shipped it to the Richmond Art Center, where it’s featured in a new group show, \u003cem>\u003ca href=\"http://richmondartcenter.org/exhibitions/art-of-the-african-diaspora-2020/\" target=\"_blank\" rel=\"noopener noreferrer\">Art of the African Diaspora\u003c/a>\u003c/em>. And then she started to pack up her East Oakland workspace, where Smith is being displaced after falling behind on rent.\u003c/p>\n\u003cp>[pullquote align='right' size='small']By the numbers…\u003c/p>\n\u003cul>\n\u003cli>2019 income: <$10,000\u003c/li>\n\u003cli>Home and studio rent: $800/month\u003c/li>\n\u003cli>2019 City of Oakland grant: $4,999\u003c/li>\n\u003cli>Time spent waiting for grant check: 5 months and counting\u003c/li>\n\u003cli>Silver: $18.09/ounce\u003c/li>\n\u003c/ul>\n\u003cp>[/pullquote]\u003c/p>\n\u003cp>“It’s a huge transitional time for me,” says Smith, wearing hoops and a black apron, as she demonstrates an acetylene torch on solderite in the small studio. “But a good one.”\u003c/p>\n\u003cp>Smith, who moved to Oakland in 1995 (she refuses to share her age), is shifting her metalwork practice from jewelry to a fine arts context, and launching a new nonprofit, \u003ca href=\"https://wewieldthehammer.org/\" target=\"_blank\" rel=\"noopener noreferrer\">We Wield the Hammer\u003c/a>, to bring the craft to other black women and girls through free, intensive workshops. The transition follows an influential apprenticeship in Senegal that took her abroad for most of 2018. “That was the start of the snowballing debt,” she says. “The trip was also a catalyst.”\u003c/p>\n\u003cp>Workspace and housing costs are the biggest challenges to artists in Oakland, according to a \u003ca href=\"http://www2.oaklandnet.com/oakca1/groups/ceda/documents/agenda/oak062138.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">city report\u003c/a> from 2016. What’s unique about Smith isn’t her financial struggles so much as her response: doubling down on as-yet-unprofitable projects. She’s loaning her equipment to a young metalsmith who’s teaching for We Wield the Hammer, which runs out of the Crucible in West Oakland, and foregoing a salary while fundraising for her fiscally-sponsored organization. She’s also speaking candidly about her experience, aiming to spur public investment in the arts.\u003c/p>\n\u003cfigure id=\"attachment_13873216\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13873216\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/Soldering-in-action-800x450.jpg\" alt=\"Smith demonstrates her acetylene torch on solderite.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Soldering-in-action-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Soldering-in-action-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Soldering-in-action-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Soldering-in-action-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Soldering-in-action-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Soldering-in-action.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Smith demonstrates her acetylene torch on solderite. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At a November meeting of the advisory committee to Oakland’s Cultural Funding Program (CFP), which awarded her nonprofit $4,999 in both 2018 and 2019 (though the latter check is still in the mail), Smith shared that her car was repossessed while she poured her energy into We Wield the Hammer, and advocated boosting grant amounts in the individual artist category.[pullquote size='medium' citation='Karen Smith']‘The cost of everything has gone up exponentially except grants and salaries.’[/pullquote]\u003c/p>\n\u003cp>“The cost of everything has gone up exponentially except grants and salaries,” she said during the public comment period. “The award is a pittance. I’m grateful—but it’s a pittance.” Smith continued, “I’m here because I want to put a face on what it means to be an artist in Oakland.”\u003c/p>\n\u003cp>Smith, who grew up in Brooklyn, divorced her husband in 2010. “I promised not to do things I don’t want to do anymore,” she says. She started a business, New Spirit Designs, making objects such as malas, or prayer beads, related to her practice as a Buddhist, which started 20 years ago at a daylong meditation. “I hadn’t been quiet for a day, ever, and over the course of the day my life changed,” she says. “I could actually listen to what was happening in my body.”\u003c/p>\n\u003cfigure id=\"attachment_13873215\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13873215\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/Sizing-rings-800x450.jpg\" alt=\"Sizing rings in Smith's soon-to-be-empty workspace. She's being displaced after falling behind on rent.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Sizing-rings-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Sizing-rings-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Sizing-rings-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Sizing-rings-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Sizing-rings-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Sizing-rings.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sizing rings in Smith’s soon-to-be-empty workspace. She’s being displaced after falling behind on rent. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Working with beads, though, left Smith unfulfilled. Several years ago she commissioned a metal bracelet, providing drawings to a craftsperson. “It was beautiful but it wasn’t what I envisioned,” she recalls. “That’s what made me realize I need to work with metal.” Through library books and online forums, she learned wire-wrapping, and then to use a butane torch. “Because I had no background, no idea what I was doing, I started out with silver—great way to burn money.”\u003c/p>\n\u003cp>Smith has made wedding bands, which run up to $2,000 for gold, and sold jewelry at farmers markets and craft fairs. “It’s a hardscrabble way to make a living,” she says, noting the physical toll and upfront costs. Now, though, Smith wants to make more work like her piece for \u003cem>Art of the African Diaspora\u003c/em>: sculpture, or “wearable art,” as she likes to say. She wants to use the metalsmithing techniques she learned through jewelry to create less everyday objects. As a former academic accustomed to valuing educational pedigree, being self-taught provokes some insecurity. “So I’m trying to position myself to consistently own the title ‘artist,’” she says.\u003c/p>\n\u003cp>“I mean, I’ll probably always make jewelry, like hoops—I’m a hoops whore,” she adds. “Every woman looks good in hoops. But hoops like these cost $40. I also make a pair that cost $340.”\u003c/p>\n\u003cfigure id=\"attachment_13873214\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13873214\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/Laughing-800x450.jpg\" alt=\"Smith is transitioning her metalwork from jewelry to a fine arts context.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Laughing-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Laughing-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Laughing-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Laughing-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Laughing-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Laughing.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Smith is transitioning her metalwork from jewelry to a fine arts context. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Smith describes her time in Senegal in 2018 as practically preordained, the result of one morning “hearing a voice.” She couldn’t find a formal apprenticeship program, but through academic contacts made some inroads with artisans in Dakar, the capital. “The first person who responded was a Senegalese man who said, ‘Does she know that women don’t wield the hammer? That we have that saying? That it’s transmitted father-to-son?’” she recalls. “I was like, sorry, no I don’t know about any of that. And he said, ‘Good, because it has to change.’”