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"headTitle": "In Their Versions of the West, the Landscapes Are Never Empty | KQED",
"content": "\u003cp>From 1954 to 1999, Marlboro cigarette advertisements featured a hypermasculine cowboy riding a horse against the backdrop of a Southwestern or Rocky Mountain scene. The images projected a sense of independence and ruggedness within seemingly vast and empty landscapes. They became iconic representations of “the West,” otherwise known as the western United States.\u003c/p>\n\u003cp>Even relatively recent images like these rely on hundreds of years of visual associations of the West with certain ideals about European-American masculinity, adventure and colonial conquest. So by the time a consumer saw the Marlboro Man on the pages of a glossy magazine, the desired associations arose instantaneously. The Marlboro Man both relies upon and propels a certain mythic vision of the West. But there are so many other visions.\u003c/p>\n\u003cp>\u003ca href=\"https://www.sfartscommission.org/experience-art/exhibitions/westward\">\u003ci>Westward\u003c/i>\u003c/a>, a year-long exhibition by the San Francisco Arts Commission at City Hall, presents the perspectives of 10 women photographers focusing on the land and people of the West. These artists focus on family, community, subjectivity, the fragility of ecosystems and other subjects often sidelined in popular depictions of the region.\u003c/p>\n\u003cfigure id=\"attachment_13833449\" class=\"wp-caption aligncenter\" style=\"max-width: 1800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13833449\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/Greta-Pratt-Fistful-of-Dollars-from-the-series-_A-Cloud-of-Dust_-2016.jpg\" alt=\"Greta Pratt, 'Fistful of Dollars, Browning, MT,' 2016. \" width=\"1800\" height=\"1350\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Greta-Pratt-Fistful-of-Dollars-from-the-series-_A-Cloud-of-Dust_-2016.jpg 1800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Greta-Pratt-Fistful-of-Dollars-from-the-series-_A-Cloud-of-Dust_-2016-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Greta-Pratt-Fistful-of-Dollars-from-the-series-_A-Cloud-of-Dust_-2016-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Greta-Pratt-Fistful-of-Dollars-from-the-series-_A-Cloud-of-Dust_-2016-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Greta-Pratt-Fistful-of-Dollars-from-the-series-_A-Cloud-of-Dust_-2016-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Greta-Pratt-Fistful-of-Dollars-from-the-series-_A-Cloud-of-Dust_-2016-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Greta-Pratt-Fistful-of-Dollars-from-the-series-_A-Cloud-of-Dust_-2016-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Greta-Pratt-Fistful-of-Dollars-from-the-series-_A-Cloud-of-Dust_-2016-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Greta-Pratt-Fistful-of-Dollars-from-the-series-_A-Cloud-of-Dust_-2016-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Greta-Pratt-Fistful-of-Dollars-from-the-series-_A-Cloud-of-Dust_-2016-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Greta-Pratt-Fistful-of-Dollars-from-the-series-_A-Cloud-of-Dust_-2016-520x390.jpg 520w\" sizes=\"(max-width: 1800px) 100vw, 1800px\">\u003cfigcaption class=\"wp-caption-text\">Greta Pratt, ‘Fistful of Dollars, Browning, MT,’ 2016. \u003ccite>(Courtesy of the artist and the San Francisco Arts Commission)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In direct conversation with images of the Marlboro Man is \u003ca href=\"http://www.gretapratt.com\" target=\"_blank\" rel=\"noopener\">Greta Pratt\u003c/a>’s 2016 photograph \u003ci>Fistful of Dollars, Browning, MT\u003c/i>, in which two men ride horses on the sidewalk as they approach a general store and pawn shop. Pratt inverts the romantic image of a solitary man riding his horse in the vast emptiness of the West. Instead, these men seem to be using horses as banal modes of transportation; they exist in an ordinary public environment.\u003c/p>\n\u003cp>But this photograph is also a semiotic nesting doll. The title comes from the name of the general store, which is also the name of a 1964 spaghetti western starring Clint Eastwood. Framed between the two men is a sign advertising a pack of Marlboros for $6.79. Browning, Montana is also the home of the Blackfeet Indian Reservation, and these men are much more likely to be members of that nation than European-American cowboys of American lore.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Pratt’s photographs present the West as a domestic place, an approach similarly taken by \u003ca href=\"http://kathyalanderos.com\" target=\"_blank\" rel=\"noopener\">Kathya Maria Landeros\u003c/a>. Landeros’ work in \u003ci>Westward\u003c/i> focuses on Latino communities defined by agricultural economies and immigration. One photograph shows a group of young boys riding bikes on a less-than-verdant lawn between three one-story homes. The photograph captures an almost suburban atmosphere, but the caption reveals that this is actually a federal migrant worker community in the Sacramento Valley.\u003c/p>\n\u003cp>While the subjects in these works are rural agricultural workers and their families—a more modern archetype of the rural West—Landeros’ work reveals a rejection of the solipsism of the lone cowboy in favor of the creation of community even among those without a consistent place to call home.\u003c/p>\n\u003cfigure id=\"attachment_13833460\" class=\"wp-caption aligncenter\" style=\"max-width: 1240px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13833460\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/death-wooed-us.jpg\" alt=\"Donna J. Wan, 'Golden Gate Bridge (#6),' 2013.\" width=\"1240\" height=\"992\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/death-wooed-us.jpg 1240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/death-wooed-us-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/death-wooed-us-800x640.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/death-wooed-us-768x614.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/death-wooed-us-1020x816.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/death-wooed-us-1200x960.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/death-wooed-us-1180x944.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/death-wooed-us-960x768.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/death-wooed-us-240x192.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/death-wooed-us-375x300.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/death-wooed-us-520x416.jpg 520w\" sizes=\"(max-width: 1240px) 100vw, 1240px\">\u003cfigcaption class=\"wp-caption-text\">Donna J. Wan, ‘Golden Gate Bridge (#6),’ 2013. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>From the Marlboro Man to Yosemite Sam, the West is often thought of as a place of maximum masculinity, a place of grit, determination and heroic self-actualization, particularly for cowboys, miners, bikers and the like. The misleadingly named Pacific Ocean can itself be seen as a site of adventure and danger. But in \u003ci>Death Wooed Us\u003c/i>, \u003ca href=\"http://www.donnajwan.com/\" target=\"_blank\" rel=\"noopener\">Donna J. Wan\u003c/a> presents the California coast in a series of seductive and often airy photographs. \u003ci>Golden Gate Bridge (#6)\u003c/i>, for example, depicts a small sailboat enveloped by the Golden Gate’s hallmark fog. The scene appears calm, but the insignificance of the boat against the backdrop of the Pacific suggests an inherent danger.\u003c/p>\n\u003cp>The settings of \u003ci>Death Wooed Us\u003c/i> aren’t just beautiful sites to Wan—she chose to photograph locations that have attracted those wishing to end their lives. Wan herself was drawn to them when she experienced a severe case of postpartum depression. She says her intention was not to romanticize suicide, but to offer a glimpse into the minds of those who seek out beautiful places in which to die. Though it may take great strength to overcome the desire to end one’s life, Wan is open to and emphasizes this vulnerability.\u003c/p>\n\u003cfigure id=\"attachment_13833450\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13833450\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/Dorame_Mercedes_Visions_of_Home.jpg\" alt=\"Mercedes Dorame, 'Visions of home - Xaroochot Huuhuvaroy,' 2013.\" width=\"2048\" height=\"2048\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Dorame_Mercedes_Visions_of_Home.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Dorame_Mercedes_Visions_of_Home-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Dorame_Mercedes_Visions_of_Home-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Dorame_Mercedes_Visions_of_Home-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Dorame_Mercedes_Visions_of_Home-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Dorame_Mercedes_Visions_of_Home-1200x1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Dorame_Mercedes_Visions_of_Home-1920x1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Dorame_Mercedes_Visions_of_Home-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Dorame_Mercedes_Visions_of_Home-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Dorame_Mercedes_Visions_of_Home-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Dorame_Mercedes_Visions_of_Home-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Dorame_Mercedes_Visions_of_Home-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Dorame_Mercedes_Visions_of_Home-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Dorame_Mercedes_Visions_of_Home-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Dorame_Mercedes_Visions_of_Home-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Dorame_Mercedes_Visions_of_Home-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Dorame_Mercedes_Visions_of_Home-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Dorame_Mercedes_Visions_of_Home-150x150.jpg 150w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Mercedes Dorame, ‘Visions of home – Xaroochot Huuhuvaroy,’ 2013. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Long before Wan captured her images, one of the most famous early photographers of the Western United States was Timothy O’Sullivan, a member of a federal geological survey of the region in the 1860s. O’Sullivan’s documentation of the region presents landscapes of profound emptiness often with no reference to local human history, which stretches back more than 10,000 years. Erasure of history is an instrument of colonialism that primes societies to take over that which is not theirs. At the same time, calling attention to this history or re-inserting it into the landscape is an act of reclamation.\u003c/p>\n\u003cp>Gabrielino/Tongva artist \u003ca href=\"https://www.mercedesdorame.com/\" target=\"_blank\" rel=\"noopener\">Mercedes Dorame\u003c/a> grapples with the disconnection between land and history forced on many Indigenous people through displacement, removal and loss of sovereignty. This is especially true of Dorame’s tribe, which was historically located in the Los Angeles area and today lacks even federal recognition. In the series \u003ci>Earth the Same as Heaven – ‘Ooxor ‘Eyaa Tokuupar\u003c/i>, Dorame creates and photographs ceremonial interventions into this landscape in order to reconstruct the bonds and cultural memory that have been frayed over generations.\u003c/p>\n\u003cp>In relatively anonymous settings—all photographs are cropped close, only revealing the familiar flora of Southern California—Dorame places items like sage, feathers, metates, cinnamon, red yarn and a fox pelt in a manner that suggests ritual significance. But whether, for example, a fox pelt encircled by cinnamon has a traditional meaning in Gabrielino/Tongva culture is beside the point. Dorame insists that “the imagined can be equally as powerful as facts,” and whatever the story behind these images, they can be seen as a proactive construction or reconstruction of a relationship between the artist and her family’s history.\u003c/p>\n\u003cp>The artists in \u003ci>Westward\u003c/i> don’t present a unified aesthetic or technique for viewing the West. This is not “the feminine way.” Rather, the exhibition demonstrates the complexity and nuance of the region and its landscapes as well as the prevalence of one very specific perspective that dominates in popular culture. \u003ci>Westward\u003c/i> is full of counternarratives while still only scratching the surface.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>‘Westward’ is on view on the ground floor of City Hall in San Francisco through May 10, 2019. \u003ca href=\"https://www.sfartscommission.org/experience-art/exhibitions/westward\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"excerpt": "In 'Westward,' 10 women photographers present perspectives on the American West far removed from the Marlboro Man.",
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"title": "In Their Versions of the West, the Landscapes Are Never Empty | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>From 1954 to 1999, Marlboro cigarette advertisements featured a hypermasculine cowboy riding a horse against the backdrop of a Southwestern or Rocky Mountain scene. The images projected a sense of independence and ruggedness within seemingly vast and empty landscapes. They became iconic representations of “the West,” otherwise known as the western United States.\u003c/p>\n\u003cp>Even relatively recent images like these rely on hundreds of years of visual associations of the West with certain ideals about European-American masculinity, adventure and colonial conquest. So by the time a consumer saw the Marlboro Man on the pages of a glossy magazine, the desired associations arose instantaneously. The Marlboro Man both relies upon and propels a certain mythic vision of the West. But there are so many other visions.\u003c/p>\n\u003cp>\u003ca href=\"https://www.sfartscommission.org/experience-art/exhibitions/westward\">\u003ci>Westward\u003c/i>\u003c/a>, a year-long exhibition by the San Francisco Arts Commission at City Hall, presents the perspectives of 10 women photographers focusing on the land and people of the West. These artists focus on family, community, subjectivity, the fragility of ecosystems and other subjects often sidelined in popular depictions of the region.\u003c/p>\n\u003cfigure id=\"attachment_13833449\" class=\"wp-caption aligncenter\" style=\"max-width: 1800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13833449\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/Greta-Pratt-Fistful-of-Dollars-from-the-series-_A-Cloud-of-Dust_-2016.jpg\" alt=\"Greta Pratt, 'Fistful of Dollars, Browning, MT,' 2016. \" width=\"1800\" height=\"1350\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Greta-Pratt-Fistful-of-Dollars-from-the-series-_A-Cloud-of-Dust_-2016.jpg 1800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Greta-Pratt-Fistful-of-Dollars-from-the-series-_A-Cloud-of-Dust_-2016-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Greta-Pratt-Fistful-of-Dollars-from-the-series-_A-Cloud-of-Dust_-2016-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Greta-Pratt-Fistful-of-Dollars-from-the-series-_A-Cloud-of-Dust_-2016-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Greta-Pratt-Fistful-of-Dollars-from-the-series-_A-Cloud-of-Dust_-2016-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Greta-Pratt-Fistful-of-Dollars-from-the-series-_A-Cloud-of-Dust_-2016-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Greta-Pratt-Fistful-of-Dollars-from-the-series-_A-Cloud-of-Dust_-2016-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Greta-Pratt-Fistful-of-Dollars-from-the-series-_A-Cloud-of-Dust_-2016-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Greta-Pratt-Fistful-of-Dollars-from-the-series-_A-Cloud-of-Dust_-2016-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Greta-Pratt-Fistful-of-Dollars-from-the-series-_A-Cloud-of-Dust_-2016-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Greta-Pratt-Fistful-of-Dollars-from-the-series-_A-Cloud-of-Dust_-2016-520x390.jpg 520w\" sizes=\"(max-width: 1800px) 100vw, 1800px\">\u003cfigcaption class=\"wp-caption-text\">Greta Pratt, ‘Fistful of Dollars, Browning, MT,’ 2016. \u003ccite>(Courtesy of the artist and the San Francisco Arts Commission)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In direct conversation with images of the Marlboro Man is \u003ca href=\"http://www.gretapratt.com\" target=\"_blank\" rel=\"noopener\">Greta Pratt\u003c/a>’s 2016 photograph \u003ci>Fistful of Dollars, Browning, MT\u003c/i>, in which two men ride horses on the sidewalk as they approach a general store and pawn shop. Pratt inverts the romantic image of a solitary man riding his horse in the vast emptiness of the West. Instead, these men seem to be using horses as banal modes of transportation; they exist in an ordinary public environment.\u003c/p>\n\u003cp>But this photograph is also a semiotic nesting doll. The title comes from the name of the general store, which is also the name of a 1964 spaghetti western starring Clint Eastwood. Framed between the two men is a sign advertising a pack of Marlboros for $6.79. Browning, Montana is also the home of the Blackfeet Indian Reservation, and these men are much more likely to be members of that nation than European-American cowboys of American lore.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Pratt’s photographs present the West as a domestic place, an approach similarly taken by \u003ca href=\"http://kathyalanderos.com\" target=\"_blank\" rel=\"noopener\">Kathya Maria Landeros\u003c/a>. Landeros’ work in \u003ci>Westward\u003c/i> focuses on Latino communities defined by agricultural economies and immigration. One photograph shows a group of young boys riding bikes on a less-than-verdant lawn between three one-story homes. The photograph captures an almost suburban atmosphere, but the caption reveals that this is actually a federal migrant worker community in the Sacramento Valley.\u003c/p>\n\u003cp>While the subjects in these works are rural agricultural workers and their families—a more modern archetype of the rural West—Landeros’ work reveals a rejection of the solipsism of the lone cowboy in favor of the creation of community even among those without a consistent place to call home.\u003c/p>\n\u003cfigure id=\"attachment_13833460\" class=\"wp-caption aligncenter\" style=\"max-width: 1240px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13833460\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/death-wooed-us.jpg\" alt=\"Donna J. Wan, 'Golden Gate Bridge (#6),' 2013.\" width=\"1240\" height=\"992\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/death-wooed-us.jpg 1240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/death-wooed-us-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/death-wooed-us-800x640.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/death-wooed-us-768x614.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/death-wooed-us-1020x816.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/death-wooed-us-1200x960.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/death-wooed-us-1180x944.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/death-wooed-us-960x768.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/death-wooed-us-240x192.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/death-wooed-us-375x300.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/death-wooed-us-520x416.jpg 520w\" sizes=\"(max-width: 1240px) 100vw, 1240px\">\u003cfigcaption class=\"wp-caption-text\">Donna J. Wan, ‘Golden Gate Bridge (#6),’ 2013. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>From the Marlboro Man to Yosemite Sam, the West is often thought of as a place of maximum masculinity, a place of grit, determination and heroic self-actualization, particularly for cowboys, miners, bikers and the like. The misleadingly named Pacific Ocean can itself be seen as a site of adventure and danger. But in \u003ci>Death Wooed Us\u003c/i>, \u003ca href=\"http://www.donnajwan.com/\" target=\"_blank\" rel=\"noopener\">Donna J. Wan\u003c/a> presents the California coast in a series of seductive and often airy photographs. \u003ci>Golden Gate Bridge (#6)\u003c/i>, for example, depicts a small sailboat enveloped by the Golden Gate’s hallmark fog. The scene appears calm, but the insignificance of the boat against the backdrop of the Pacific suggests an inherent danger.\u003c/p>\n\u003cp>The settings of \u003ci>Death Wooed Us\u003c/i> aren’t just beautiful sites to Wan—she chose to photograph locations that have attracted those wishing to end their lives. Wan herself was drawn to them when she experienced a severe case of postpartum depression. She says her intention was not to romanticize suicide, but to offer a glimpse into the minds of those who seek out beautiful places in which to die. Though it may take great strength to overcome the desire to end one’s life, Wan is open to and emphasizes this vulnerability.\u003c/p>\n\u003cfigure id=\"attachment_13833450\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13833450\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/Dorame_Mercedes_Visions_of_Home.jpg\" alt=\"Mercedes Dorame, 'Visions of home - Xaroochot Huuhuvaroy,' 2013.\" width=\"2048\" height=\"2048\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Dorame_Mercedes_Visions_of_Home.