[aside label='Side Gigs and Successes' link1='https://www.kqed.org/arts/13827433/bay-area-artists-we-want-to-know-whats-your-hustle,Are you a Bay Area artist? Tell us about your hustle.' target=_blank]\u003c/p>\n\u003cp>She connected with a fifth-generation metalsmith named Ibrahim Sow and his apprentice son, Oumar Moida. “I think he thought initially that I was some young girl who wanted to make earrings on vacation for the ’gram,” she says. “When I got there he was amazed by my age, that I’m black—he was hella taken aback.” She learned to work from scratch: melting fine silver and copper to form sterling as well as making her own soldering alloy. She first stayed for two months and then, at Sow’s urging, returned for four-and-a-half more months later in 2018.\u003c/p>\n\u003cp>The patriarchal legacy of metalsmithing in Senegal created distance between Smith and the women around the artist village where she worked in Dakar. But she captured the interest of a young girl who’d stand silently in the studio doorway to watch. “I asked the teacher’s son about her and he said that she thought I was a ghost, that she’d never seen a woman doing what I was doing, so I had to be magic,” she says. “I thought, if she wants to learn, who will teach her?”\u003c/p>\n\u003cfigure id=\"attachment_13873213\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13873213\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/is-torch-off-800x450.jpg\" alt=\"Because she's being displaced from her workspace, Smith is loaning her equipment to Ale'ah Bashir Baaqee, a young metal artist from Oakland.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/is-torch-off-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/is-torch-off-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/is-torch-off-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/is-torch-off-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/is-torch-off-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/is-torch-off.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Because she’s being displaced from her workspace, Smith is loaning her equipment to Ale’ah Bashir Baaqee, a young metal artist from Oakland. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Smith returned from Dakar inspired but stressed; she’d spent most of 2018 without income, and started last year with an illness that prevented her from working for several weeks. “When you work for yourself there’s no unemployment, no sick pay,” she says. Still, Smith found some part-time work teaching at the Crucible (where co-teaching a two-day workshop pays approximately $300). The industrial arts center hosted the first We Wield the Hammer session last summer, and Smith secured the CFP grants to buy materials and pay a teacher, Ale’ah Bashir Baaqee.\u003c/p>\n\u003cp>The second eight-week session of We Wield the Hammer, which Smith plans to expand to Senegal, starts this month with a cohort of six black women and girls between the ages of 14 and 24. Until she can draw a salary from the organization, she plans to use workspace at the Crucible for personal projects. Because she must vacate her studio by the end of January, Smith is loaning her equipment to Baaqee, a metal artist from Oakland. “I’m letting her borrow all of these hammers,” Smith says in the soon-to-be-empty studio. “This is my favorite hammer.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "Aiming to spur public investment in the arts, Karen Smith says, 'I want to put a face on what it means to be an artist in Oakland.'",
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"title": "An Oakland Metalsmith Risks Instability to Bring Metal Arts to Black Girls | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Earlier this month, Oakland metalsmith \u003ca href=\"https://karensmithmetalartist.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Karen Smith\u003c/a> put the finishing touches on \u003cem>Mamedjarra the Sacred\u003c/em>, a sterling silver necklace. After nearly a year of work on the piece—a hammered crescent with dangling discs and frizzy strands—she shipped it to the Richmond Art Center, where it’s featured in a new group show, \u003cem>\u003ca href=\"http://richmondartcenter.org/exhibitions/art-of-the-african-diaspora-2020/\" target=\"_blank\" rel=\"noopener noreferrer\">Art of the African Diaspora\u003c/a>\u003c/em>. And then she started to pack up her East Oakland workspace, where Smith is being displaced after falling behind on rent.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "By the numbers…\u003c/p>\n\u003cul>\n\u003cli>2019 income: <$10,000\u003c/li>\n\u003cli>Home and studio rent: $800/month\u003c/li>\n\u003cli>2019 City of Oakland grant: $4,999\u003c/li>\n\u003cli>Time spent waiting for grant check: 5 months and counting\u003c/li>\n\u003cli>Silver: $18.09/ounce\u003c/li>\n\u003c/ul>\n\u003cp>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It’s a huge transitional time for me,” says Smith, wearing hoops and a black apron, as she demonstrates an acetylene torch on solderite in the small studio. “But a good one.”\u003c/p>\n\u003cp>Smith, who moved to Oakland in 1995 (she refuses to share her age), is shifting her metalwork practice from jewelry to a fine arts context, and launching a new nonprofit, \u003ca href=\"https://wewieldthehammer.org/\" target=\"_blank\" rel=\"noopener noreferrer\">We Wield the Hammer\u003c/a>, to bring the craft to other black women and girls through free, intensive workshops. The transition follows an influential apprenticeship in Senegal that took her abroad for most of 2018. “That was the start of the snowballing debt,” she says. “The trip was also a catalyst.”\u003c/p>\n\u003cp>Workspace and housing costs are the biggest challenges to artists in Oakland, according to a \u003ca href=\"http://www2.oaklandnet.com/oakca1/groups/ceda/documents/agenda/oak062138.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">city report\u003c/a> from 2016. What’s unique about Smith isn’t her financial struggles so much as her response: doubling down on as-yet-unprofitable projects. She’s loaning her equipment to a young metalsmith who’s teaching for We Wield the Hammer, which runs out of the Crucible in West Oakland, and foregoing a salary while fundraising for her fiscally-sponsored organization. She’s also speaking candidly about her experience, aiming to spur public investment in the arts.\u003c/p>\n\u003cfigure id=\"attachment_13873216\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13873216\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/Soldering-in-action-800x450.jpg\" alt=\"Smith demonstrates her acetylene torch on solderite.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Soldering-in-action-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Soldering-in-action-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Soldering-in-action-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Soldering-in-action-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Soldering-in-action-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Soldering-in-action.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Smith demonstrates her acetylene torch on solderite. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At a November meeting of the advisory committee to Oakland’s Cultural Funding Program (CFP), which awarded her nonprofit $4,999 in both 2018 and 2019 (though the latter check is still in the mail), Smith shared that her car was repossessed while she poured her energy into We Wield the Hammer, and advocated boosting grant amounts in the individual artist category.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The cost of everything has gone up exponentially except grants and salaries,” she said during the public comment period. “The award is a pittance. I’m grateful—but it’s a pittance.” Smith continued, “I’m here because I want to put a face on what it means to be an artist in Oakland.”\u003c/p>\n\u003cp>Smith, who grew up in Brooklyn, divorced her husband in 2010. “I promised not to do things I don’t want to do anymore,” she says. She started a business, New Spirit Designs, making objects such as malas, or prayer beads, related to her practice as a Buddhist, which started 20 years ago at a daylong meditation. “I hadn’t been quiet for a day, ever, and over the course of the day my life changed,” she says. “I could actually listen to what was happening in my body.”