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Dorame_Mercedes_Visions_of_Home-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Dorame_Mercedes_Visions_of_Home-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Dorame_Mercedes_Visions_of_Home-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Dorame_Mercedes_Visions_of_Home-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Dorame_Mercedes_Visions_of_Home-1200x1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Dorame_Mercedes_Visions_of_Home-1920x1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Dorame_Mercedes_Visions_of_Home-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Dorame_Mercedes_Visions_of_Home-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Dorame_Mercedes_Visions_of_Home-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Dorame_Mercedes_Visions_of_Home-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Dorame_Mercedes_Visions_of_Home-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Dorame_Mercedes_Visions_of_Home-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Dorame_Mercedes_Visions_of_Home-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Dorame_Mercedes_Visions_of_Home-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Dorame_Mercedes_Visions_of_Home-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Dorame_Mercedes_Visions_of_Home-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Dorame_Mercedes_Visions_of_Home-150x150.jpg 150w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Mercedes Dorame, ‘Visions of home – Xaroochot Huuhuvaroy,’ 2013. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Long before Wan captured her images, one of the most famous early photographers of the Western United States was Timothy O’Sullivan, a member of a federal geological survey of the region in the 1860s. O’Sullivan’s documentation of the region presents landscapes of profound emptiness often with no reference to local human history, which stretches back more than 10,000 years. Erasure of history is an instrument of colonialism that primes societies to take over that which is not theirs. At the same time, calling attention to this history or re-inserting it into the landscape is an act of reclamation.\u003c/p>\n\u003cp>Gabrielino/Tongva artist \u003ca href=\"https://www.mercedesdorame.com/\" target=\"_blank\" rel=\"noopener\">Mercedes Dorame\u003c/a> grapples with the disconnection between land and history forced on many Indigenous people through displacement, removal and loss of sovereignty. This is especially true of Dorame’s tribe, which was historically located in the Los Angeles area and today lacks even federal recognition. In the series \u003ci>Earth the Same as Heaven – ‘Ooxor ‘Eyaa Tokuupar\u003c/i>, Dorame creates and photographs ceremonial interventions into this landscape in order to reconstruct the bonds and cultural memory that have been frayed over generations.\u003c/p>\n\u003cp>In relatively anonymous settings—all photographs are cropped close, only revealing the familiar flora of Southern California—Dorame places items like sage, feathers, metates, cinnamon, red yarn and a fox pelt in a manner that suggests ritual significance. But whether, for example, a fox pelt encircled by cinnamon has a traditional meaning in Gabrielino/Tongva culture is beside the point. Dorame insists that “the imagined can be equally as powerful as facts,” and whatever the story behind these images, they can be seen as a proactive construction or reconstruction of a relationship between the artist and her family’s history.\u003c/p>\n\u003cp>The artists in \u003ci>Westward\u003c/i> don’t present a unified aesthetic or technique for viewing the West. This is not “the feminine way.” Rather, the exhibition demonstrates the complexity and nuance of the region and its landscapes as well as the prevalence of one very specific perspective that dominates in popular culture. \u003ci>Westward\u003c/i> is full of counternarratives while still only scratching the surface.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Westward’ is on view on the ground floor of City Hall in San Francisco through May 10, 2019. \u003ca href=\"https://www.sfartscommission.org/experience-art/exhibitions/westward\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Prince, Before the Fame, Shown in New Photo Exhibition",
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"content": "\u003cp>Prince recorded his debut album \u003cem>For You\u003c/em> over 40 years ago at the Record Plant in Sausalito. By all accounts, he clashed with the producer hired by the record label throughout the recording and mixing—establishing himself as one with a dedicated musical vision right out of the gate. \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=B0Rqc5uQJ_k\u003c/p>\n\u003cp>Now, the photographer hired by the record label exhibits a small exhibit of photographs of Prince, some never before seen, at a new gallery called Family Affair in the Lower Haight. These images of Prince, at just 19 years old, reveal so much about him as an artist and personality. He’s determined, he’s dripping with style, but he hasn’t yet been touched by fame, and it shows.\u003c/p>\n\u003cp>The photographer, Robert Whitman, gave us a glimpse into what it was like to document the unknown Minneapolis musician in 1977.\u003c/p>\n\u003cp>“He was very very shy,” Whitman said. “I was pretty wild and crazy at the time. We just wanted to make some cool pictures together. When we were shooting on the street I was screaming and, you know, he’s kind of shy and he didn’t want the whole world to know what he’s up to. But everybody on the street stopped and looked, and he was annoyed, but I got a lot of interesting expressions from him. And then at one point he just turned around and gave me the finger.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Always an original, Prince ultimately decided to use his own photographer for the album—but these images of him are some of our favorites.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Prince: Pre-Fame\u003c/em> is up at Family Affair gallery on Haight Street, right next to Groove Merchant records, with a grand opening on Thursday, June 7 (Prince’s birthday) and running through July 7. \u003ca href=\"https://www.eventbrite.com/e/prince-pre-fame-gallery-opening-tickets-46543054529\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Prince recorded his debut album \u003cem>For You\u003c/em> over 40 years ago at the Record Plant in Sausalito. By all accounts, he clashed with the producer hired by the record label throughout the recording and mixing—establishing himself as one with a dedicated musical vision right out of the gate. \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/B0Rqc5uQJ_k'\n title='//www.youtube.com/embed/B0Rqc5uQJ_k'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Now, the photographer hired by the record label exhibits a small exhibit of photographs of Prince, some never before seen, at a new gallery called Family Affair in the Lower Haight. These images of Prince, at just 19 years old, reveal so much about him as an artist and personality. He’s determined, he’s dripping with style, but he hasn’t yet been touched by fame, and it shows.\u003c/p>\n\u003cp>The photographer, Robert Whitman, gave us a glimpse into what it was like to document the unknown Minneapolis musician in 1977.\u003c/p>\n\u003cp>“He was very very shy,” Whitman said. “I was pretty wild and crazy at the time. We just wanted to make some cool pictures together. When we were shooting on the street I was screaming and, you know, he’s kind of shy and he didn’t want the whole world to know what he’s up to. But everybody on the street stopped and looked, and he was annoyed, but I got a lot of interesting expressions from him. And then at one point he just turned around and gave me the finger.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Always an original, Prince ultimately decided to use his own photographer for the album—but these images of him are some of our favorites.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Prince: Pre-Fame\u003c/em> is up at Family Affair gallery on Haight Street, right next to Groove Merchant records, with a grand opening on Thursday, June 7 (Prince’s birthday) and running through July 7. \u003ca href=\"https://www.eventbrite.com/e/prince-pre-fame-gallery-opening-tickets-46543054529\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "3 Photographers Who Captured the Undersides of Life",
"headTitle": "3 Photographers Who Captured the Undersides of Life | KQED",
"content": "\u003cp>We snap a selfie with the tap of a finger. We’re used to preserving smiling moments.\u003c/p>\n\u003cp>At the Museum of Contemporary Art in Los Angeles, there’s an exhibit right now which goes to darker places with a camera. The images in “Real Worlds” are from three major photographers, taken over half a century.\u003c/p>\n\u003cp>There’s Brassaï, a French-Hungarian who made his reputation revealing secret Paris nights between the World Wars. There’s Diane Arbus, American, who said in the 1960s, “I really believe there are things nobody would see if I didn’t photograph them.” And there’s Nan Goldin, another American, who stunned the 1980s with her series “The Ballad Of Sexual Dependency.”\u003c/p>\n\u003cp>All three picture-takers are revolutionary: They photographed, with profound intimacy, the undersides of life. Their images are stunning, sometimes shocking, often provocative.\u003c/p>\n\u003cp>In nighttime Paris, Brassaï stalked the underworld — brothels, streetwalkers. But at MOCA, there’s a Brassaï shot of a happy night at an Afro-Caribbean club in Montmartre. Black and white people smoke together, sip Perrier or stronger stuff, dance. And there’s an intriguing woman on the left.\u003c/p>\n\u003cfigure id=\"attachment_13828439\" class=\"wp-caption alignright\" style=\"max-width: 598px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/brassai_enl-7de308ae832d7ad2dc34a852b52d5edc85654e7b.jpg\" alt='Brassaï, \"At the Cabane Cubaine in Montmartre,\" c. 1932.' width=\"598\" height=\"800\" class=\"size-full wp-image-13828439\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/brassai_enl-7de308ae832d7ad2dc34a852b52d5edc85654e7b.jpg 598w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/brassai_enl-7de308ae832d7ad2dc34a852b52d5edc85654e7b-160x214.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/brassai_enl-7de308ae832d7ad2dc34a852b52d5edc85654e7b-240x321.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/brassai_enl-7de308ae832d7ad2dc34a852b52d5edc85654e7b-375x502.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/brassai_enl-7de308ae832d7ad2dc34a852b52d5edc85654e7b-520x696.jpg 520w\" sizes=\"(max-width: 598px) 100vw, 598px\">\u003cfigcaption class=\"wp-caption-text\">Brassaï, “At the Cabane Cubaine in Montmartre,” c. 1932. \u003ccite>(Brassaï/Courtesy of The Museum of Contemporary Art, Los Angeles, The Ralph M. Parsons Foundation Photography Collection)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“She’s wearing this white hat that’s just off to the side, a kind of kerchief hat, and she’s staring directly at the camera,” says curator Lanka Tattersall. “And this is the thing that I find so remarkable in this image. It’s taken in 1932. She’s looking at Brassaï and she’s very aware of her image being taken by this photographer.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It didn’t happen that much in 1932 — people roaming around, unannounced, taking your picture. What might she have been thinking?\u003c/p>\n\u003cp>“She’s probably thinking — you know, this scene is being preserved,” Tattersall says. “I think that’s what makes this photograph absolutely contemporary, is an awareness of what it is to be photographed, and to really think about having your image distributed across time and space.”\u003c/p>\n\u003cp>Thirty years later, American photographer Diane Arbus inherited Brassaï’s vision. We were used to having our pictures taken by the 1960s. But Arbus’ focus was new. In black and white, she documented people on the fringes. Giants, bearded ladies, people with mental disabilities or those who may have been institutionalized. In Tattersall’s words: “people whose bodies or sexual identities didn’t conform with kind of mainstream narrative of what it was to be an American.”\u003c/p>\n\u003cp>Arbus was accused of voyeurism, of going after what were then called freak shows. But Tattersall, the MOCA curator, says Arbus forged relationships with her subjects, and that there’s empathy in the pictures.\u003c/p>\n\u003cp>“To me, she’s photographing these remarkable individuals who want to be photographed,” Tattersall says.\u003c/p>\n\u003cfigure id=\"attachment_13828438\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/nan-goldin_enl-19ce6ccdbef987aa3faec1fc7fbbba5e3f43901f-800x530.jpg\" alt='Nan Goldin, \"Nan one month after being battered,\" 1984.' width=\"800\" height=\"530\" class=\"size-medium wp-image-13828438\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/nan-goldin_enl-19ce6ccdbef987aa3faec1fc7fbbba5e3f43901f-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/nan-goldin_enl-19ce6ccdbef987aa3faec1fc7fbbba5e3f43901f-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/nan-goldin_enl-19ce6ccdbef987aa3faec1fc7fbbba5e3f43901f-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/nan-goldin_enl-19ce6ccdbef987aa3faec1fc7fbbba5e3f43901f-1020x675.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/nan-goldin_enl-19ce6ccdbef987aa3faec1fc7fbbba5e3f43901f-1180x781.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/nan-goldin_enl-19ce6ccdbef987aa3faec1fc7fbbba5e3f43901f-960x636.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/nan-goldin_enl-19ce6ccdbef987aa3faec1fc7fbbba5e3f43901f-240x159.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/nan-goldin_enl-19ce6ccdbef987aa3faec1fc7fbbba5e3f43901f-375x248.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/nan-goldin_enl-19ce6ccdbef987aa3faec1fc7fbbba5e3f43901f-520x344.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/nan-goldin_enl-19ce6ccdbef987aa3faec1fc7fbbba5e3f43901f.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nan Goldin, “Nan one month after being battered,” 1984. \u003ccite>(Nan Goldin/Courtesy of The Museum of Contemporary Art, Los Angeles, The Nimoy Family Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There’s a remarkable 1969 photo Arbus called \u003ca href=\"https://www.moca.org/collection/work/transvestite-at-her-birthday-party-nyc\">“Transvestite at her birthday party.”\u003c/a>\u003c/p>\n\u003cp>“And it’s just this person lying alone, on a bed,” Tattersall says. “She’s got some balloons taped up on the wall. It might just be a two-person birthday party. It might just be Arbus and this one woman. They’re having a fabulous time.”\u003c/p>\n\u003cp>Transgender people also intrigue photographer Nan Goldin. Twenty years after Arbus, Goldin photographs them — as well as gays and lesbians. Hers are the most provocative pictures in the MOCA exhibit.\u003c/p>\n\u003cp>She also shows people having sex — friends, who let her photograph them having sex. Her camera is part of their scene. Are the pictures invasive?\u003c/p>\n\u003cp>“I think they’re voracious,” Tattersall says.\u003c/p>\n\u003cp>Goldin is exploring relationships — what happens in love, and when love goes wrong. Her 1984 self-portrait, “Nan one month after being battered” (pictured atop this page) shows the damage her lover did to her. Dark bruises under her eyes — the left eye bloody in her swollen face — she looks right at us. The look is uncompromising.\u003c/p>\n\u003cp>“I think there’s a chilling way in which she’s saying, ‘This is what it looks like to be battered,'” Tattersall says. “But this is also what it looks like to take control of your own image.”\u003c/p>\n\u003cp>Nan Goldin was 31 years old in that photo. One battered eye was nearly blind. But she’s painted her lips carefully. A bright, bright red.\u003c/p>\n\u003cp>“Even if that moment of violence and abuse is one of victimization, there’s a way in which she’s saying, “‘I am taking my own agency back in this image,'” Tattersall says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>There’s a lot of rough stuff in this exhibition — images and ideas that linger long after you’ve left the building. They trace how great photographers have used their cameras to make us see, understand or recoil, in the course of half a century. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=3+Photographers+Who+Captured+The+Undersides+Of+Life&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "The Museum of Contemporary Art in Los Angeles is currently exhibiting the work of Brassaï, Diane Arbus and Nan Goldin, who all documented people far from the mainstream with profound intimacy.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>We snap a selfie with the tap of a finger. We’re used to preserving smiling moments.\u003c/p>\n\u003cp>At the Museum of Contemporary Art in Los Angeles, there’s an exhibit right now which goes to darker places with a camera. The images in “Real Worlds” are from three major photographers, taken over half a century.\u003c/p>\n\u003cp>There’s Brassaï, a French-Hungarian who made his reputation revealing secret Paris nights between the World Wars. There’s Diane Arbus, American, who said in the 1960s, “I really believe there are things nobody would see if I didn’t photograph them.” And there’s Nan Goldin, another American, who stunned the 1980s with her series “The Ballad Of Sexual Dependency.”\u003c/p>\n\u003cp>All three picture-takers are revolutionary: They photographed, with profound intimacy, the undersides of life. Their images are stunning, sometimes shocking, often provocative.\u003c/p>\n\u003cp>In nighttime Paris, Brassaï stalked the underworld — brothels, streetwalkers. But at MOCA, there’s a Brassaï shot of a happy night at an Afro-Caribbean club in Montmartre. Black and white people smoke together, sip Perrier or stronger stuff, dance. And there’s an intriguing woman on the left.\u003c/p>\n\u003cfigure id=\"attachment_13828439\" class=\"wp-caption alignright\" style=\"max-width: 598px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/brassai_enl-7de308ae832d7ad2dc34a852b52d5edc85654e7b.jpg\" alt='Brassaï, \"At the Cabane Cubaine in Montmartre,\" c. 1932.' width=\"598\" height=\"800\" class=\"size-full wp-image-13828439\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/brassai_enl-7de308ae832d7ad2dc34a852b52d5edc85654e7b.jpg 598w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/brassai_enl-7de308ae832d7ad2dc34a852b52d5edc85654e7b-160x214.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/brassai_enl-7de308ae832d7ad2dc34a852b52d5edc85654e7b-240x321.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/brassai_enl-7de308ae832d7ad2dc34a852b52d5edc85654e7b-375x502.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/brassai_enl-7de308ae832d7ad2dc34a852b52d5edc85654e7b-520x696.jpg 520w\" sizes=\"(max-width: 598px) 100vw, 598px\">\u003cfigcaption class=\"wp-caption-text\">Brassaï, “At the Cabane Cubaine in Montmartre,” c. 1932. \u003ccite>(Brassaï/Courtesy of The Museum of Contemporary Art, Los Angeles, The Ralph M. Parsons Foundation Photography Collection)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“She’s wearing this white hat that’s just off to the side, a kind of kerchief hat, and she’s staring directly at the camera,” says curator Lanka Tattersall. “And this is the thing that I find so remarkable in this image. It’s taken in 1932. She’s looking at Brassaï and she’s very aware of her image being taken by this photographer.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It didn’t happen that much in 1932 — people roaming around, unannounced, taking your picture. What might she have been thinking?\u003c/p>\n\u003cp>“She’s probably thinking — you know, this scene is being preserved,” Tattersall says. “I think that’s what makes this photograph absolutely contemporary, is an awareness of what it is to be photographed, and to really think about having your image distributed across time and space.”\u003c/p>\n\u003cp>Thirty years later, American photographer Diane Arbus inherited Brassaï’s vision. We were used to having our pictures taken by the 1960s. But Arbus’ focus was new. In black and white, she documented people on the fringes. Giants, bearded ladies, people with mental disabilities or those who may have been institutionalized. In Tattersall’s words: “people whose bodies or sexual identities didn’t conform with kind of mainstream narrative of what it was to be an American.”\u003c/p>\n\u003cp>Arbus was accused of voyeurism, of going after what were then called freak shows. But Tattersall, the MOCA curator, says Arbus forged relationships with her subjects, and that there’s empathy in the pictures.\u003c/p>\n\u003cp>“To me, she’s photographing these remarkable individuals who want to be photographed,” Tattersall says.\u003c/p>\n\u003cfigure id=\"attachment_13828438\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/nan-goldin_enl-19ce6ccdbef987aa3faec1fc7fbbba5e3f43901f-800x530.jpg\" alt='Nan Goldin, \"Nan one month after being battered,\" 1984.' width=\"800\" height=\"530\" class=\"size-medium wp-image-13828438\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/nan-goldin_enl-19ce6ccdbef987aa3faec1fc7fbbba5e3f43901f-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/nan-goldin_enl-19ce6ccdbef987aa3faec1fc7fbbba5e3f43901f-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/nan-goldin_enl-19ce6ccdbef987aa3faec1fc7fbbba5e3f43901f-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/nan-goldin_enl-19ce6ccdbef987aa3faec1fc7fbbba5e3f43901f-1020x675.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/nan-goldin_enl-19ce6ccdbef987aa3faec1fc7fbbba5e3f43901f-1180x781.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/nan-goldin_enl-19ce6ccdbef987aa3faec1fc7fbbba5e3f43901f-960x636.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/nan-goldin_enl-19ce6ccdbef987aa3faec1fc7fbbba5e3f43901f-240x159.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/nan-goldin_enl-19ce6ccdbef987aa3faec1fc7fbbba5e3f43901f-375x248.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/nan-goldin_enl-19ce6ccdbef987aa3faec1fc7fbbba5e3f43901f-520x344.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/nan-goldin_enl-19ce6ccdbef987aa3faec1fc7fbbba5e3f43901f.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nan Goldin, “Nan one month after being battered,” 1984. \u003ccite>(Nan Goldin/Courtesy of The Museum of Contemporary Art, Los Angeles, The Nimoy Family Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There’s a remarkable 1969 photo Arbus called \u003ca href=\"https://www.moca.org/collection/work/transvestite-at-her-birthday-party-nyc\">“Transvestite at her birthday party.”\u003c/a>\u003c/p>\n\u003cp>“And it’s just this person lying alone, on a bed,” Tattersall says. “She’s got some balloons taped up on the wall. It might just be a two-person birthday party. It might just be Arbus and this one woman. They’re having a fabulous time.”\u003c/p>\n\u003cp>Transgender people also intrigue photographer Nan Goldin. Twenty years after Arbus, Goldin photographs them — as well as gays and lesbians. Hers are the most provocative pictures in the MOCA exhibit.\u003c/p>\n\u003cp>She also shows people having sex — friends, who let her photograph them having sex. Her camera is part of their scene. Are the pictures invasive?\u003c/p>\n\u003cp>“I think they’re voracious,” Tattersall says.\u003c/p>\n\u003cp>Goldin is exploring relationships — what happens in love, and when love goes wrong. Her 1984 self-portrait, “Nan one month after being battered” (pictured atop this page) shows the damage her lover did to her. Dark bruises under her eyes — the left eye bloody in her swollen face — she looks right at us. The look is uncompromising.\u003c/p>\n\u003cp>“I think there’s a chilling way in which she’s saying, ‘This is what it looks like to be battered,'” Tattersall says. “But this is also what it looks like to take control of your own image.”\u003c/p>\n\u003cp>Nan Goldin was 31 years old in that photo. One battered eye was nearly blind. But she’s painted her lips carefully. A bright, bright red.\u003c/p>\n\u003cp>“Even if that moment of violence and abuse is one of victimization, there’s a way in which she’s saying, “‘I am taking my own agency back in this image,'” Tattersall says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>There’s a lot of rough stuff in this exhibition — images and ideas that linger long after you’ve left the building. They trace how great photographers have used their cameras to make us see, understand or recoil, in the course of half a century. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=3+Photographers+Who+Captured+The+Undersides+Of+Life&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Preserving Our Own Personal Black History",
"headTitle": "Preserving Our Own Personal Black History | KQED",
"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\">O\u003c/span>n this last day of Black History Month, my spirit is channeling the stories of Tubman, Parks, and King, as well as the tales of X, Garvey and Chisholm. And beyond that, heavy on my heart are the less popular tales: the grandparents who worked until their grand babies were in college, the mother who held down two jobs, just to come home and teach her children arithmetic, the formerly incarcerated brother who got out on appeal after applying information he received by reading a law book or two.\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>The lesser-known bearers of black history. The ones whose stories don’t appear in books. Their tales aren’t mammoth legends known around the world, but their individual stories combine to paint a thorough narrative of a people; my people.\u003c/p>\n\u003cp>There are microcosms of black history walking the streets of America. I see them in Oakland every day. And I’ve been lucky enough to have a vast amount of these people open up to me, and let me into their story.\u003c/p>\n\u003cp>I’ve been a published journalist for over a dozen years, and during this time, I’ve had a front-row seat to protests, celebrations, weddings, funerals, and everyday life. A front-row seat that I am privileged and honored to have, allowing me to produce stories and give the world a small taste of what I’ve seen.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It’s world history. American history. Oakland history. Black history… His story. Her story. My story. \u003cem>Our\u003c/em> story.\u003c/p>\n\u003cfigure id=\"attachment_13825653\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13825653\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/2-1020x680.jpg\" alt=\"Black Panther Party member Mama Charlotte O’Neal attends a Black Panther Party anniversary event at the West Oakland library.\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/2-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/2-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/2-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/2-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/2-520x347.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Black Panther Party member Mama Charlotte O’Neal attends a Black Panther Party anniversary event at the West Oakland library. \u003ccite>(Pendarvis Harshaw)\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 Black History Month concludes, I’m inspired by the late Sarah Tramble, who passed last February. Tramble, a longtime resident of West Oakland, lived to be 100 years old. And as she made her way through life’s journey, she created her own history books. I \u003ca href=\"https://www.youtube.com/watch?v=w_ng9nhoODI\" target=\"_blank\" rel=\"noopener noreferrer\">interviewed Tramble a few years ago\u003c/a>, and got to witness her magic for myself. (My favorite line of hers was when she said that no one on Earth was like her, except for Lady Gaga and Michael Jackson.)\u003c/p>\n\u003cp>What I love most about Tramble’s take on history is that she didn’t go out seeking to tell the entire saga of human existence. She simply told the story from where she was seated. And in that, she told the story of the great migration, urban renewal, women’s rights, what it means to be African American, and so much more.\u003c/p>\n\u003cp>[contextly_sidebar id=”17097xVvjFS4ajFyqVF7sBCzhIZUO8o6″]\u003c/p>\n\u003cp>Every last piece of personal history is part of the bigger story taught in schools, shown in films and etched in our memories. Every individual tale is a piece of the fabric that quilts together to create the coat that is the story of humankind. This is true for all people.\u003c/p>\n\u003cp>But since the first ship landed here, the tales of individual African Americans have been disregarded. Over time, we’ve learned to praise “the greatest” or “the first,” and overlook the rest. Jackie Robinson is a hero for what he accomplished, no doubt. But if you think Larry Doby wasn’t just as brave, you’re missing a major piece of the story. And then, if you’re from Oakland and you’ve never heard the tale of Jimmy Claxton, you’re not just missing a story — you’re missing a whole chapter.\u003c/p>\n\u003cfigure id=\"attachment_13825669\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13825669\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/18-1020x679.jpg\" alt=\"Jesus El gets airborne at DeFremery (Lil' Bobby Hutton) Park in West Oakland.\" width=\"640\" height=\"426\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/18-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/18-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/18-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/18-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/18.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/18-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/18-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/18-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/18-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/18-520x346.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Jesus El gets airborne at DeFremery (Lil’ Bobby Hutton) Park in West Oakland. \u003ccite>(Pendarvis Harshaw)\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\">M\u003c/span>y point being, you can’t possibly know black history from just hearing about “the first” or “the greatest”; black history is a collection of tales combined to create a narrative that is ultimately intertwined with American history, and world history.\u003c/p>\n\u003cp>Every single black person’s story is a type of black history worth chronicling and preserving. So take photos. Record conversations with your grandmothers. Write about the people on your block. If we don’t do it, who will?\u003c/p>\n\u003cp>Inspired by Tramble, and the month in which we celebrate black history, it’s my honor to share with you 28 photos — one for each day of the month — taken from the seat I was given.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cfigure id=\"attachment_13825661\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13825661\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/10-800x533.jpg\" alt=\"The boys next door.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/10-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/10-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/10-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/10-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/10.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/10-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/10-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/10-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/10-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/10-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The boys next door. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13825660\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13825660\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/9-800x533.jpg\" alt=\"Fatima and Dafina attend an opening at Betti Ono Art Gallery in downtown Oakland.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/9-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/9-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/9-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/9-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/9.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/9-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/9-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/9-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/9-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/9-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Fatima and Dafina attend an opening at Betti Ono Art Gallery in downtown Oakland. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13825652\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13825652\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/1-800x533.jpg\" alt=\"A young lady rides a horse, as a member of the Black Cowboys chaperones her, at a Juneteenth festival in East Oakland.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/1-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/1-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/1-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/1-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/1-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A young lady rides a horse, as a member of the Black Cowboys chaperones her, at a Juneteenth festival in East Oakland. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13825654\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13825654\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/3-800x533.jpg\" alt=\"Black Panther Party co-founder Bobby Seale and poet Chinaka Hodge share the stage at the Oakland Museum.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/3-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/3.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/3-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/3-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/3-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/3-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/3-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Black Panther Party co-founder Bobby Seale and poet Chinaka Hodge share the stage at the Oakland Museum. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13825673\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13825673\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/22-800x533.jpg\" alt=\"The Scraper Bike Boyz!\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/22-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/22-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/22-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/22-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/22.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/22-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/22-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/22-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/22-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/22-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Scraper Bike Boyz! \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13825675\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13825675\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/24-800x533.jpg\" alt=\"Director Ryan Coogler speaking at the Grand Lake Theater with members of the cast and crew of 'Fruitvale Station' (Michael B. Jordan, Melonie Diaz, Octavia Spencer, Forest Whittaker and others) on the night of the premiere.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/24-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/24-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/24-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/24-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/24.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/24-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/24-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/24-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/24-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/24-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Director Ryan Coogler speaking at the Grand Lake Theater with members of the cast and crew of ‘Fruitvale Station’ (Michael B. Jordan, Melonie Diaz, Octavia Spencer, Forest Whittaker and others) on the night of the premiere. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13825655\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13825655\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/4-800x533.jpg\" alt=\"The Afro-Panamanian rap duo Los Rakas on top of the old train station in West Oakland.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/4-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/4-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/4-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/4-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/4.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/4-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/4-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/4-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/4-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/4-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Afro-Panamanian rap duo Los Rakas on top of the old train station in West Oakland. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13825656\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13825656\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/5-800x532.jpg\" alt=\"Congresswoman Barbara Lee visits the East Oakland Youth Development Center in East Oakland.\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/5-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/5-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/5-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/5-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/5.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/5-1180x784.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/5-960x638.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/5-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/5-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/5-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Congresswoman Barbara Lee visits the East Oakland Youth Development Center in East Oakland. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13825677\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13825677\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/26-800x533.jpg\" alt=\"The late Elder Freeman, former Black Panther party member, sitting on his porch in West Oakland.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/26-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/26-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/26-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/26-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/26.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/26-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/26-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/26-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/26-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/26-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The late Elder Freeman, former Black Panther party member, sitting on his porch in West Oakland. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13825657\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13825657\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/6-800x533.jpg\" alt=\"A streetside memorial for 16 year-old Reggina Jefferies in downtown Oakland.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/6-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/6-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/6-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/6-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/6.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/6-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/6-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/6-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/6-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/6-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A streetside memorial for 16 year-old Reggina Jefferies in downtown Oakland. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13825676\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13825676\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/25-800x533.jpg\" alt=\"West Oakland’s own Beejus takes a dive in the DeFremery (Lil' Bobby Hutton) Park pool.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/25-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/25-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/25-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/25-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/25.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/25-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/25-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/25-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/25-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/25-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">West Oakland’s own Beejus takes a dive in the DeFremery (Lil’ Bobby Hutton) Park pool. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13825658\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13825658\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/7-800x533.jpg\" alt=\"East Oakland native, rapper Richie Rich, poses for a photo outside of a store in North Oakland.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/7-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/7-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/7-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/7-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/7.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/7-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/7-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/7-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/7-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/7-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">East Oakland native, rapper Richie Rich, poses for a photo outside of a store in North Oakland. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13825659\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13825659\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/8-1020x1535.jpg\" alt=\"The Bey’s union.\" width=\"640\" height=\"963\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/8-1020x1535.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/8-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/8-800x1204.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/8-768x1156.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/8-1180x1776.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/8-960x1445.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/8-240x361.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/8-375x564.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/8-520x782.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/8.jpg 1276w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The Bey’s union. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13825662\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13825662\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/11-800x533.jpg\" alt=\"Rocky takes his human, Keith Gregory, on an evening walk around Lake Merritt.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/11-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/11-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/11-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/11-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/11.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/11-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/11-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/11-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/11-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/11-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rocky takes his human, Keith Gregory, on an evening walk around Lake Merritt. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13825663\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13825663\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/12-800x533.jpg\" alt=\"Kev Choice, ever animated, performs at an event in West Oakland.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/12-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/12-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/12-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/12-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/12.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/12-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/12-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/12-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/12-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/12-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kev Choice, ever animated, performs at an event in West Oakland. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13825664\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13825664\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/13-800x533.jpg\" alt=\"Ajhana DeRamous and her daughter Aziyah Williams by Lake Merritt.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/13-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/13-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/13-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/13-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/13.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/13-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/13-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/13-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/13-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/13-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ajhana DeRamous and her daughter Aziyah Williams by Lake Merritt. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13825665\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13825665\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/14-800x533.jpg\" alt=\"Roger, a childhood friend, now homeless. We keep in touch. Situations have changed, but love hasn’t.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/14-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/14-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/14-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/14-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/14.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/14-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/14-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/14-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/14-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/14-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Roger, a childhood friend, now homeless. We keep in touch. Situations have changed, but love hasn’t. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13825666\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13825666\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/15-800x533.jpg\" alt=\"A Marcus Foster Education Institute graduation ceremony at Merritt College in the Oakland Hills.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/15-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/15-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/15-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/15-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/15.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/15-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/15-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/15-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/15-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/15-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A Marcus Foster Education Institute graduation ceremony at Merritt College in the Oakland Hills. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13825667\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13825667\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/16-800x533.jpg\" alt=\"Ant Petty getting active on the weights as his family watches in the background.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/16-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/16-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/16-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/16-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/16.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/16-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/16-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/16-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/16-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/16-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ant Petty getting active on the weights as his family watches in the background. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13825668\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13825668\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/17-800x533.jpg\" alt=\"A joyous celebration at a McClymonds graduation.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/17-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/17-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/17-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/17-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/17.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/17-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/17-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/17-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/17-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/17-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A joyous celebration at a McClymonds graduation. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13825670\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13825670\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/19-800x533.jpg\" alt=\"Fremont High students get amped after school.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/19-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/19-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/19-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/19-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/19.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/19-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/19-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/19-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/19-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/19-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Fremont High students get amped after school. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13825671\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13825671\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/20-800x533.jpg\" alt=\"Arnold Perkins shoots the camera a cold look prior to being interviewed by Cheo Tyehimba Taylor.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/20-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/20-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/20-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/20-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/20.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/20-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/20-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/20-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/20-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/20-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Arnold Perkins shoots the camera a cold look prior to being interviewed by Cheo Tyehimba Taylor. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13825672\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13825672\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/21-800x533.jpg\" alt=\"Rapper Ian Kelly takes a long look at one of the longest standing murals in Oakland, the image of slain East Oakland rapper Plan Bee.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/21-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/21-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/21-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/21-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/21.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/21-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/21-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/21-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/21-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/21-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rapper Ian Kelly takes a long look at one of the longest standing murals in Oakland, the image of slain East Oakland rapper Plan Bee. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13825674\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13825674\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/23-800x533.jpg\" alt=\"Loryan strikes a cool-kid pose in downtown Oakland.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/23-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/23-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/23-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/23-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/23.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/23-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/23-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/23-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/23-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/23-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Loryan strikes a cool-kid pose in downtown Oakland. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13825678\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13825678\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/27-1020x1530.jpg\" alt=\"Dalila’s hand, on the day of her wedding. Photo taken just last week.\" width=\"640\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/27-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/27-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/27-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/27-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/27-1180x1770.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/27-960x1440.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/27-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/27-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/27-520x780.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/27.jpg 1280w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Dalila’s hand, on the day of her wedding. Photo taken just last week. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Pendarvis Harshaw is the author of ‘\u003ca href=\"http://www.latimes.com/local/abcarian/la-me-abcarian-og-harshaw-20170409-story.html\" target=\"_blank\" rel=\"noopener noreferrer\">OG Told Me\u003c/a>,’ a memoir about growing up in Oakland. Find him on Twitter \u003ca href=\"https://twitter.com/ogpenn\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "On the last day of Black History Month, celebrate not just the \"firsts\" and \"greatests,\" but the lesser-known bearers of black history.",
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"description": "On the last day of Black History Month, celebrate not just the "firsts" and "greatests," but the lesser-known bearers of black history.",
"title": "Preserving Our Own Personal Black History | KQED",
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"headline": "Preserving Our Own Personal Black History",
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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\">O\u003c/span>n this last day of Black History Month, my spirit is channeling the stories of Tubman, Parks, and King, as well as the tales of X, Garvey and Chisholm. And beyond that, heavy on my heart are the less popular tales: the grandparents who worked until their grand babies were in college, the mother who held down two jobs, just to come home and teach her children arithmetic, the formerly incarcerated brother who got out on appeal after applying information he received by reading a law book or two.\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>The lesser-known bearers of black history. The ones whose stories don’t appear in books. Their tales aren’t mammoth legends known around the world, but their individual stories combine to paint a thorough narrative of a people; my people.\u003c/p>\n\u003cp>There are microcosms of black history walking the streets of America. I see them in Oakland every day. And I’ve been lucky enough to have a vast amount of these people open up to me, and let me into their story.\u003c/p>\n\u003cp>I’ve been a published journalist for over a dozen years, and during this time, I’ve had a front-row seat to protests, celebrations, weddings, funerals, and everyday life. A front-row seat that I am privileged and honored to have, allowing me to produce stories and give the world a small taste of what I’ve seen.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s world history. American history. Oakland history. Black history… His story. Her story. My story. \u003cem>Our\u003c/em> story.\u003c/p>\n\u003cfigure id=\"attachment_13825653\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13825653\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/2-1020x680.jpg\" alt=\"Black Panther Party member Mama Charlotte O’Neal attends a Black Panther Party anniversary event at the West Oakland library.\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/2-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/2-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/2-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/2-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/2-520x347.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Black Panther Party member Mama Charlotte O’Neal attends a Black Panther Party anniversary event at the West Oakland library. \u003ccite>(Pendarvis Harshaw)\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 Black History Month concludes, I’m inspired by the late Sarah Tramble, who passed last February. Tramble, a longtime resident of West Oakland, lived to be 100 years old. And as she made her way through life’s journey, she created her own history books. I \u003ca href=\"https://www.youtube.com/watch?v=w_ng9nhoODI\" target=\"_blank\" rel=\"noopener noreferrer\">interviewed Tramble a few years ago\u003c/a>, and got to witness her magic for myself. (My favorite line of hers was when she said that no one on Earth was like her, except for Lady Gaga and Michael Jackson.)\u003c/p>\n\u003cp>What I love most about Tramble’s take on history is that she didn’t go out seeking to tell the entire saga of human existence. She simply told the story from where she was seated. And in that, she told the story of the great migration, urban renewal, women’s rights, what it means to be African American, and so much more.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Every last piece of personal history is part of the bigger story taught in schools, shown in films and etched in our memories. Every individual tale is a piece of the fabric that quilts together to create the coat that is the story of humankind. This is true for all people.\u003c/p>\n\u003cp>But since the first ship landed here, the tales of individual African Americans have been disregarded. Over time, we’ve learned to praise “the greatest” or “the first,” and overlook the rest. Jackie Robinson is a hero for what he accomplished, no doubt. But if you think Larry Doby wasn’t just as brave, you’re missing a major piece of the story. And then, if you’re from Oakland and you’ve never heard the tale of Jimmy Claxton, you’re not just missing a story — you’re missing a whole chapter.\u003c/p>\n\u003cfigure id=\"attachment_13825669\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13825669\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/18-1020x679.jpg\" alt=\"Jesus El gets airborne at DeFremery (Lil' Bobby Hutton) Park in West Oakland.\" width=\"640\" height=\"426\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/18-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/18-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/18-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/18-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/18.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/18-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/18-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/18-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/18-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/18-520x346.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Jesus El gets airborne at DeFremery (Lil’ Bobby Hutton) Park in West Oakland. \u003ccite>(Pendarvis Harshaw)\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\">M\u003c/span>y point being, you can’t possibly know black history from just hearing about “the first” or “the greatest”; black history is a collection of tales combined to create a narrative that is ultimately intertwined with American history, and world history.\u003c/p>\n\u003cp>Every single black person’s story is a type of black history worth chronicling and preserving. So take photos. Record conversations with your grandmothers. Write about the people on your block. If we don’t do it, who will?\u003c/p>\n\u003cp>Inspired by Tramble, and the month in which we celebrate black history, it’s my honor to share with you 28 photos — one for each day of the month — taken from the seat I was given.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cfigure id=\"attachment_13825661\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13825661\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/10-800x533.jpg\" alt=\"The boys next door.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/10-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/10-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/10-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/10-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/10.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/10-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/10-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/10-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/10-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/10-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The boys next door. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13825660\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13825660\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/9-800x533.jpg\" alt=\"Fatima and Dafina attend an opening at Betti Ono Art Gallery in downtown Oakland.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/9-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/9-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/9-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/9-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/9.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/9-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/9-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/9-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/9-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/9-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Fatima and Dafina attend an opening at Betti Ono Art Gallery in downtown Oakland. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13825652\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13825652\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/1-800x533.jpg\" alt=\"A young lady rides a horse, as a member of the Black Cowboys chaperones her, at a Juneteenth festival in East Oakland.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/1-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/1-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/1-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/1-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/1-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A young lady rides a horse, as a member of the Black Cowboys chaperones her, at a Juneteenth festival in East Oakland. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13825654\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13825654\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/3-800x533.jpg\" alt=\"Black Panther Party co-founder Bobby Seale and poet Chinaka Hodge share the stage at the Oakland Museum.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/3-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/3.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/3-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/3-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/3-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/3-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/3-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Black Panther Party co-founder Bobby Seale and poet Chinaka Hodge share the stage at the Oakland Museum. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13825673\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13825673\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/22-800x533.jpg\" alt=\"The Scraper Bike Boyz!\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/22-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/22-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/22-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/22-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/22.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/22-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/22-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/22-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/22-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/22-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Scraper Bike Boyz! \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13825675\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13825675\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/24-800x533.jpg\" alt=\"Director Ryan Coogler speaking at the Grand Lake Theater with members of the cast and crew of 'Fruitvale Station' (Michael B. Jordan, Melonie Diaz, Octavia Spencer, Forest Whittaker and others) on the night of the premiere.