\u003c/p>\n\u003cfigure id=\"attachment_13873215\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13873215\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/Sizing-rings-800x450.jpg\" alt=\"Sizing rings in Smith's soon-to-be-empty workspace. She's being displaced after falling behind on rent.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Sizing-rings-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Sizing-rings-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Sizing-rings-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Sizing-rings-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Sizing-rings-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Sizing-rings.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sizing rings in Smith’s soon-to-be-empty workspace. She’s being displaced after falling behind on rent. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Working with beads, though, left Smith unfulfilled. Several years ago she commissioned a metal bracelet, providing drawings to a craftsperson. “It was beautiful but it wasn’t what I envisioned,” she recalls. “That’s what made me realize I need to work with metal.” Through library books and online forums, she learned wire-wrapping, and then to use a butane torch. “Because I had no background, no idea what I was doing, I started out with silver—great way to burn money.”\u003c/p>\n\u003cp>Smith has made wedding bands, which run up to $2,000 for gold, and sold jewelry at farmers markets and craft fairs. “It’s a hardscrabble way to make a living,” she says, noting the physical toll and upfront costs. Now, though, Smith wants to make more work like her piece for \u003cem>Art of the African Diaspora\u003c/em>: sculpture, or “wearable art,” as she likes to say. She wants to use the metalsmithing techniques she learned through jewelry to create less everyday objects. As a former academic accustomed to valuing educational pedigree, being self-taught provokes some insecurity. “So I’m trying to position myself to consistently own the title ‘artist,’” she says.\u003c/p>\n\u003cp>“I mean, I’ll probably always make jewelry, like hoops—I’m a hoops whore,” she adds. “Every woman looks good in hoops. But hoops like these cost $40. I also make a pair that cost $340.”\u003c/p>\n\u003cfigure id=\"attachment_13873214\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13873214\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/Laughing-800x450.jpg\" alt=\"Smith is transitioning her metalwork from jewelry to a fine arts context.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Laughing-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Laughing-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Laughing-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Laughing-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Laughing-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Laughing.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Smith is transitioning her metalwork from jewelry to a fine arts context. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Smith describes her time in Senegal in 2018 as practically preordained, the result of one morning “hearing a voice.” She couldn’t find a formal apprenticeship program, but through academic contacts made some inroads with artisans in Dakar, the capital. “The first person who responded was a Senegalese man who said, ‘Does she know that women don’t wield the hammer? That we have that saying? That it’s transmitted father-to-son?’” she recalls. “I was like, sorry, no I don’t know about any of that. And he said, ‘Good, because it has to change.’”\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>She connected with a fifth-generation metalsmith named Ibrahim Sow and his apprentice son, Oumar Moida. “I think he thought initially that I was some young girl who wanted to make earrings on vacation for the ’gram,” she says. “When I got there he was amazed by my age, that I’m black—he was hella taken aback.” She learned to work from scratch: melting fine silver and copper to form sterling as well as making her own soldering alloy. She first stayed for two months and then, at Sow’s urging, returned for four-and-a-half more months later in 2018.\u003c/p>\n\u003cp>The patriarchal legacy of metalsmithing in Senegal created distance between Smith and the women around the artist village where she worked in Dakar. But she captured the interest of a young girl who’d stand silently in the studio doorway to watch. “I asked the teacher’s son about her and he said that she thought I was a ghost, that she’d never seen a woman doing what I was doing, so I had to be magic,” she says. “I thought, if she wants to learn, who will teach her?”\u003c/p>\n\u003cfigure id=\"attachment_13873213\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13873213\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/is-torch-off-800x450.jpg\" alt=\"Because she's being displaced from her workspace, Smith is loaning her equipment to Ale'ah Bashir Baaqee, a young metal artist from Oakland.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/is-torch-off-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/is-torch-off-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/is-torch-off-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/is-torch-off-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/is-torch-off-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/is-torch-off.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Because she’s being displaced from her workspace, Smith is loaning her equipment to Ale’ah Bashir Baaqee, a young metal artist from Oakland. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Smith returned from Dakar inspired but stressed; she’d spent most of 2018 without income, and started last year with an illness that prevented her from working for several weeks. “When you work for yourself there’s no unemployment, no sick pay,” she says. Still, Smith found some part-time work teaching at the Crucible (where co-teaching a two-day workshop pays approximately $300). The industrial arts center hosted the first We Wield the Hammer session last summer, and Smith secured the CFP grants to buy materials and pay a teacher, Ale’ah Bashir Baaqee.\u003c/p>\n\u003cp>The second eight-week session of We Wield the Hammer, which Smith plans to expand to Senegal, starts this month with a cohort of six black women and girls between the ages of 14 and 24. Until she can draw a salary from the organization, she plans to use workspace at the Crucible for personal projects. Because she must vacate her studio by the end of January, Smith is loaning her equipment to Baaqee, a metal artist from Oakland. “I’m letting her borrow all of these hammers,” Smith says in the soon-to-be-empty studio. “This is my favorite hammer.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Vessel Gallery, Oakland Art Murmur Fixture, to Reopen Following 2018 Displacement",
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"content": "\u003cp>Oakland Art Murmur fixture Vessel Gallery will reopen in February more than a year after being displaced from its longtime 25th Street home, curator and director Lonnie Lee told KQED. [aside postID=arts_13843911,arts_13847078,arts_13870917]\u003c/p>\n\u003cp>The contemporary visual art gallery will take over the 23rd Street location occupied since 2018 by Ashara Ekundayo Gallery and, for 11 years prior, Chandra Cerrito Contemporary.\u003c/p>\n\u003cp>After considering other East Bay locations, Lee is relieved to return to the neighborhood and continue the 23rd St. storefront, including adjoining rooms once home to Krowswork gallery, as a key node of First Fridays street festival and related gallery network Art Murmur. “It feels good re-establish a home and say, ‘We’re still here,’” Lee said. “Only time can personify a space.” \u003c/p>\n\u003cp>Vessel reopens Saturday, Feb. 15 with a reception for \u003cem>Migration\u003c/em>, a group show featuring artists familiar from Lee’s curating—David Burke, Pamela Dernham, Gordon Glasgow, Todd Laby, Walter James Mansfield and Jos Sances—plus Cheryl Derricotte and Arleene Correa Valencia. \u003c/p>\n\u003cfigure id=\"attachment_13873079\" class=\"wp-caption aligncenter\" style=\"max-width: 669px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/individuals-1.jpg\" alt=\"'Individuals,' an installation by Vessel artist Cyrus Tilton.