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/24-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/24-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/24-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/24-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/24.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/24-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/24-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/24-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/24-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/24-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Director Ryan Coogler speaking at the Grand Lake Theater with members of the cast and crew of ‘Fruitvale Station’ (Michael B. Jordan, Melonie Diaz, Octavia Spencer, Forest Whittaker and others) on the night of the premiere. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13825655\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13825655\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/4-800x533.jpg\" alt=\"The Afro-Panamanian rap duo Los Rakas on top of the old train station in West Oakland.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/4-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/4-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/4-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/4-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/4.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/4-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/4-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/4-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/4-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/4-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Afro-Panamanian rap duo Los Rakas on top of the old train station in West Oakland. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13825656\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13825656\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/5-800x532.jpg\" alt=\"Congresswoman Barbara Lee visits the East Oakland Youth Development Center in East Oakland.\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/5-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/5-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/5-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/5-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/5.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/5-1180x784.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/5-960x638.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/5-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/5-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/5-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Congresswoman Barbara Lee visits the East Oakland Youth Development Center in East Oakland. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13825677\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13825677\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/26-800x533.jpg\" alt=\"The late Elder Freeman, former Black Panther party member, sitting on his porch in West Oakland.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/26-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/26-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/26-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/26-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/26.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/26-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/26-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/26-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/26-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/26-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The late Elder Freeman, former Black Panther party member, sitting on his porch in West Oakland. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13825657\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13825657\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/6-800x533.jpg\" alt=\"A streetside memorial for 16 year-old Reggina Jefferies in downtown Oakland.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/6-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/6-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/6-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/6-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/6.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/6-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/6-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/6-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/6-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/6-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A streetside memorial for 16 year-old Reggina Jefferies in downtown Oakland. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13825676\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13825676\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/25-800x533.jpg\" alt=\"West Oakland’s own Beejus takes a dive in the DeFremery (Lil' Bobby Hutton) Park pool.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/25-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/25-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/25-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/25-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/25.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/25-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/25-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/25-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/25-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/25-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">West Oakland’s own Beejus takes a dive in the DeFremery (Lil’ Bobby Hutton) Park pool. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13825658\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13825658\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/7-800x533.jpg\" alt=\"East Oakland native, rapper Richie Rich, poses for a photo outside of a store in North Oakland.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/7-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/7-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/7-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/7-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/7.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/7-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/7-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/7-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/7-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/7-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">East Oakland native, rapper Richie Rich, poses for a photo outside of a store in North Oakland. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13825659\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13825659\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/8-1020x1535.jpg\" alt=\"The Bey’s union.\" width=\"640\" height=\"963\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/8-1020x1535.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/8-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/8-800x1204.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/8-768x1156.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/8-1180x1776.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/8-960x1445.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/8-240x361.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/8-375x564.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/8-520x782.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/8.jpg 1276w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The Bey’s union. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13825662\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13825662\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/11-800x533.jpg\" alt=\"Rocky takes his human, Keith Gregory, on an evening walk around Lake Merritt.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/11-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/11-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/11-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/11-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/11.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/11-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/11-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/11-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/11-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/11-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rocky takes his human, Keith Gregory, on an evening walk around Lake Merritt. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13825663\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13825663\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/12-800x533.jpg\" alt=\"Kev Choice, ever animated, performs at an event in West Oakland.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/12-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/12-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/12-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/12-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/12.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/12-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/12-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/12-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/12-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/12-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kev Choice, ever animated, performs at an event in West Oakland. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13825664\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13825664\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/13-800x533.jpg\" alt=\"Ajhana DeRamous and her daughter Aziyah Williams by Lake Merritt.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/13-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/13-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/13-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/13-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/13.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/13-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/13-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/13-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/13-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/13-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ajhana DeRamous and her daughter Aziyah Williams by Lake Merritt. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13825665\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13825665\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/14-800x533.jpg\" alt=\"Roger, a childhood friend, now homeless. We keep in touch. Situations have changed, but love hasn’t.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/14-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/14-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/14-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/14-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/14.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/14-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/14-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/14-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/14-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/14-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Roger, a childhood friend, now homeless. We keep in touch. Situations have changed, but love hasn’t. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13825666\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13825666\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/15-800x533.jpg\" alt=\"A Marcus Foster Education Institute graduation ceremony at Merritt College in the Oakland Hills.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/15-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/15-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/15-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/15-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/15.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/15-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/15-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/15-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/15-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/15-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A Marcus Foster Education Institute graduation ceremony at Merritt College in the Oakland Hills. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13825667\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13825667\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/16-800x533.jpg\" alt=\"Ant Petty getting active on the weights as his family watches in the background.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/16-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/16-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/16-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/16-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/16.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/16-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/16-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/16-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/16-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/16-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ant Petty getting active on the weights as his family watches in the background. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13825668\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13825668\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/17-800x533.jpg\" alt=\"A joyous celebration at a McClymonds graduation.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/17-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/17-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/17-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/17-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/17.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/17-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/17-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/17-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/17-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/17-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A joyous celebration at a McClymonds graduation. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13825670\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13825670\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/19-800x533.jpg\" alt=\"Fremont High students get amped after school.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/19-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/19-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/19-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/19-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/19.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/19-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/19-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/19-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/19-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/19-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Fremont High students get amped after school. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13825671\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13825671\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/20-800x533.jpg\" alt=\"Arnold Perkins shoots the camera a cold look prior to being interviewed by Cheo Tyehimba Taylor.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/20-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/20-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/20-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/20-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/20.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/20-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/20-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/20-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/20-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/20-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Arnold Perkins shoots the camera a cold look prior to being interviewed by Cheo Tyehimba Taylor. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13825672\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13825672\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/21-800x533.jpg\" alt=\"Rapper Ian Kelly takes a long look at one of the longest standing murals in Oakland, the image of slain East Oakland rapper Plan Bee.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/21-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/21-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/21-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/21-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/21.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/21-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/21-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/21-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/21-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/21-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rapper Ian Kelly takes a long look at one of the longest standing murals in Oakland, the image of slain East Oakland rapper Plan Bee. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13825674\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13825674\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/23-800x533.jpg\" alt=\"Loryan strikes a cool-kid pose in downtown Oakland.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/23-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/23-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/23-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/23-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/23.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/23-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/23-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/23-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/23-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/23-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Loryan strikes a cool-kid pose in downtown Oakland. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13825678\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13825678\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/27-1020x1530.jpg\" alt=\"Dalila’s hand, on the day of her wedding. Photo taken just last week.\" width=\"640\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/27-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/27-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/27-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/27-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/27-1180x1770.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/27-960x1440.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/27-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/27-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/27-520x780.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/27.jpg 1280w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Dalila’s hand, on the day of her wedding. Photo taken just last week. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Pendarvis Harshaw is the author of ‘\u003ca href=\"http://www.latimes.com/local/abcarian/la-me-abcarian-og-harshaw-20170409-story.html\" target=\"_blank\" rel=\"noopener noreferrer\">OG Told Me\u003c/a>,’ a memoir about growing up in Oakland. Find him on Twitter \u003ca href=\"https://twitter.com/ogpenn\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'Photography in the Americas' Yields Much More Than Documentary",
"headTitle": "‘Photography in the Americas’ Yields Much More Than Documentary | KQED",
"content": "\u003cp>Did you feel left out while \u003ci>\u003ca href=\"http://www.pacificstandardtime.org/\" target=\"_blank\" rel=\"noopener\">Pacific Standard Time: LA/LA\u003c/a>\u003c/i> took over nearly every Southern California arts institution last year? Led by the Getty, \u003ci>LA/LA\u003c/i> brought Latin American and Latino art into dialogue with the city of Los Angeles and its artists. Our southern neighbors got so many amazing exhibitions — among them, shows of radical women, photographs from the archives of \u003ci>La Raza\u003c/i> and works from the queer scene of 1960s-90s LA.\u003c/p>\n\u003cp>But wait! Before you drown yourself in the tears of missed road trip opportunities and Latin American art not seen, the Cantor Arts Center is here for you.\u003c/p>\n\u003cp>The rather academically titled \u003ci>The Matter of Photography in the Americas\u003c/i> features artists from Latin America, the Caribbean and Latino communities in the United States — all using photography not just for documentary purposes, but to question the very nature of image-making as a truthful medium.\u003c/p>\n\u003cfigure id=\"attachment_13824317\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13824317\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/L.50.1.2017_Joskowicz_ladder_1200.jpg\" alt=\"Claudia Joskowicz, Still from 'Every Building on Avenida Alfonso Ugarte—After Ruscha,' 2011. \" width=\"1200\" height=\"803\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/L.50.1.2017_Joskowicz_ladder_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/L.50.1.2017_Joskowicz_ladder_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/L.50.1.2017_Joskowicz_ladder_1200-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/L.50.1.2017_Joskowicz_ladder_1200-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/L.50.1.2017_Joskowicz_ladder_1200-1020x683.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/L.50.1.2017_Joskowicz_ladder_1200-1180x790.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/L.50.1.2017_Joskowicz_ladder_1200-960x642.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/L.50.1.2017_Joskowicz_ladder_1200-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/L.50.1.2017_Joskowicz_ladder_1200-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/L.50.1.2017_Joskowicz_ladder_1200-520x348.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Claudia Joskowicz, Still from ‘Every Building on Avenida Alfonso Ugarte—After Ruscha,’ 2011. \u003ccite>(Courtesy of the artist and LMAK gallery, NY)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Works in the show include installations (Dominican artist Joiri Minaya’s fragmented and expansive \u003ci>#dominicanwomengoogleresearch\u003c/i>), a conceptual project borrowed from Ed Ruscha (Bolivian artist Claudia Joskowicz’s video \u003ci>Every Building on Avenida Alfonso Ugarte—After Ruscha\u003c/i>) and vibrant combinations of materials (Mexican artist José León Merrillo’s \u003ci>Untitled\u003c/i> cyanotype).\u003c/p>\n\u003cp>The artists in \u003ci>The Matter of Photography\u003c/i> question how photography has distorted and perpetuated conceptions of Latin America, ponder whether the many images in our lives help or hinder our ability to empathize, and demonstrate what photographic practices that are neither documentary nor ethnographic can look like. And on top of all of that, the work looks stunning.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘The Matter of Photography in the Americas’ is on view at the Cantor Arts Center at Stanford University through April 30, 2018. For more information, \u003ca href=\"https://museum.stanford.edu/exhibitions/matter-photography-americas\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Did you feel left out while \u003ci>\u003ca href=\"http://www.pacificstandardtime.org/\" target=\"_blank\" rel=\"noopener\">Pacific Standard Time: LA/LA\u003c/a>\u003c/i> took over nearly every Southern California arts institution last year? Led by the Getty, \u003ci>LA/LA\u003c/i> brought Latin American and Latino art into dialogue with the city of Los Angeles and its artists. Our southern neighbors got so many amazing exhibitions — among them, shows of radical women, photographs from the archives of \u003ci>La Raza\u003c/i> and works from the queer scene of 1960s-90s LA.\u003c/p>\n\u003cp>But wait! Before you drown yourself in the tears of missed road trip opportunities and Latin American art not seen, the Cantor Arts Center is here for you.\u003c/p>\n\u003cp>The rather academically titled \u003ci>The Matter of Photography in the Americas\u003c/i> features artists from Latin America, the Caribbean and Latino communities in the United States — all using photography not just for documentary purposes, but to question the very nature of image-making as a truthful medium.\u003c/p>\n\u003cfigure id=\"attachment_13824317\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13824317\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/L.50.1.2017_Joskowicz_ladder_1200.jpg\" alt=\"Claudia Joskowicz, Still from 'Every Building on Avenida Alfonso Ugarte—After Ruscha,' 2011. \" width=\"1200\" height=\"803\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/L.50.1.2017_Joskowicz_ladder_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/L.50.1.2017_Joskowicz_ladder_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/L.50.1.2017_Joskowicz_ladder_1200-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/L.50.1.2017_Joskowicz_ladder_1200-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/L.50.1.2017_Joskowicz_ladder_1200-1020x683.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/L.50.1.2017_Joskowicz_ladder_1200-1180x790.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/L.50.1.2017_Joskowicz_ladder_1200-960x642.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/L.50.1.2017_Joskowicz_ladder_1200-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/L.50.1.2017_Joskowicz_ladder_1200-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/L.50.1.2017_Joskowicz_ladder_1200-520x348.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Claudia Joskowicz, Still from ‘Every Building on Avenida Alfonso Ugarte—After Ruscha,’ 2011. \u003ccite>(Courtesy of the artist and LMAK gallery, NY)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Works in the show include installations (Dominican artist Joiri Minaya’s fragmented and expansive \u003ci>#dominicanwomengoogleresearch\u003c/i>), a conceptual project borrowed from Ed Ruscha (Bolivian artist Claudia Joskowicz’s video \u003ci>Every Building on Avenida Alfonso Ugarte—After Ruscha\u003c/i>) and vibrant combinations of materials (Mexican artist José León Merrillo’s \u003ci>Untitled\u003c/i> cyanotype).\u003c/p>\n\u003cp>The artists in \u003ci>The Matter of Photography\u003c/i> question how photography has distorted and perpetuated conceptions of Latin America, ponder whether the many images in our lives help or hinder our ability to empathize, and demonstrate what photographic practices that are neither documentary nor ethnographic can look like. And on top of all of that, the work looks stunning.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘The Matter of Photography in the Americas’ is on view at the Cantor Arts Center at Stanford University through April 30, 2018. For more information, \u003ca href=\"https://museum.stanford.edu/exhibitions/matter-photography-americas\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Want to Be Part of a Giant JR Mural in San Francisco? Here's How",
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"content": "\u003cp>Photographer and street artist JR, known for his large-scale black-and-white images of ordinary people (and his exceedingly charming film with Agnés Varda, \u003ci>\u003ca href=\"https://ww2.kqed.org/arts/2017/10/27/faces-places-a-new-wave-filmmaker-and-a-mural-artist-tear-through-france/\" rel=\"noopener\" target=\"_blank\">Faces Places\u003c/a>\u003c/i>), recently arrived in San Francisco for a new project simply titled \u003ci>The San Francisco Mural\u003c/i>. Every day through Feb. 11, the project’s 53-foot truck will park in a different part of the city (sorry East, North and South Bay), photographing people inside a gigantic mobile studio. \u003c/p>\n\u003cp>Consult \u003ca href=\"http://www.thesanfranciscomural.net/\" rel=\"noopener\" target=\"_blank\">the project’s website\u003c/a> for a full schedule of all 24 locations, including stops in Civic Center, Bayview, the Mission and Western Addition.\u003c/p>\n\u003cp>https://www.google.com/maps/d/u/0/viewer?mid=1ND8qYIm_QSxJMiMbwRQx-6UwqhkFzYvH&ll=37.757080051858814%2C-122.44717965000001&z=13\u003c/p>\n\u003cp>This is the second chapter in a series the artist began last year in the Parisian suburb of Clichy-Montfermeil — a location familiar to the world as the place where two young men died by electrocution in 2005, setting off \u003ca href=\"https://en.wikipedia.org/wiki/2005_French_riots\" rel=\"noopener\" target=\"_blank\">three weeks of rioting throughout France\u003c/a>. Photographing residents of the healing yet still-isolated suburb against a green screen, JR created a composite image of 750 individuals that grants each subject the exact same treatment, regardless of governmental position or social class. \u003c/p>\n\u003cp>Identifying San Francisco as a city with both a long tradition of murals and incredible economic disparity, JR’s democratic form of image-making hopes to “capture the nuances of the city at this moment in time.” \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.instagram.com/p/BYto6YrjovS/?taken-by=jr\u003c/p>\n\u003cp>The artist has a knack for taking sites with complicated political, economic and social histories and turning the focus away from partisanship and toward those affected by it. \u003c/p>\n\u003cp>Last year, \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/09/08/549491208/as-boy-peers-curiously-over-border-wall-his-artist-asks-what-is-he-thinking\" rel=\"noopener\" target=\"_blank\">JR mounted a timely installation\u003c/a> at the U.S./Mexico border with an enormous portrait of a one-year-old boy, playfully positioned to look as if he was peering over the border wall. The piece went up on scaffolding in Tecate, Mexico just days after the Trump administration announced its plans to end DACA. \u003c/p>\n\u003cp>In San Francisco, the mural project’s website makes special note of the high number of people experiencing homelessness here. Will JR succeed in fostering a productive conversation about the city’s most disenfranchised through portraiture? We’ll have to wait and see.\u003c/p>\n\u003cfigure id=\"attachment_13819446\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/JR_Cover-800x450.jpg\" alt=\"French photographer JR poses in front of his mural of the inhabitants of the Clichy-Montfermeil suburb.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13819446\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/JR_Cover-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/JR_Cover-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/JR_Cover-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/JR_Cover-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/JR_Cover.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/JR_Cover-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/JR_Cover-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/JR_Cover-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/JR_Cover-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/JR_Cover-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">French photographer JR poses in front of his mural of the inhabitants of the Clichy-Montfermeil suburb. \u003ccite>(MARTIN BUREAU/AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As for where this monumental mural will eventually materialize, JR and team are still talking to various museums and organizations in San Francisco. But if you want to see your face among many, look for the giant truck with the eyes on its side in the neighborhood of your choice.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>You can participate in ‘The San Francisco Mural’ through Feb. 11. For more information, \u003ca href=\"http://www.thesanfranciscomural.net/\" rel=\"noopener\" target=\"_blank\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This is the second chapter in a series the artist began last year in the Parisian suburb of Clichy-Montfermeil — a location familiar to the world as the place where two young men died by electrocution in 2005, setting off \u003ca href=\"https://en.wikipedia.org/wiki/2005_French_riots\" rel=\"noopener\" target=\"_blank\">three weeks of rioting throughout France\u003c/a>. Photographing residents of the healing yet still-isolated suburb against a green screen, JR created a composite image of 750 individuals that grants each subject the exact same treatment, regardless of governmental position or social class. \u003c/p>\n\u003cp>Identifying San Francisco as a city with both a long tradition of murals and incredible economic disparity, JR’s democratic form of image-making hopes to “capture the nuances of the city at this moment in time.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The artist has a knack for taking sites with complicated political, economic and social histories and turning the focus away from partisanship and toward those affected by it. \u003c/p>\n\u003cp>Last year, \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/09/08/549491208/as-boy-peers-curiously-over-border-wall-his-artist-asks-what-is-he-thinking\" rel=\"noopener\" target=\"_blank\">JR mounted a timely installation\u003c/a> at the U.S./Mexico border with an enormous portrait of a one-year-old boy, playfully positioned to look as if he was peering over the border wall. The piece went up on scaffolding in Tecate, Mexico just days after the Trump administration announced its plans to end DACA. \u003c/p>\n\u003cp>In San Francisco, the mural project’s website makes special note of the high number of people experiencing homelessness here. Will JR succeed in fostering a productive conversation about the city’s most disenfranchised through portraiture? We’ll have to wait and see.\u003c/p>\n\u003cfigure id=\"attachment_13819446\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/JR_Cover-800x450.jpg\" alt=\"French photographer JR poses in front of his mural of the inhabitants of the Clichy-Montfermeil suburb.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13819446\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/JR_Cover-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/JR_Cover-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/JR_Cover-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/JR_Cover-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/JR_Cover.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/JR_Cover-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/JR_Cover-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/JR_Cover-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/JR_Cover-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/JR_Cover-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">French photographer JR poses in front of his mural of the inhabitants of the Clichy-Montfermeil suburb. \u003ccite>(MARTIN BUREAU/AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As for where this monumental mural will eventually materialize, JR and team are still talking to various museums and organizations in San Francisco. But if you want to see your face among many, look for the giant truck with the eyes on its side in the neighborhood of your choice.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>You can participate in ‘The San Francisco Mural’ through Feb. 11. For more information, \u003ca href=\"http://www.thesanfranciscomural.net/\" rel=\"noopener\" target=\"_blank\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Nothing Outdated About John Chiara’s Traditional Techniques",
"headTitle": "Nothing Outdated About John Chiara’s Traditional Techniques | KQED",
"content": "\u003cp>San Francisco–based artist \u003ca href=\"http://hainesgallery.com/john-chiara-works\" target=\"_blank\" rel=\"noopener\">John Chiara\u003c/a> creates photographs with a handmade camera so large it must be towed on a trailer. The devices works like a camera obscura, box or room-like constructions that predate photography and are used to focus images on a wall through a small hole. While Chiara uses large, high-quality lenses, his process is similar to those used in the early days of photography. In Chiara’s case, the result is one-of-a-kind artworks that buck photography’s most unique trait while embracing the medium as a whole.\u003c/p>\n\u003cfigure id=\"attachment_13814149\" class=\"wp-caption alignright\" style=\"max-width: 747px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13814149\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/John-Chiara_Larkin-Street-at-McAllister-Street_Haines-Gallery.jpg\" alt=\"John Chiara, 'Larkin Street at McAllister Street,' 2017.\" width=\"747\" height=\"1000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/John-Chiara_Larkin-Street-at-McAllister-Street_Haines-Gallery.jpg 747w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/John-Chiara_Larkin-Street-at-McAllister-Street_Haines-Gallery-160x214.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/John-Chiara_Larkin-Street-at-McAllister-Street_Haines-Gallery-240x321.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/John-Chiara_Larkin-Street-at-McAllister-Street_Haines-Gallery-375x502.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/John-Chiara_Larkin-Street-at-McAllister-Street_Haines-Gallery-520x696.jpg 520w\" sizes=\"(max-width: 747px) 100vw, 747px\">\u003cfigcaption class=\"wp-caption-text\">John Chiara, ‘Larkin Street at McAllister Street,’ 2017. \u003ccite>(Courtesy of the artist and Haines Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We’re accustomed to the idea that photographs — unlike paintings — can be infinitely reproduced. However, the earliest photographs were one-of-a-kind images exposed directly onto a light-sensitive plate. Even though reproducible techniques were introduced early in the history of photography, unique photographs, such as daguerreotypes, ambrotypes and tintypes, remained popular for decades, before ultimately losing ground. There’s still something attractive in the unique image. Less popular than it once was, instant film was a modern fulfillment of this same desire.\u003c/p>\n\u003cp>Chiara’s latest solo exhibition at San Francisco’s \u003ca href=\"http://hainesgallery.com/\" target=\"_blank\" rel=\"noopener\">Haines Gallery\u003c/a>, \u003ci>Lands End: California at Larkin\u003c/i>, showcases 16 of his newest works. Though Chiara also has a new book, \u003ci>John Chiara: California\u003c/i>, that features work taken throughout the state, \u003ci>Lands End\u003c/i> focuses solely on works photographed between Pescadero and the Marin Headlands.\u003c/p>\n\u003cp>To capture these one-offs, Chiara places large sheets of light-sensitive photographic paper inside the camera, where images are exposed directly onto the paper. With this process, Chiara creates unique objects that can never be duplicated, only approximated (like the images accompanying this article). And though the digital images interspersed here may appear to be high quality, the originals are stunning in their clarity.\u003c/p>\n\u003cfigure id=\"attachment_13814211\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13814211\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/John-Chiara_Simmonds-Road-At-Bunker-Road-West_HainesGallery-1020x1338.jpg\" alt=\"John Chiara, 'Simmonds Road at Bunker Road West,' 2017.\" width=\"640\" height=\"840\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/John-Chiara_Simmonds-Road-At-Bunker-Road-West_HainesGallery-1020x1338.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/John-Chiara_Simmonds-Road-At-Bunker-Road-West_HainesGallery-160x210.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/John-Chiara_Simmonds-Road-At-Bunker-Road-West_HainesGallery-800x1049.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/John-Chiara_Simmonds-Road-At-Bunker-Road-West_HainesGallery-768x1007.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/John-Chiara_Simmonds-Road-At-Bunker-Road-West_HainesGallery-1180x1548.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/John-Chiara_Simmonds-Road-At-Bunker-Road-West_HainesGallery-960x1259.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/John-Chiara_Simmonds-Road-At-Bunker-Road-West_HainesGallery-240x315.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/John-Chiara_Simmonds-Road-At-Bunker-Road-West_HainesGallery-375x492.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/John-Chiara_Simmonds-Road-At-Bunker-Road-West_HainesGallery-520x682.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/John-Chiara_Simmonds-Road-At-Bunker-Road-West_HainesGallery.jpg 1525w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">John Chiara, ‘Simmonds Road at Bunker Road West,’ 2017. \u003ccite>(Courtesy of the artist and Haines Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Indebted as it is to traditional photography techniques, Chiara’s work is particularly impressive because it is not retro. His photographs aren’t novelties or throwbacks, nor should they be, since at their essence they are simply impressions of light.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Half of the work in \u003ci>Lands End\u003c/i> was shot on negative paper, which reverses the order of light and dark areas. Paper negatives were patented in 1841, but most people only see negatives (film or paper) at very small scales or in a darkroom. With photographs as large as 50-by-35 inches, Chiara reveals to viewers the normally hidden nature of negative paper.\u003c/p>\n\u003cp>Several photographs were taken in downtown San Francisco, but exhibit a serenity that sometimes escapes these locations, perhaps due to the fact that they contain no people and no cars. Because of the reversed order, they appear to have been taken during some apocalyptic night, rendering the serenity a bit disquieting. As negatives, these images also highlight features that might otherwise be taken for granted: The dark ladders of a fire escape, an ordinary feature of the environment, become a focal point of a photograph taken at Larkin and McAllister Streets.\u003c/p>\n\u003cp>The remaining half of \u003ci>Lands End\u003c/i> is a series of photographs exposed on Ilfochrome paper, which is normally used to print from transparencies. Unlike the other work, this process results in positive photographs that more closely resemble reality. Most of these are photographs of the Pacific coast in San Mateo County, and the ocean presents Chiara with an opportunity to experiment.\u003c/p>\n\u003cfigure id=\"attachment_13814150\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13814150\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/John-Chiara_Rockaway-Beach-Avenue-at-San-Marlo-Way-Pacifica_Haines-Gallery-1020x1360.jpg\" alt=\"John Chiara, 'Rockaway Beach Avenue at San Marlo Way, Pacifica, Variation 1,' 2017.\" width=\"640\" height=\"853\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/John-Chiara_Rockaway-Beach-Avenue-at-San-Marlo-Way-Pacifica_Haines-Gallery-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/John-Chiara_Rockaway-Beach-Avenue-at-San-Marlo-Way-Pacifica_Haines-Gallery-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/John-Chiara_Rockaway-Beach-Avenue-at-San-Marlo-Way-Pacifica_Haines-Gallery-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/John-Chiara_Rockaway-Beach-Avenue-at-San-Marlo-Way-Pacifica_Haines-Gallery-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/John-Chiara_Rockaway-Beach-Avenue-at-San-Marlo-Way-Pacifica_Haines-Gallery-1920x2560.