\" width=\"669\" height=\"446\" class=\"size-full wp-image-13873079\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/individuals-1.jpg 669w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/individuals-1-160x107.jpg 160w\" sizes=\"(max-width: 669px) 100vw, 669px\">\u003cfigcaption class=\"wp-caption-text\">‘Individuals,’ a 2016 installation by Vessel artist Cyrus Tilton. \u003ccite>(Courtesy Vessel Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As KQED \u003ca href=\"https://www.kqed.org/arts/13843911/vessel-gallery-oakland-art-murmur-fixture-to-close-following-lease-termination\">previously reported\u003c/a>, Vessel was displaced from its home of eight years in November, 2018 after the landlord, Matthew Iglehart, declined to renew the lease. Iglehart’s explanation that he wanted to take his buildings in “another direction” worried his other gallery tenants nearby. Local Language, a commercial art fabrication studio next door, \u003ca href=\"https://www.kqed.org/arts/13847078/local-language-art-fabrication-studio-to-replace-vessel-gallery-in-oakland\">then\u003c/a> struck a deal with Iglehart to expand into Vessel’s space days after Lee learned of her imminent displacement. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In the year since, Lee struggled to find an affordable location comparable to her 5,000 square feet of exhibition space in the light-filled, renovated hayloft on 25th St. She was also skeptical of retail spaces below new housing developments, which city officials have promoted as options for displaced galleries, due to concerns over cost and aesthetics. Then she heard from Cerrito, who now works an art consultant, that Ekundayo was leaving 23rd St. to focus on her writing. \u003c/p>\n\u003cp>The landlord at 480 23rd St. is Haig Mardikian, who also rents to the Johansson Projects gallery next door, and whose son John Mardikian created Telegraph beer garden around the corner. Lee declined to share the details of her new lease but described the terms as “warm and affordable.” One afternoon recently, she eyed non-load bearing walls for potential removal, and described the back rooms as “flexible space” for events such as screenings and guest-curated exhibitions. \u003c/p>\n\u003cfigure id=\"attachment_13843961\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/10/Vessel.Lee_-800x450.jpg\" alt=\"Vessel curator and director Lonnie Lee sits in the gallery's previous location on 25th Street in Oakland.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13843961\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Vessel.Lee_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Vessel.Lee_-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Vessel.Lee_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Vessel.Lee_-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Vessel.Lee_-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Vessel.Lee_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Vessel.Lee_-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Vessel.Lee_-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Vessel.Lee_-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Vessel.Lee_-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Vessel.Lee_-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Vessel curator and director Lonnie Lee sits in the gallery’s previous location on 25th Street in Oakland. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Vessel opened in Oakland in 2010 around the same time as Chandra Cerrito and Johansson Projects, one of a new crop of contemporary galleries aiming to bring the attention of collectors and institutions to little-known or underground local artists. Lee made the gallery a destination for abstract sculpture and painting with sharply-installed solo and two-person exhibitions, helping place work by Vessel artists such as Cyrus Tilton and Iris Polos in museum collections. \u003c/p>\n\u003cp>Lee also played a leading role between 2014-2016 in seeking formal recognition for the proposed “Uptown Arts District,” a move area gallerists said would help protect the neighborhood’s cultural assets from displacement. Oakland City Council scuttled the proposal after property owners objected, supporters said. Oakland’s only official cultural district, the Black Arts Movement and Business District, has struggled for investment since its creation in 2016. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Vessel is reopening in a changed neighborhood. Four years after Rock Paper Scissors, the last founding Art Murmur participant, closed following a rent hike, developers market luxury housing as “\u003ca href=\"http://www.signaturedevelopment.com/development/rasa/\">constructed on the site\u003c/a> of Oakland’s original Art Murmur.” Across the street from Vessel is RASA, where studios start at $2,600/month and the leasing office is styled as “Gallery 459,” while a blinking sign above the lobby of another new building nearby reads “Telegraph Arts.” \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Oakland Art Murmur fixture Vessel Gallery will reopen in February more than a year after being displaced from its longtime 25th Street home, curator and director Lonnie Lee told KQED. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The contemporary visual art gallery will take over the 23rd Street location occupied since 2018 by Ashara Ekundayo Gallery and, for 11 years prior, Chandra Cerrito Contemporary.\u003c/p>\n\u003cp>After considering other East Bay locations, Lee is relieved to return to the neighborhood and continue the 23rd St. storefront, including adjoining rooms once home to Krowswork gallery, as a key node of First Fridays street festival and related gallery network Art Murmur. “It feels good re-establish a home and say, ‘We’re still here,’” Lee said. “Only time can personify a space.” \u003c/p>\n\u003cp>Vessel reopens Saturday, Feb. 15 with a reception for \u003cem>Migration\u003c/em>, a group show featuring artists familiar from Lee’s curating—David Burke, Pamela Dernham, Gordon Glasgow, Todd Laby, Walter James Mansfield and Jos Sances—plus Cheryl Derricotte and Arleene Correa Valencia. \u003c/p>\n\u003cfigure id=\"attachment_13873079\" class=\"wp-caption aligncenter\" style=\"max-width: 669px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/individuals-1.jpg\" alt=\"'Individuals,' an installation by Vessel artist Cyrus Tilton.\" width=\"669\" height=\"446\" class=\"size-full wp-image-13873079\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/individuals-1.jpg 669w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/individuals-1-160x107.jpg 160w\" sizes=\"(max-width: 669px) 100vw, 669px\">\u003cfigcaption class=\"wp-caption-text\">‘Individuals,’ a 2016 installation by Vessel artist Cyrus Tilton. \u003ccite>(Courtesy Vessel Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As KQED \u003ca href=\"https://www.kqed.org/arts/13843911/vessel-gallery-oakland-art-murmur-fixture-to-close-following-lease-termination\">previously reported\u003c/a>, Vessel was displaced from its home of eight years in November, 2018 after the landlord, Matthew Iglehart, declined to renew the lease. Iglehart’s explanation that he wanted to take his buildings in “another direction” worried his other gallery tenants nearby. Local Language, a commercial art fabrication studio next door, \u003ca href=\"https://www.kqed.org/arts/13847078/local-language-art-fabrication-studio-to-replace-vessel-gallery-in-oakland\">then\u003c/a> struck a deal with Iglehart to expand into Vessel’s space days after Lee learned of her imminent displacement. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the year since, Lee struggled to find an affordable location comparable to her 5,000 square feet of exhibition space in the light-filled, renovated hayloft on 25th St. She was also skeptical of retail spaces below new housing developments, which city officials have promoted as options for displaced galleries, due to concerns over cost and aesthetics. Then she heard from Cerrito, who now works an art consultant, that Ekundayo was leaving 23rd St. to focus on her writing. \u003c/p>\n\u003cp>The landlord at 480 23rd St. is Haig Mardikian, who also rents to the Johansson Projects gallery next door, and whose son John Mardikian created Telegraph beer garden around the corner. Lee declined to share the details of her new lease but described the terms as “warm and affordable.” One afternoon recently, she eyed non-load bearing walls for potential removal, and described the back rooms as “flexible space” for events such as screenings and guest-curated exhibitions. \u003c/p>\n\u003cfigure id=\"attachment_13843961\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/10/Vessel.Lee_-800x450.jpg\" alt=\"Vessel curator and director Lonnie Lee sits in the gallery's previous location on 25th Street in Oakland.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13843961\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Vessel.Lee_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Vessel.Lee_-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Vessel.Lee_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Vessel.Lee_-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Vessel.Lee_-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Vessel.Lee_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Vessel.Lee_-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Vessel.Lee_-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Vessel.Lee_-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Vessel.Lee_-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Vessel.Lee_-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Vessel curator and director Lonnie Lee sits in the gallery’s previous location on 25th Street in Oakland. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Vessel opened in Oakland in 2010 around the same time as Chandra Cerrito and Johansson Projects, one of a new crop of contemporary galleries aiming to bring the attention of collectors and institutions to little-known or underground local artists. Lee made the gallery a destination for abstract sculpture and painting with sharply-installed solo and two-person exhibitions, helping place work by Vessel artists such as Cyrus Tilton and Iris Polos in museum collections. \u003c/p>\n\u003cp>Lee also played a leading role between 2014-2016 in seeking formal recognition for the proposed “Uptown Arts District,” a move area gallerists said would help protect the neighborhood’s cultural assets from displacement. Oakland City Council scuttled the proposal after property owners objected, supporters said. Oakland’s only official cultural district, the Black Arts Movement and Business District, has struggled for investment since its creation in 2016. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Vessel is reopening in a changed neighborhood. Four years after Rock Paper Scissors, the last founding Art Murmur participant, closed following a rent hike, developers market luxury housing as “\u003ca href=\"http://www.signaturedevelopment.com/development/rasa/\">constructed on the site\u003c/a> of Oakland’s original Art Murmur.” Across the street from Vessel is RASA, where studios start at $2,600/month and the leasing office is styled as “Gallery 459,” while a blinking sign above the lobby of another new building nearby reads “Telegraph Arts.” \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cfigure id=\"attachment_13872628\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13872628\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/Screen-Shot-2020-01-08-at-10.19.38-AM-800x662.png\" alt=\"Ashley Robinson\" width=\"800\" height=\"662\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Screen-Shot-2020-01-08-at-10.19.38-AM-800x662.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Screen-Shot-2020-01-08-at-10.19.38-AM-160x132.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Screen-Shot-2020-01-08-at-10.19.38-AM-768x635.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Screen-Shot-2020-01-08-at-10.19.38-AM.png 1020w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ashley Robinson. \u003ccite>(Ashley Robinson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Chicago rapper Noname has asked folks all across the country to pull up to their local libraries this Saturday, Jan. 11, to enjoy the abundance of the free public library system. She’s calling it “\u003ca href=\"https://twitter.com/NonameBooks/status/1213503349280006144\" target=\"_blank\" rel=\"noopener noreferrer\">National Fuck Amazon Day\u003c/a>.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>But Noname isn’t just trying to discourage folks from supporting one of the wealthiest tax-avoiding corporations in the world. She’s also pushing people to read books, and creating community for readers of color. She even started a book club last summer, Noname’s Book Club, which quickly amassed 75,000 followers and was featured on \u003cem>The Daily Show\u003c/em> with Trevor Noah.\u003c/p>\n\u003cp>Now, the \u003ca href=\"http://oaklandlibrary.org/news/2020/01/nonames-book-club-selections-free-opl-0\" target=\"_blank\" rel=\"noopener noreferrer\">Oakland Public Library\u003c/a> has announced a partnership with Noname’s Book Club, promoting and helping people find the selected readings each month. And the library is reportedly looking at scheduling in-person meet-ups to discuss the book club’s selections.\u003c/p>\n\u003cp>“Honestly, I feel like her whole concept is made for Oakland,” says Ashley Robinson, the \u003ca href=\"http://fopl.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Friends of The Oakland Library\u003c/a> board member who made the connection happen. “We’re so community-centric, and I feel like these discussions already happen on a day-to-day basis.”\u003c/p>\n\u003cp>Noname’s Book Club is already established in other cities, including Chicago, New York and Los Angeles. “I was surprised Oakland wasn’t already on the list,” says Robinson.\u003c/p>\n\u003cp>I agree. Especially because Noname’s push isn’t just about supporting libraries over Amazon, the “earth’s biggest bookstore.” It’s also about supporting locally owned bookstores, with a focus on the black-owned ones. And Oakland is home to the nation’s oldest continuously running black-owned bookstore, \u003ca href=\"https://www.facebook.com/marcus.books/\" target=\"_blank\" rel=\"noopener noreferrer\">Marcus Books\u003c/a> (which Noname’s Bookclub gives a shout out to on \u003ca href=\"https://www.nonamebooks.com/bookstores\" target=\"_blank\" rel=\"noopener noreferrer\">its website\u003c/a>).\u003c/p>\n\u003cfigure id=\"attachment_13805229\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13805229\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/08/MG_4447-800x533.jpg\" alt=\"Noname performs at the Outside Lands music festival in San Francisco, Aug. 11, 2017.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4447-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4447-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4447-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4447-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4447.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4447-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4447-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4447-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4447-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4447-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Noname performs at the Outside Lands music festival in San Francisco, Aug. 11, 2017. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite other book clubs geared towards African-American readers, like Oakland’s \u003ca href=\"http://www.booktini.com/#welcom-section\" target=\"_blank\" rel=\"noopener noreferrer\">Booktini Book Club\u003c/a> and the local chapter of the Nipsey Hussle-inspired \u003ca href=\"https://www.latimes.com/california/story/2020-01-05/nipsey-hussle-marathon-book-club\" target=\"_blank\" rel=\"noopener noreferrer\">Marathon Book Club\u003c/a>, there’s still a need to push literacy in Oakland.\u003c/p>\n\u003cp>While public libraries have laudably created programs for kids, passed out hygiene kits to those in need and recently \u003ca href=\"http://oaklandlibrary.org/news/2019/05/opl-eliminates-overdue-fines-effective-july-1\" target=\"_blank\" rel=\"noopener noreferrer\">eliminated late fees\u003c/a>, public schools are having issues keeping their campus libraries open. As of 2018, nearly 30 percent of Oakland schools \u003ca href=\"https://postnewsgroup.com/2018/01/04/ron-bridgeforth-brotherhood-elders-network-people-behind-gem-library-frick-middle-school/\" target=\"_blank\" rel=\"noopener noreferrer\">didn’t have functional libraries\u003c/a> on campus, including six out of the city’s seven high schools.\u003c/p>\n\u003cp>That’s crazy to me: there’s a lack of funding when it comes to libraries, yet there are so many stories about tech companies, including \u003ca href=\"https://edsource.org/2016/oakland-unified-to-expand-computer-science-and-math-with-tech-company-grant/568846\" target=\"_blank\" rel=\"noopener noreferrer\">Salesforce\u003c/a> and \u003ca href=\"http://www.hp.com/hpinfo/socialinnovation/us/programs/tech_teaching/k12_recipients.html\" target=\"_blank\" rel=\"noopener noreferrer\">Hewlett-Packard\u003c/a>, donating to Oakland public schools.\u003c/p>\n\u003cp>The effects of these shortfalls become clear when you consider that, last year, \u003ca href=\"https://caaspp-elpac.cde.ca.gov/caaspp/ViewReport?ps=true&lstTestYear=2019&lstTestType=B&lstGroup=1&lstGrade=13&lstSchoolType=A&lstCounty=01&lstDistrict=61259-000&lstSchool=0000000\" target=\"_blank\" rel=\"noopener noreferrer\">the State of California reported\u003c/a> that nearly half of 11th graders in Oakland Unified School District fall below the standard English Language Literacy Achievement level.\u003c/p>\n\u003cp>Keep in mind that, despite the changing demographics of Oakland’s population, the city’s public school population is still nearly 75-percent African American and Latino \u003ca href=\"https://www.ousd.org/cms/lib/CA01001176/Centricity/Domain/105/Fast%20Facts%20-%202018-19%20-%20OUSD%20Districtwide.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">according to OUSD\u003c/a>.\u003c/p>\n\u003cp>So a national bookclub, led by a rapper who is encouraging folks to read books that are largely critical of unjust elements of society, and empowering oppressed people—it’s kind of important.\u003c/p>\n\u003cp>Robinson believes so.\u003c/p>\n\u003cp>Her day job is working for the photography app and social media platform VSCO, which is based in downtown Oakland. And that’s partially what inspired her.\u003c/p>\n\u003cp>“Honestly, it was all of the people talking about gentrification happening here in the Bay and in Oakland, and working in tech, and being a person of color, it made me want to get involved more,” says Robinson.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>She quickly progressed from library volunteer to board member in 2018. Despite her position, she tells me, the connection with Noname’s Book Club wasn’t a direct part of her involvement with the board—just something she took the initiative to do herself. “It was one of those moments, like: if I don’t do this, no one else will,” says Robinson.\u003c/p>\n\u003cp>But before the application to the book club was officially sent, a photo of her half-finished slide deck for a partnership proposal was catching eyes on Twitter.\u003c/p>\n\u003cp>“I took a picture of the slides and I was like: ‘\u003ca href=\"https://twitter.com/12amsunshine/status/1202646312950190080?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">I’m going to put this on Twitter\u003c/a> and see what happens’,” says Robinson. “I was probably halfway through my proposal, and then it started picking up traction. And that’s when Noname’s Book Club account retweeted it,” says Robinson, adding they sent a direct message with an email as to where she send the finished proposal. “I finished the rest of the proposal in an hour.”\u003c/p>\n\u003cp>Now, Oakland Public Library will have extra copies of the books suggested by the book club, which in the past has suggested books like Paulo Freire’s \u003cem>Pedagogy of the Oppressed\u003c/em> and \u003cem>Persepolis (The Story of a Childhood) \u003c/em>by Marjane Satrapi.\u003c/p>\n\u003cp>There’s even suggestions from other well-known artists and writers. Rapper Earl Sweatshirt’s October pick was Eduardo Galeano’s critical look at history in Northern America, \u003cem>Faces and Masks: Memory of Fire Volume 2.\u003c/em> Kehlani, the R&B singer raised in Oakland, picked a book in November: Octavia E. Butler’s \u003cem>Parable of the Sower\u003c/em>, the 1993 science fiction classic that basically (read: exactly) predicted life in today’s science fiction-like times.\u003c/p>\n\u003cp>One of this month’s book club selections comes from writer \u003ca href=\"https://twitter.com/overdramatique?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5Eauthor\" target=\"_blank\" rel=\"noopener noreferrer\">Najma Sharif\u003c/a>: \u003cem>Die Nigger Die\u003c/em>, the 1969 autobiography of H. Rap Brown (Jamil Abdullah Al-Amin), the former leader of the Student Nonviolent Coordinating Committee (SNCC). The other pick is the collection of Indigenous Latina tales \u003cem>Sabrina & Corina\u003c/em> by Kali Fajardo-Anstine—a 2019 National Book Award Finalist.\u003c/p>\n\u003cp>For more information on finding the book club’s suggested reading, keep an eye on the library’s \u003ca href=\"https://twitter.com/oaklibrary\" target=\"_blank\" rel=\"noopener noreferrer\">Twitter account\u003c/a>, or check the library’s online catalog by searching the keywords “\u003ca href=\"https://encore.oaklandlibrary.org/iii/encore/search/C__Snoname%20books__Orightresult?lang=eng&suite=cobalt\" rel=\"nofollow\">Noname books\u003c/a>.”\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13872628\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13872628\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/Screen-Shot-2020-01-08-at-10.19.38-AM-800x662.png\" alt=\"Ashley Robinson\" width=\"800\" height=\"662\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Screen-Shot-2020-01-08-at-10.19.38-AM-800x662.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Screen-Shot-2020-01-08-at-10.19.38-AM-160x132.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Screen-Shot-2020-01-08-at-10.19.38-AM-768x635.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Screen-Shot-2020-01-08-at-10.19.38-AM.png 1020w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ashley Robinson. \u003ccite>(Ashley Robinson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Chicago rapper Noname has asked folks all across the country to pull up to their local libraries this Saturday, Jan. 11, to enjoy the abundance of the free public library system. She’s calling it “\u003ca href=\"https://twitter.com/NonameBooks/status/1213503349280006144\" target=\"_blank\" rel=\"noopener noreferrer\">National Fuck Amazon Day\u003c/a>.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>But Noname isn’t just trying to discourage folks from supporting one of the wealthiest tax-avoiding corporations in the world. She’s also pushing people to read books, and creating community for readers of color. She even started a book club last summer, Noname’s Book Club, which quickly amassed 75,000 followers and was featured on \u003cem>The Daily Show\u003c/em> with Trevor Noah.\u003c/p>\n\u003cp>Now, the \u003ca href=\"http://oaklandlibrary.org/news/2020/01/nonames-book-club-selections-free-opl-0\" target=\"_blank\" rel=\"noopener noreferrer\">Oakland Public Library\u003c/a> has announced a partnership with Noname’s Book Club, promoting and helping people find the selected readings each month. And the library is reportedly looking at scheduling in-person meet-ups to discuss the book club’s selections.\u003c/p>\n\u003cp>“Honestly, I feel like her whole concept is made for Oakland,” says Ashley Robinson, the \u003ca href=\"http://fopl.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Friends of The Oakland Library\u003c/a> board member who made the connection happen. “We’re so community-centric, and I feel like these discussions already happen on a day-to-day basis.”\u003c/p>\n\u003cp>Noname’s Book Club is already established in other cities, including Chicago, New York and Los Angeles. “I was surprised Oakland wasn’t already on the list,” says Robinson.