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/John-Chiara_Rockaway-Beach-Avenue-at-San-Marlo-Way-Pacifica_Haines-Gallery-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/John-Chiara_Rockaway-Beach-Avenue-at-San-Marlo-Way-Pacifica_Haines-Gallery-960x1280.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/John-Chiara_Rockaway-Beach-Avenue-at-San-Marlo-Way-Pacifica_Haines-Gallery-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/John-Chiara_Rockaway-Beach-Avenue-at-San-Marlo-Way-Pacifica_Haines-Gallery-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/John-Chiara_Rockaway-Beach-Avenue-at-San-Marlo-Way-Pacifica_Haines-Gallery-520x693.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">John Chiara, ‘Rockaway Beach Avenue at San Marlo Way, Pacifica, Variation 1,’ 2017. \u003ccite>(Courtesy of the artist and Haines Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In many 19th-century photographs, moving water looks something like liquid mercury because longer exposure times flattened out the movement captured by the camera. Chiara wondered if instead he could render the ocean like a painters does, with the luxury of presenting something more impressionistic. By interrupting the exposure dozens of times by very briefly obstructing the lens, Chiara creates a sense of movement that is neither negated by long exposure or frozen in time by short exposure.\u003c/p>\n\u003cp>The ocean in his Rockaway Beach photographs is indeed painterly — from a distance its subject matter is undeniable, but upon closer inspection viewers see something that never really existed, a composite of multiple instants rendered as one impossible moment. The ocean looks like a whirlpool of activity.\u003c/p>\n\u003cp>Chiara’s dark, sometimes underexposed, photographs of the ocean harken back to the medium’s history, especially to the many photographers who were drawn to Northern California’s rocky coasts. But it’s unlikely that most 19th-century viewers would have seen anything like Chiara’s photographs. In that era, 18-by-22-inch photographs were called “mammoth.” Only in the rarest cases were photographs ever as large as Chiara’s, which also benefit from modern photographic paper.\u003c/p>\n\u003cp>Chiara’s practice has one foot in the past without being nostalgic. A sincere interest in traditional methods builds upon that legacy to create something new. Unique photographs and direct exposure on paper happen to be a part of photographic history, but there is nothing outdated about them.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Lands End: California at Larkin’ is on view at San Francisco’s Haines Gallery through Dec. 23, 2017. For more information, \u003ca href=\"http://hainesgallery.com/\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"excerpt": "John Chiara uses traditional techniques and an enormous handmade camera to capture contemporary Bay Area landscapes.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Francisco–based artist \u003ca href=\"http://hainesgallery.com/john-chiara-works\" target=\"_blank\" rel=\"noopener\">John Chiara\u003c/a> creates photographs with a handmade camera so large it must be towed on a trailer. The devices works like a camera obscura, box or room-like constructions that predate photography and are used to focus images on a wall through a small hole. While Chiara uses large, high-quality lenses, his process is similar to those used in the early days of photography. In Chiara’s case, the result is one-of-a-kind artworks that buck photography’s most unique trait while embracing the medium as a whole.\u003c/p>\n\u003cfigure id=\"attachment_13814149\" class=\"wp-caption alignright\" style=\"max-width: 747px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13814149\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/John-Chiara_Larkin-Street-at-McAllister-Street_Haines-Gallery.jpg\" alt=\"John Chiara, 'Larkin Street at McAllister Street,' 2017.\" width=\"747\" height=\"1000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/John-Chiara_Larkin-Street-at-McAllister-Street_Haines-Gallery.jpg 747w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/John-Chiara_Larkin-Street-at-McAllister-Street_Haines-Gallery-160x214.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/John-Chiara_Larkin-Street-at-McAllister-Street_Haines-Gallery-240x321.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/John-Chiara_Larkin-Street-at-McAllister-Street_Haines-Gallery-375x502.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/John-Chiara_Larkin-Street-at-McAllister-Street_Haines-Gallery-520x696.jpg 520w\" sizes=\"(max-width: 747px) 100vw, 747px\">\u003cfigcaption class=\"wp-caption-text\">John Chiara, ‘Larkin Street at McAllister Street,’ 2017. \u003ccite>(Courtesy of the artist and Haines Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We’re accustomed to the idea that photographs — unlike paintings — can be infinitely reproduced. However, the earliest photographs were one-of-a-kind images exposed directly onto a light-sensitive plate. Even though reproducible techniques were introduced early in the history of photography, unique photographs, such as daguerreotypes, ambrotypes and tintypes, remained popular for decades, before ultimately losing ground. There’s still something attractive in the unique image. Less popular than it once was, instant film was a modern fulfillment of this same desire.\u003c/p>\n\u003cp>Chiara’s latest solo exhibition at San Francisco’s \u003ca href=\"http://hainesgallery.com/\" target=\"_blank\" rel=\"noopener\">Haines Gallery\u003c/a>, \u003ci>Lands End: California at Larkin\u003c/i>, showcases 16 of his newest works. Though Chiara also has a new book, \u003ci>John Chiara: California\u003c/i>, that features work taken throughout the state, \u003ci>Lands End\u003c/i> focuses solely on works photographed between Pescadero and the Marin Headlands.\u003c/p>\n\u003cp>To capture these one-offs, Chiara places large sheets of light-sensitive photographic paper inside the camera, where images are exposed directly onto the paper. With this process, Chiara creates unique objects that can never be duplicated, only approximated (like the images accompanying this article). And though the digital images interspersed here may appear to be high quality, the originals are stunning in their clarity.\u003c/p>\n\u003cfigure id=\"attachment_13814211\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13814211\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/John-Chiara_Simmonds-Road-At-Bunker-Road-West_HainesGallery-1020x1338.jpg\" alt=\"John Chiara, 'Simmonds Road at Bunker Road West,' 2017.\" width=\"640\" height=\"840\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/John-Chiara_Simmonds-Road-At-Bunker-Road-West_HainesGallery-1020x1338.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/John-Chiara_Simmonds-Road-At-Bunker-Road-West_HainesGallery-160x210.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/John-Chiara_Simmonds-Road-At-Bunker-Road-West_HainesGallery-800x1049.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/John-Chiara_Simmonds-Road-At-Bunker-Road-West_HainesGallery-768x1007.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/John-Chiara_Simmonds-Road-At-Bunker-Road-West_HainesGallery-1180x1548.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/John-Chiara_Simmonds-Road-At-Bunker-Road-West_HainesGallery-960x1259.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/John-Chiara_Simmonds-Road-At-Bunker-Road-West_HainesGallery-240x315.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/John-Chiara_Simmonds-Road-At-Bunker-Road-West_HainesGallery-375x492.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/John-Chiara_Simmonds-Road-At-Bunker-Road-West_HainesGallery-520x682.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/John-Chiara_Simmonds-Road-At-Bunker-Road-West_HainesGallery.jpg 1525w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">John Chiara, ‘Simmonds Road at Bunker Road West,’ 2017. \u003ccite>(Courtesy of the artist and Haines Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Indebted as it is to traditional photography techniques, Chiara’s work is particularly impressive because it is not retro. His photographs aren’t novelties or throwbacks, nor should they be, since at their essence they are simply impressions of light.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Half of the work in \u003ci>Lands End\u003c/i> was shot on negative paper, which reverses the order of light and dark areas. Paper negatives were patented in 1841, but most people only see negatives (film or paper) at very small scales or in a darkroom. With photographs as large as 50-by-35 inches, Chiara reveals to viewers the normally hidden nature of negative paper.\u003c/p>\n\u003cp>Several photographs were taken in downtown San Francisco, but exhibit a serenity that sometimes escapes these locations, perhaps due to the fact that they contain no people and no cars. Because of the reversed order, they appear to have been taken during some apocalyptic night, rendering the serenity a bit disquieting. As negatives, these images also highlight features that might otherwise be taken for granted: The dark ladders of a fire escape, an ordinary feature of the environment, become a focal point of a photograph taken at Larkin and McAllister Streets.\u003c/p>\n\u003cp>The remaining half of \u003ci>Lands End\u003c/i> is a series of photographs exposed on Ilfochrome paper, which is normally used to print from transparencies. Unlike the other work, this process results in positive photographs that more closely resemble reality. Most of these are photographs of the Pacific coast in San Mateo County, and the ocean presents Chiara with an opportunity to experiment.\u003c/p>\n\u003cfigure id=\"attachment_13814150\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13814150\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/John-Chiara_Rockaway-Beach-Avenue-at-San-Marlo-Way-Pacifica_Haines-Gallery-1020x1360.jpg\" alt=\"John Chiara, 'Rockaway Beach Avenue at San Marlo Way, Pacifica, Variation 1,' 2017.\" width=\"640\" height=\"853\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/John-Chiara_Rockaway-Beach-Avenue-at-San-Marlo-Way-Pacifica_Haines-Gallery-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/John-Chiara_Rockaway-Beach-Avenue-at-San-Marlo-Way-Pacifica_Haines-Gallery-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/John-Chiara_Rockaway-Beach-Avenue-at-San-Marlo-Way-Pacifica_Haines-Gallery-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/John-Chiara_Rockaway-Beach-Avenue-at-San-Marlo-Way-Pacifica_Haines-Gallery-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/John-Chiara_Rockaway-Beach-Avenue-at-San-Marlo-Way-Pacifica_Haines-Gallery-1920x2560.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/John-Chiara_Rockaway-Beach-Avenue-at-San-Marlo-Way-Pacifica_Haines-Gallery-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/John-Chiara_Rockaway-Beach-Avenue-at-San-Marlo-Way-Pacifica_Haines-Gallery-960x1280.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/John-Chiara_Rockaway-Beach-Avenue-at-San-Marlo-Way-Pacifica_Haines-Gallery-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/John-Chiara_Rockaway-Beach-Avenue-at-San-Marlo-Way-Pacifica_Haines-Gallery-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/John-Chiara_Rockaway-Beach-Avenue-at-San-Marlo-Way-Pacifica_Haines-Gallery-520x693.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">John Chiara, ‘Rockaway Beach Avenue at San Marlo Way, Pacifica, Variation 1,’ 2017. \u003ccite>(Courtesy of the artist and Haines Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In many 19th-century photographs, moving water looks something like liquid mercury because longer exposure times flattened out the movement captured by the camera. Chiara wondered if instead he could render the ocean like a painters does, with the luxury of presenting something more impressionistic. By interrupting the exposure dozens of times by very briefly obstructing the lens, Chiara creates a sense of movement that is neither negated by long exposure or frozen in time by short exposure.\u003c/p>\n\u003cp>The ocean in his Rockaway Beach photographs is indeed painterly — from a distance its subject matter is undeniable, but upon closer inspection viewers see something that never really existed, a composite of multiple instants rendered as one impossible moment. The ocean looks like a whirlpool of activity.\u003c/p>\n\u003cp>Chiara’s dark, sometimes underexposed, photographs of the ocean harken back to the medium’s history, especially to the many photographers who were drawn to Northern California’s rocky coasts. But it’s unlikely that most 19th-century viewers would have seen anything like Chiara’s photographs. In that era, 18-by-22-inch photographs were called “mammoth.” Only in the rarest cases were photographs ever as large as Chiara’s, which also benefit from modern photographic paper.\u003c/p>\n\u003cp>Chiara’s practice has one foot in the past without being nostalgic. A sincere interest in traditional methods builds upon that legacy to create something new. Unique photographs and direct exposure on paper happen to be a part of photographic history, but there is nothing outdated about them.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Lands End: California at Larkin’ is on view at San Francisco’s Haines Gallery through Dec. 23, 2017. For more information, \u003ca href=\"http://hainesgallery.com/\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Students Help Okinawan History Come Alive in UC Santa Cruz Exhibit",
"headTitle": "Students Help Okinawan History Come Alive in UC Santa Cruz Exhibit | KQED",
"content": "\u003cp>During the time Army Captain Charles Gail wandered Okinawa with his box camera in 1952, his intention was artistic. But his slice-of-life photos — along with his detailed notes about each scene — serve as precious documentation of a way of life that’s gone now.\u003c/p>\n\u003cp>[audio src=\"https://www.kqed.org/.stream/anon/radio/tcr/2017/11/OkinawanHistoryMyrow.mp3\" title=\"Okinawan History\" program=\"The California Report\" image=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/RS27905_Photo-Oct-05-4-768x432.jpg\"]\u003c/p>\n\u003cp>So when UC Santa Cruz was offered a trove of photos that Gail took while stationed on Okinawa, History Professor \u003ca href=\"https://history.ucsc.edu/faculty/profiles/singleton.php?&singleton=true&cruz_id=achristy\" target=\"_blank\" rel=\"noopener\">Alan Christy\u003c/a> jumped on it. Then, he took 15 students on a couple of international field trips to the island, to research and write history themselves.\u003c/p>\n\u003cp>“By working with me on the research,” he says, “they’ll learn how history is done.”\u003c/p>\n\u003ch2>Much of Okinawa’s historical record destroyed\u003c/h2>\n\u003cp>The epic battle on Okinawa, depicted in this 1945 newsreel, was devastating. About 90,000 soldiers were killed on both sides. More than 110,000 Okinawans died.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=ZUbDw84ouok]\u003cbr>\nAfter World War II, the US military moved in and established several bases, whether the Okinawans wanted them or not. Civilian photography was restricted. Christy explains, “WWII in Okinawa was immensely destructive of the heritage landscape: archives, images, not to mention, of course, people.”\u003c/p>\n\u003cp>As part of Christy’s project, UC Santa Cruz students were asked to seek out the exact places where Gail shot his photos, and found some of the people he photographed are still alive, or at least remembered by people alive today.\u003c/p>\n\u003cp>“Crowds would gather around the photo — all the old folk, particularly, because these are photos from 70 years ago — and argue about where this photo was or wasn’t,” Christy says.\u003c/p>\n\u003cfigure id=\"attachment_13831450\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Okinawan-note1-800x450.jpg\" alt='Charles Gail wrote notes on the back of his photographs, like the one at the top of this article: \"This is a seed store. The old gent has made himself a pair of bifocals by taping two pairs of glasses together...You will notice he smokes Camel cigarettes with an ivory holder, and the dragon ash tray is Okinawan pottery.\"' width=\"800\" height=\"450\" class=\"size-medium wp-image-13831450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note1-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note1-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note1-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Charles Gail wrote notes on the back of his photographs, like the one at the top of this article: “This is a seed store. The old gent has made himself a pair of bifocals by taping two pairs of glasses together…You will notice he smokes Camel cigarettes with an ivory holder, and the dragon ash tray is Okinawan pottery.” \u003ccite>(Courtesy of UC Santa Cruz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“‘Ah, I remember those people, the people were were selling fish like that.’ You’d just get these great conversations and sit there and soak it in,” Christy says.\u003c/p>\n\u003cp>Gail focused his camera on long-suffering peasants carrying goods to market, fishermen hauling their catch onto the beach, and adorable children everywhere.\u003c/p>\n\u003cp>Now, a selection of his photos, as well as photos shot by students in the same locations, are on display at the \u003ca href=\"http://art.ucsc.edu/galleries/gail-project-okinawan-american-dialogue\" target=\"_blank\" rel=\"noopener\">Mary Porter Sesnon Art Gallery\u003c/a> at UC Santa Cruz.\u003c/p>\n\u003cfigure id=\"attachment_13831452\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Okinawan-note2-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13831452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note2-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note2-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note2-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Some of the little children are now elders on Okinawa. Detail of photo by Charles Eugene Gail; c. 1952. \u003ccite>(Charles Eugene Gail)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>The Gail Project: An Okinawan-American Dialogue\u003c/em>, which includes 50 digital prints reprinted from the original 200 black and white photos, is being developed into a traveling exhibition.\u003c/p>\n\u003cp>The current exhibit also includes an online archive, with oral histories from Americans and Okinawans, as well as undergraduate research and writing.\u003c/p>\n\u003ch2>No “us” and “them” when the subjects are your relatives\u003c/h2>\n\u003cp>Among the student historians: Alexyss “Lex” McClellan, who’s majoring in history and critical race and ethnic studies. McClellan is also part Okinawan.\u003c/p>\n\u003cp>“Most of my family’s worldly possessions were destroyed during the battle, so photos are rare,” McClellan says. Her grandmother married an American serviceman and moved to San Diego.\u003c/p>\n\u003cfigure id=\"attachment_13831454\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Okinawan-note3-800x1108.jpg\" alt=\"Locating the exact spots where Charles Gail shot his photos in 1952 was no small feat. Take this shot of the Katsuren Peninsula, that now features a bridge. Supportive Okinawans helped the student historians from UC Santa Cruz figure out where to go.\" width=\"800\" height=\"1108\" class=\"size-medium wp-image-13831454\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note3.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note3-160x222.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note3-768x1064.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note3-240x332.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note3-375x519.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note3-520x720.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Locating the exact spots where Charles Gail shot his photos in 1952 was no small feat. Take this shot of the Katsuren Peninsula, that now features a bridge. Supportive Okinawans helped the student historians from UC Santa Cruz figure out where to go. \u003ccite>(Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“This project has been a blessing to me because it’s given me an opportunity — to talk to my grandmother, her sisters, her brother and the rest of my family on a level they empathize deeply with — and so for them to tell stories that I had never heard growing up,” McClellan says.\u003c/p>\n\u003cp>McClellan and her family are also enjoying an upwelling of pride at the attention UC Santa Cruz is paying to Okinawan culture. Outside of Japan, many people are not aware the islanders don’t consider themselves Japanese. Their neighbors to the north only took over Okinawa in 1609.\u003c/p>\n\u003cp>Okinawans speak different languages. Or rather, they did. After years of Japanese and American occupation, less than 10,000 people now speak some form of Okinawan. It’s just another way a distinctive indigenous culture fades into history.\u003c/p>\n\u003cp>McLellan says Gail wasn’t thinking about history when he took his photographs. “He was just taking pictures he thought other Americans might find anomalous or interesting. But to us, these are a gold mine.”\u003c/p>\n\u003cfigure id=\"attachment_13831455\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Okinawan-note4-800x450.jpg\" alt='Detail of \"Tattoos,\" by Charles Eugene Gail; c. 1952. \"Notice tattoos on her wrist, an old marrying custom,\" Gail wrote on the back. Old indeed. Japan banned the practice of hachiji in the late 19th century as part of an effort to suppress local customs. Women like this one were some of the last to wear these indigo tattoos for decades. The practice is now enjoying a resurgence on Okinawa.' width=\"800\" height=\"450\" class=\"size-medium wp-image-13831455\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note4.