\u003c/p>\n\u003cp>I agree. Especially because Noname’s push isn’t just about supporting libraries over Amazon, the “earth’s biggest bookstore.” It’s also about supporting locally owned bookstores, with a focus on the black-owned ones. And Oakland is home to the nation’s oldest continuously running black-owned bookstore, \u003ca href=\"https://www.facebook.com/marcus.books/\" target=\"_blank\" rel=\"noopener noreferrer\">Marcus Books\u003c/a> (which Noname’s Bookclub gives a shout out to on \u003ca href=\"https://www.nonamebooks.com/bookstores\" target=\"_blank\" rel=\"noopener noreferrer\">its website\u003c/a>).\u003c/p>\n\u003cfigure id=\"attachment_13805229\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13805229\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/08/MG_4447-800x533.jpg\" alt=\"Noname performs at the Outside Lands music festival in San Francisco, Aug. 11, 2017.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4447-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4447-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4447-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4447-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4447.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4447-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4447-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4447-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4447-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4447-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Noname performs at the Outside Lands music festival in San Francisco, Aug. 11, 2017. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite other book clubs geared towards African-American readers, like Oakland’s \u003ca href=\"http://www.booktini.com/#welcom-section\" target=\"_blank\" rel=\"noopener noreferrer\">Booktini Book Club\u003c/a> and the local chapter of the Nipsey Hussle-inspired \u003ca href=\"https://www.latimes.com/california/story/2020-01-05/nipsey-hussle-marathon-book-club\" target=\"_blank\" rel=\"noopener noreferrer\">Marathon Book Club\u003c/a>, there’s still a need to push literacy in Oakland.\u003c/p>\n\u003cp>While public libraries have laudably created programs for kids, passed out hygiene kits to those in need and recently \u003ca href=\"http://oaklandlibrary.org/news/2019/05/opl-eliminates-overdue-fines-effective-july-1\" target=\"_blank\" rel=\"noopener noreferrer\">eliminated late fees\u003c/a>, public schools are having issues keeping their campus libraries open. As of 2018, nearly 30 percent of Oakland schools \u003ca href=\"https://postnewsgroup.com/2018/01/04/ron-bridgeforth-brotherhood-elders-network-people-behind-gem-library-frick-middle-school/\" target=\"_blank\" rel=\"noopener noreferrer\">didn’t have functional libraries\u003c/a> on campus, including six out of the city’s seven high schools.\u003c/p>\n\u003cp>That’s crazy to me: there’s a lack of funding when it comes to libraries, yet there are so many stories about tech companies, including \u003ca href=\"https://edsource.org/2016/oakland-unified-to-expand-computer-science-and-math-with-tech-company-grant/568846\" target=\"_blank\" rel=\"noopener noreferrer\">Salesforce\u003c/a> and \u003ca href=\"http://www.hp.com/hpinfo/socialinnovation/us/programs/tech_teaching/k12_recipients.html\" target=\"_blank\" rel=\"noopener noreferrer\">Hewlett-Packard\u003c/a>, donating to Oakland public schools.\u003c/p>\n\u003cp>The effects of these shortfalls become clear when you consider that, last year, \u003ca href=\"https://caaspp-elpac.cde.ca.gov/caaspp/ViewReport?ps=true&lstTestYear=2019&lstTestType=B&lstGroup=1&lstGrade=13&lstSchoolType=A&lstCounty=01&lstDistrict=61259-000&lstSchool=0000000\" target=\"_blank\" rel=\"noopener noreferrer\">the State of California reported\u003c/a> that nearly half of 11th graders in Oakland Unified School District fall below the standard English Language Literacy Achievement level.\u003c/p>\n\u003cp>Keep in mind that, despite the changing demographics of Oakland’s population, the city’s public school population is still nearly 75-percent African American and Latino \u003ca href=\"https://www.ousd.org/cms/lib/CA01001176/Centricity/Domain/105/Fast%20Facts%20-%202018-19%20-%20OUSD%20Districtwide.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">according to OUSD\u003c/a>.\u003c/p>\n\u003cp>So a national bookclub, led by a rapper who is encouraging folks to read books that are largely critical of unjust elements of society, and empowering oppressed people—it’s kind of important.\u003c/p>\n\u003cp>Robinson believes so.\u003c/p>\n\u003cp>Her day job is working for the photography app and social media platform VSCO, which is based in downtown Oakland. And that’s partially what inspired her.\u003c/p>\n\u003cp>“Honestly, it was all of the people talking about gentrification happening here in the Bay and in Oakland, and working in tech, and being a person of color, it made me want to get involved more,” says Robinson.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>She quickly progressed from library volunteer to board member in 2018. Despite her position, she tells me, the connection with Noname’s Book Club wasn’t a direct part of her involvement with the board—just something she took the initiative to do herself. “It was one of those moments, like: if I don’t do this, no one else will,” says Robinson.\u003c/p>\n\u003cp>But before the application to the book club was officially sent, a photo of her half-finished slide deck for a partnership proposal was catching eyes on Twitter.\u003c/p>\n\u003cp>“I took a picture of the slides and I was like: ‘\u003ca href=\"https://twitter.com/12amsunshine/status/1202646312950190080?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">I’m going to put this on Twitter\u003c/a> and see what happens’,” says Robinson. “I was probably halfway through my proposal, and then it started picking up traction. And that’s when Noname’s Book Club account retweeted it,” says Robinson, adding they sent a direct message with an email as to where she send the finished proposal. “I finished the rest of the proposal in an hour.”\u003c/p>\n\u003cp>Now, Oakland Public Library will have extra copies of the books suggested by the book club, which in the past has suggested books like Paulo Freire’s \u003cem>Pedagogy of the Oppressed\u003c/em> and \u003cem>Persepolis (The Story of a Childhood) \u003c/em>by Marjane Satrapi.\u003c/p>\n\u003cp>There’s even suggestions from other well-known artists and writers. Rapper Earl Sweatshirt’s October pick was Eduardo Galeano’s critical look at history in Northern America, \u003cem>Faces and Masks: Memory of Fire Volume 2.\u003c/em> Kehlani, the R&B singer raised in Oakland, picked a book in November: Octavia E. Butler’s \u003cem>Parable of the Sower\u003c/em>, the 1993 science fiction classic that basically (read: exactly) predicted life in today’s science fiction-like times.\u003c/p>\n\u003cp>One of this month’s book club selections comes from writer \u003ca href=\"https://twitter.com/overdramatique?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5Eauthor\" target=\"_blank\" rel=\"noopener noreferrer\">Najma Sharif\u003c/a>: \u003cem>Die Nigger Die\u003c/em>, the 1969 autobiography of H. Rap Brown (Jamil Abdullah Al-Amin), the former leader of the Student Nonviolent Coordinating Committee (SNCC). The other pick is the collection of Indigenous Latina tales \u003cem>Sabrina & Corina\u003c/em> by Kali Fajardo-Anstine—a 2019 National Book Award Finalist.\u003c/p>\n\u003cp>For more information on finding the book club’s suggested reading, keep an eye on the library’s \u003ca href=\"https://twitter.com/oaklibrary\" target=\"_blank\" rel=\"noopener noreferrer\">Twitter account\u003c/a>, or check the library’s online catalog by searching the keywords “\u003ca href=\"https://encore.oaklandlibrary.org/iii/encore/search/C__Snoname%20books__Orightresult?lang=eng&suite=cobalt\" rel=\"nofollow\">Noname books\u003c/a>.”\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In all my years, I’ve never played a video game in which the main character was a mother. Not until the other day, that is, when I walked into Oakland’s \u003ca href=\"https://youthimpacthub.unitedrootsoakland.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Youth Impact Hub\u003c/a>.\u003c/p>\n\u003cp>The center, located on 28th and Telegraph and run by \u003ca href=\"https://unitedrootsoakland.org/\" target=\"_blank\" rel=\"noopener noreferrer\">United Roots\u003c/a>, is home to a number of youth-focused activities and organizations. I was there to check out one of them in particular: \u003ca href=\"http://gameheadsoakland.org/index.html\" target=\"_blank\" rel=\"noopener noreferrer\">Gameheads\u003c/a>, which teaches young folks how to create video games.\u003c/p>\n\u003cp>Some of the organization’s students—Marisa Diaz, Rebecca Taylor, Veronica Guzman, Angelina Perez and Brittany Medina—recently combined forces and created a game called \u003cem>Te Amo Mama\u003c/em>, in which the gamer plays the role of a mother hen, guiding her baby chick through every obstacle-laden stage of life.\u003c/p>\n\u003cp>“It’s frustrating!” I said, not too long after getting on the sticks, realizing that just trying to get your offspring to \u003cem>listen\u003c/em> to you is a challenge in itself.\u003c/p>\n\u003cp>They told me that’s the point. They want young folks to understand how difficult it is to be a mother. They also told me that the character of the hen was important, since it’s emblematic of maternal power, especially in Latinx households.\u003c/p>\n\u003cp>They’re set to unveil the game at a number of places in the near future. To hear all about the game before it’s launched, hit the link above.\u003c/p>\n\u003cp>\u003cem>A shorter version of this episode was first broadcast on Oct 13, 2019. To subscribe for more episodes of ‘Rightnowish,’ see the podcast page \u003ca href=\"https://www.kqed.org/podcasts/rightnowish\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In all my years, I’ve never played a video game in which the main character was a mother. Not until the other day, that is, when I walked into Oakland’s \u003ca href=\"https://youthimpacthub.unitedrootsoakland.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Youth Impact Hub\u003c/a>.\u003c/p>\n\u003cp>The center, located on 28th and Telegraph and run by \u003ca href=\"https://unitedrootsoakland.org/\" target=\"_blank\" rel=\"noopener noreferrer\">United Roots\u003c/a>, is home to a number of youth-focused activities and organizations. I was there to check out one of them in particular: \u003ca href=\"http://gameheadsoakland.org/index.html\" target=\"_blank\" rel=\"noopener noreferrer\">Gameheads\u003c/a>, which teaches young folks how to create video games.\u003c/p>\n\u003cp>Some of the organization’s students—Marisa Diaz, Rebecca Taylor, Veronica Guzman, Angelina Perez and Brittany Medina—recently combined forces and created a game called \u003cem>Te Amo Mama\u003c/em>, in which the gamer plays the role of a mother hen, guiding her baby chick through every obstacle-laden stage of life.\u003c/p>\n\u003cp>“It’s frustrating!” I said, not too long after getting on the sticks, realizing that just trying to get your offspring to \u003cem>listen\u003c/em> to you is a challenge in itself.\u003c/p>\n\u003cp>They told me that’s the point. They want young folks to understand how difficult it is to be a mother. They also told me that the character of the hen was important, since it’s emblematic of maternal power, especially in Latinx households.\u003c/p>\n\u003cp>They’re set to unveil the game at a number of places in the near future. To hear all about the game before it’s launched, hit the link above.\u003c/p>\n\u003cp>\u003cem>A shorter version of this episode was first broadcast on Oct 13, 2019. To subscribe for more episodes of ‘Rightnowish,’ see the podcast page \u003ca href=\"https://www.kqed.org/podcasts/rightnowish\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Not long ago, one of \u003ca href=\"https://www.instagram.com/lara_kaur/\" target=\"_blank\" rel=\"noopener noreferrer\">Lara Kaur\u003c/a>’s hard-drives was destroyed and she lost years of her digital photo work. To recover the data, she asked her community for support and with their donations she was able to more than cover her costs. As a token of appreciation, she started the Community Portrait Pop-Up where she takes high-quality portrait photographs for free.\u003c/p>\n\u003cp>The event has grown since it first started in early 2019 and occurs monthly, when the weather permits. Now it’s a gathering place for Oakland movers and shakers, where you can run into a gang of friends and meet artists, entrepreneurs and families. You can buy colorful jewelry, vegan tacos and dance to live DJ sets. But at the center of the event, it’s still all about the portraits — and when it’s your turn, people will cheer for you as you sit in front of Kaur’s lens.\u003c/p>\n\u003cfigure id=\"attachment_13872010\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13872010\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/DSC7850-800x535.jpg\" alt=\"Lara Kaur sips tea at home.\" width=\"800\" height=\"535\">\u003cfigcaption class=\"wp-caption-text\">Lara Kaur sips tea at home. \u003ccite>(Pendarvis Harshaw/ KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>These simple portraits go a long way. The pics are foundational for entrepreneurs as they start their businesses, and Kaur’s photographs of families help create important mementos for those who have a hard time finding funds for traditional portraits.\u003c/p>\n\u003cp>After attending one of Lara’s events, I met with her at her house in West Oakland and we discussed the power of photography and the importance of community over a couple of mugs of Chai. As we finished our drinks, I asked her about her favorite photograph: she showed me an image from her grandparents’ wedding in Punjab. After seeing Lara’s work for some time, all it took was one image to understand why photography is her tool: these images preserve culture and help to build community.\u003c/p>\n\u003cp>[gallery type=\"slideshow\" ids=\"13871776,13871782,13871781,13871777,13871778,13871779,13871710\"]\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Not long ago, one of \u003ca href=\"https://www.instagram.com/lara_kaur/\" target=\"_blank\" rel=\"noopener noreferrer\">Lara Kaur\u003c/a>’s hard-drives was destroyed and she lost years of her digital photo work. To recover the data, she asked her community for support and with their donations she was able to more than cover her costs. As a token of appreciation, she started the Community Portrait Pop-Up where she takes high-quality portrait photographs for free.\u003c/p>\n\u003cp>The event has grown since it first started in early 2019 and occurs monthly, when the weather permits. Now it’s a gathering place for Oakland movers and shakers, where you can run into a gang of friends and meet artists, entrepreneurs and families. You can buy colorful jewelry, vegan tacos and dance to live DJ sets. But at the center of the event, it’s still all about the portraits — and when it’s your turn, people will cheer for you as you sit in front of Kaur’s lens.\u003c/p>\n\u003cfigure id=\"attachment_13872010\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13872010\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/DSC7850-800x535.jpg\" alt=\"Lara Kaur sips tea at home.\" width=\"800\" height=\"535\">\u003cfigcaption class=\"wp-caption-text\">Lara Kaur sips tea at home. \u003ccite>(Pendarvis Harshaw/ KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>These simple portraits go a long way. The pics are foundational for entrepreneurs as they start their businesses, and Kaur’s photographs of families help create important mementos for those who have a hard time finding funds for traditional portraits.\u003c/p>\n\u003cp>After attending one of Lara’s events, I met with her at her house in West Oakland and we discussed the power of photography and the importance of community over a couple of mugs of Chai. As we finished our drinks, I asked her about her favorite photograph: she showed me an image from her grandparents’ wedding in Punjab. After seeing Lara’s work for some time, all it took was one image to understand why photography is her tool: these images preserve culture and help to build community.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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