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note4-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note4-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note4-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note4-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note4-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Detail of “Tattoos,” by Charles Eugene Gail; c. 1952. “Notice tattoos on her wrist, an old marrying custom,” Gail wrote on the back. Old indeed. Japan banned the practice of hachiji in the late 19th century as part of an effort to suppress local customs. Women like this one were some of the last to wear these indigo tattoos for decades. The practice is now enjoying a resurgence on Okinawa. \u003ccite>(Charles Eugene Gail)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For Geri Gail, a former employee of UC Santa Cruz who always knew her dad was a talent, it’s a thrill to see his pictures archived in excellent company alongside prominent 20th century photographers in the university’s growing collection.\u003c/p>\n\u003cp>“It just gives me goose bumps. I’m so proud,” she says, looking at her father’s photos up on the wall at the Sesnon Gallery.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘The Gail Project: An Okinawan-American Dialogue’ is on view at the The Mary Porter Sesnon Art Gallery through Dec. 2, 2017. For more information, \u003ca href=\"https://gailproject.ucsc.edu\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>So when UC Santa Cruz was offered a trove of photos that Gail took while stationed on Okinawa, History Professor \u003ca href=\"https://history.ucsc.edu/faculty/profiles/singleton.php?&singleton=true&cruz_id=achristy\" target=\"_blank\" rel=\"noopener\">Alan Christy\u003c/a> jumped on it. Then, he took 15 students on a couple of international field trips to the island, to research and write history themselves.\u003c/p>\n\u003cp>“By working with me on the research,” he says, “they’ll learn how history is done.”\u003c/p>\n\u003ch2>Much of Okinawa’s historical record destroyed\u003c/h2>\n\u003cp>The epic battle on Okinawa, depicted in this 1945 newsreel, was devastating. About 90,000 soldiers were killed on both sides. More than 110,000 Okinawans died.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\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/ZUbDw84ouok'\n title='//www.youtube.com/embed/ZUbDw84ouok'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cbr>\nAfter World War II, the US military moved in and established several bases, whether the Okinawans wanted them or not. Civilian photography was restricted. Christy explains, “WWII in Okinawa was immensely destructive of the heritage landscape: archives, images, not to mention, of course, people.”\u003c/p>\n\u003cp>As part of Christy’s project, UC Santa Cruz students were asked to seek out the exact places where Gail shot his photos, and found some of the people he photographed are still alive, or at least remembered by people alive today.\u003c/p>\n\u003cp>“Crowds would gather around the photo — all the old folk, particularly, because these are photos from 70 years ago — and argue about where this photo was or wasn’t,” Christy says.\u003c/p>\n\u003cfigure id=\"attachment_13831450\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Okinawan-note1-800x450.jpg\" alt='Charles Gail wrote notes on the back of his photographs, like the one at the top of this article: \"This is a seed store. The old gent has made himself a pair of bifocals by taping two pairs of glasses together...You will notice he smokes Camel cigarettes with an ivory holder, and the dragon ash tray is Okinawan pottery.\"' width=\"800\" height=\"450\" class=\"size-medium wp-image-13831450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note1-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note1-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note1-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Charles Gail wrote notes on the back of his photographs, like the one at the top of this article: “This is a seed store. The old gent has made himself a pair of bifocals by taping two pairs of glasses together…You will notice he smokes Camel cigarettes with an ivory holder, and the dragon ash tray is Okinawan pottery.” \u003ccite>(Courtesy of UC Santa Cruz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“‘Ah, I remember those people, the people were were selling fish like that.’ You’d just get these great conversations and sit there and soak it in,” Christy says.\u003c/p>\n\u003cp>Gail focused his camera on long-suffering peasants carrying goods to market, fishermen hauling their catch onto the beach, and adorable children everywhere.\u003c/p>\n\u003cp>Now, a selection of his photos, as well as photos shot by students in the same locations, are on display at the \u003ca href=\"http://art.ucsc.edu/galleries/gail-project-okinawan-american-dialogue\" target=\"_blank\" rel=\"noopener\">Mary Porter Sesnon Art Gallery\u003c/a> at UC Santa Cruz.\u003c/p>\n\u003cfigure id=\"attachment_13831452\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Okinawan-note2-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13831452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note2-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note2-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note2-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Some of the little children are now elders on Okinawa. Detail of photo by Charles Eugene Gail; c. 1952. \u003ccite>(Charles Eugene Gail)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>The Gail Project: An Okinawan-American Dialogue\u003c/em>, which includes 50 digital prints reprinted from the original 200 black and white photos, is being developed into a traveling exhibition.\u003c/p>\n\u003cp>The current exhibit also includes an online archive, with oral histories from Americans and Okinawans, as well as undergraduate research and writing.\u003c/p>\n\u003ch2>No “us” and “them” when the subjects are your relatives\u003c/h2>\n\u003cp>Among the student historians: Alexyss “Lex” McClellan, who’s majoring in history and critical race and ethnic studies. McClellan is also part Okinawan.\u003c/p>\n\u003cp>“Most of my family’s worldly possessions were destroyed during the battle, so photos are rare,” McClellan says. Her grandmother married an American serviceman and moved to San Diego.\u003c/p>\n\u003cfigure id=\"attachment_13831454\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Okinawan-note3-800x1108.jpg\" alt=\"Locating the exact spots where Charles Gail shot his photos in 1952 was no small feat. Take this shot of the Katsuren Peninsula, that now features a bridge. Supportive Okinawans helped the student historians from UC Santa Cruz figure out where to go.\" width=\"800\" height=\"1108\" class=\"size-medium wp-image-13831454\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note3.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note3-160x222.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note3-768x1064.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note3-240x332.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note3-375x519.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note3-520x720.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Locating the exact spots where Charles Gail shot his photos in 1952 was no small feat. Take this shot of the Katsuren Peninsula, that now features a bridge. Supportive Okinawans helped the student historians from UC Santa Cruz figure out where to go. \u003ccite>(Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“This project has been a blessing to me because it’s given me an opportunity — to talk to my grandmother, her sisters, her brother and the rest of my family on a level they empathize deeply with — and so for them to tell stories that I had never heard growing up,” McClellan says.\u003c/p>\n\u003cp>McClellan and her family are also enjoying an upwelling of pride at the attention UC Santa Cruz is paying to Okinawan culture. Outside of Japan, many people are not aware the islanders don’t consider themselves Japanese. Their neighbors to the north only took over Okinawa in 1609.\u003c/p>\n\u003cp>Okinawans speak different languages. Or rather, they did. After years of Japanese and American occupation, less than 10,000 people now speak some form of Okinawan. It’s just another way a distinctive indigenous culture fades into history.\u003c/p>\n\u003cp>McLellan says Gail wasn’t thinking about history when he took his photographs. “He was just taking pictures he thought other Americans might find anomalous or interesting. But to us, these are a gold mine.”\u003c/p>\n\u003cfigure id=\"attachment_13831455\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Okinawan-note4-800x450.jpg\" alt='Detail of \"Tattoos,\" by Charles Eugene Gail; c. 1952. \"Notice tattoos on her wrist, an old marrying custom,\" Gail wrote on the back. Old indeed. Japan banned the practice of hachiji in the late 19th century as part of an effort to suppress local customs. Women like this one were some of the last to wear these indigo tattoos for decades. The practice is now enjoying a resurgence on Okinawa.' width=\"800\" height=\"450\" class=\"size-medium wp-image-13831455\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note4.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note4-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note4-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note4-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note4-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note4-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Detail of “Tattoos,” by Charles Eugene Gail; c. 1952. “Notice tattoos on her wrist, an old marrying custom,” Gail wrote on the back. Old indeed. Japan banned the practice of hachiji in the late 19th century as part of an effort to suppress local customs. Women like this one were some of the last to wear these indigo tattoos for decades. The practice is now enjoying a resurgence on Okinawa. \u003ccite>(Charles Eugene Gail)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For Geri Gail, a former employee of UC Santa Cruz who always knew her dad was a talent, it’s a thrill to see his pictures archived in excellent company alongside prominent 20th century photographers in the university’s growing collection.\u003c/p>\n\u003cp>“It just gives me goose bumps. I’m so proud,” she says, looking at her father’s photos up on the wall at the Sesnon Gallery.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘The Gail Project: An Okinawan-American Dialogue’ is on view at the The Mary Porter Sesnon Art Gallery through Dec. 2, 2017. For more information, \u003ca href=\"https://gailproject.ucsc.edu\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The Unsung Street Photographers of Bay Area Instagram",
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"content": "\u003cp>I mindlessly scroll past images — of former classmates, a famous person, a gym selfie, a sunset, a sponsored post, something my nephew posted that I wished he didn’t, a couple memes, an adorable baby smiling as if all is well with the world. I like a photo here. I scroll. I like another photo there. I scroll. I refresh and repeat.\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>And then it dawns on me: Instagram, a photography-based social media application, isn’t made for photographers. Na, it’s for socialites. It’s a popularity pool, a high school hallway, an echo chamber where artistic images captured by talented photographers get overshadowed by selfies taken by a half-naked people in bathrooms, who caption their picture with words that would make Aristotle claim plagiarism.\u003c/p>\n\u003cp>Of the 100 most-followed Instagram accounts, there are entertainers, athletes, a couple brands, and a few media outlets. But there isn’t one single individual photographer in the top 100 Instagram accounts; further evidence that this is an image-driven popularity contest. Because of that, true photographers don’t get the exposure (no pun intended) they deserve.\u003c/p>\n\u003caside class=\"pullquote alignright\">Instagram isn’t made for photographers. It’s for socialites. It’s a popularity pool, a high school hallway.\u003c/aside>\n\u003cp>And then there’s \u003ca href=\"https://www.instagram.com/everydaybayarea/\" target=\"_blank\" rel=\"noopener noreferrer\">Everyday Bay Area\u003c/a>. It’s a part of Everyday Everywhere, a collection of Instagram accounts from all over the place — there’s #EverydayEgypt, #EverydayBronx and even #EverydayIncarceration.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The Everyday Bay Area account has connected with me all kinds of talented photographers, folks who publish photos on Instagram and beyond. People like \u003ca href=\"https://www.instagram.com/nweyland/\" target=\"_blank\" rel=\"noopener noreferrer\">@Nweyland\u003c/a>, who captures everything California: from the surfers to the mountains, and he doesn’t mind stopping in West Oakland in between. And then there’s \u003ca href=\"https://www.instagram.com/rastadave52/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">@RastaDave52\u003c/a>, whose images of San Francisco’s hoods are far more attractive than the played-out shots of cable cars.\u003c/p>\n\u003cp>https://www.instagram.com/p/BZypkDajso7/?taken-by=rastadave52\u003c/p>\n\u003cp>One of the primary goals of the affiliated accounts is to simply document humans in their natural course of action — and do so as artistically as Instagram will allow. Given that lens on life (pun intended), I started paying more attention to other photographers who do an awesome job at simply documenting this thing we call existence — especially the photographers who don’t have a billion followers.\u003c/p>\n\u003cp>Recently, I even asked a few of them about their art.\u003c/p>\n\u003cp>I talked to \u003ca href=\"https://www.instagram.com/rian_dundon/\" target=\"_blank\" rel=\"noopener noreferrer\">@Rian_dundon\u003c/a>, who says, “I make photos for myself. It’s the best way I’ve found for compartmentalizing the disorder of existence — and a reminder that I’m in control of none of it.” In a similar stance, \u003ca href=\"https://www.instagram.com/chali_aesthetics/\" target=\"_blank\" rel=\"noopener noreferrer\">@Chali_aesthetics\u003c/a> says photography helps him combat depression and PTSD. During a therapy session he was asked what he appreciates, and “all I could come up with was flowers and sunsets,” he says. “So, the therapist told me to capture that.” Beyond nature, he captures his environment, from the hood in San Francisco’s Double Rock to North Oakland’s Ice City. I love it all.\u003c/p>\n\u003cp>https://www.instagram.com/p/BaMFMsJFDkt/?taken-by=chali_aesthetics\u003c/p>\n\u003cp>There’s another photographer who goes by the handle \u003ca href=\"https://www.instagram.com/amandasade/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">@Amandasade\u003c/a>. I love how she practices her craft in the traditional sense, by regularly going on photo walks and documenting what’s happening at the golden hour — a window to what it’s like to be a human on any given day.\u003c/p>\n\u003cp>Amanda, who has never been “published,” tells me, “You know what’s crazy beautiful? I get most of my IG compliments in person! When I’m out on the town, I get affirmations from people who’ve seen my posts.”\u003c/p>\n\u003cp>https://www.instagram.com/p/BYG99XzA4Mp/?taken-by=amandasade\u003c/p>\n\u003cp>Another awesome portrait photographer who doesn’t have a large following, and has never been published in the traditional sense, is \u003ca href=\"https://www.instagram.com/dexwill87/\" target=\"_blank\" rel=\"noopener noreferrer\">@DexWill87\u003c/a>. He too uses Instagram as a catharsis, as well as a portfolio of his work. He’s split on whether or not Instagram is helping or hindering the photography industry, he tells me.\u003c/p>\n\u003cp>https://www.instagram.com/p/BJi8sYYD6DC/?taken-by=dexwill87\u003c/p>\n\u003cp>Former college classmate \u003ca href=\"https://www.instagram.com/forrestloew/\" target=\"_blank\" rel=\"noopener noreferrer\">@Forrestloew\u003c/a>, who isn’t Bay Area-based but has frequented the terrain, seems to believe that Instagram isn’t hurting the photography industry. “Almost all of my paid gigs come from IG,” he told me. He says he’s definitely not concerned with the amount of followers either: “I think it’s the Who, and even more important, the engagement. Are people actually feeling my posts or not? The right people following and engaging with my posts are going to end up on more of the right people’s feeds.”\u003c/p>\n\u003cp>That same thought about valuing \u003cem>who\u003c/em> follows you, and not being concerned with the amount of followers you have, is shared by a former coworker of mine who goes by \u003ca href=\"https://www.instagram.com/eugevon/\" target=\"_blank\" rel=\"noopener noreferrer\">@Eugevon\u003c/a>. He photographs everything from broad landscapes to microscopic shots of food, and I had no idea when we working together that he was such an intricate photographer; really glad I found his Instagram account.\u003c/p>\n\u003cp>https://www.instagram.com/p/BZ9mMuNAP95/?taken-by=eugevon\u003c/p>\n\u003cp>The last person I talked to about Instagram and photography was my mentee, \u003ca href=\"https://www.instagram.com/__mmbrvce/\" target=\"_blank\" rel=\"noopener noreferrer\">@__Mmbrvce\u003c/a>. He’s a model, designer and photographer who’s looking to pierce the industry. He tells me that the ultimate goal is “traveling all across the world, getting paid and meeting all kinds of amazing important, and beautiful people who appreciate the art.”\u003c/p>\n\u003cp>Just about every photographer I talked to shares his sentiment.\u003c/p>\n\u003cp>So while twerk videos and memes pile up likes by the thousands, skilled photographers are pounding the pavement everyday, chasing their dreams and uploading their visions to a social network that uses photos, but doesn’t value photographers. Artists like \u003ca href=\"https://www.instagram.com/_illuminollie/\" target=\"_blank\" rel=\"noopener noreferrer\">@_illuminollie\u003c/a>, who takes awesome shots of street art, and \u003ca href=\"https://www.instagram.com/salihahsaadiqphoto/\" target=\"_blank\" rel=\"noopener noreferrer\">@Salihahsaadiqphoto\u003c/a> who captures some of the most notable figures of the Bay Area’s arts community, and \u003ca href=\"https://www.instagram.com/christiehklok/\" target=\"_blank\" rel=\"noopener noreferrer\">@Christiehklok\u003c/a>, whose project on \u003ca href=\"https://ww2.kqed.org/arts/2017/10/02/firefighter-portraits-women-of-sffd-christie-hemm-klok/\" target=\"_blank\" rel=\"noopener noreferrer\">female firefighters in San Francisco\u003c/a> is nothing short of five flame emojis. And the list goes on.\u003c/p>\n\u003cp>https://www.instagram.com/p/BaHa8deHbZ0/?taken-by=christiehklok\u003c/p>\n\u003cp>I appreciate these artists as further proof that art isn’t popular. And, although Instagram is a social network, I can’t get over the fact that it’s photography-based. So why don’t photographers get more love?\u003c/p>\n\u003cp>Hopefully, in the midst of your mindless scrolling and liking, you’ll check out their pages and glimpse into a mirror of everyday life in the Bay Area.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.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\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I mindlessly scroll past images — of former classmates, a famous person, a gym selfie, a sunset, a sponsored post, something my nephew posted that I wished he didn’t, a couple memes, an adorable baby smiling as if all is well with the world. I like a photo here. I scroll. I like another photo there. I scroll. I refresh and repeat.\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>And then it dawns on me: Instagram, a photography-based social media application, isn’t made for photographers. Na, it’s for socialites. It’s a popularity pool, a high school hallway, an echo chamber where artistic images captured by talented photographers get overshadowed by selfies taken by a half-naked people in bathrooms, who caption their picture with words that would make Aristotle claim plagiarism.\u003c/p>\n\u003cp>Of the 100 most-followed Instagram accounts, there are entertainers, athletes, a couple brands, and a few media outlets. But there isn’t one single individual photographer in the top 100 Instagram accounts; further evidence that this is an image-driven popularity contest. Because of that, true photographers don’t get the exposure (no pun intended) they deserve.\u003c/p>\n\u003caside class=\"pullquote alignright\">Instagram isn’t made for photographers. It’s for socialites. It’s a popularity pool, a high school hallway.\u003c/aside>\n\u003cp>And then there’s \u003ca href=\"https://www.instagram.com/everydaybayarea/\" target=\"_blank\" rel=\"noopener noreferrer\">Everyday Bay Area\u003c/a>. It’s a part of Everyday Everywhere, a collection of Instagram accounts from all over the place — there’s #EverydayEgypt, #EverydayBronx and even #EverydayIncarceration.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>One of the primary goals of the affiliated accounts is to simply document humans in their natural course of action — and do so as artistically as Instagram will allow. Given that lens on life (pun intended), I started paying more attention to other photographers who do an awesome job at simply documenting this thing we call existence — especially the photographers who don’t have a billion followers.\u003c/p>\n\u003cp>Recently, I even asked a few of them about their art.\u003c/p>\n\u003cp>I talked to \u003ca href=\"https://www.instagram.com/rian_dundon/\" target=\"_blank\" rel=\"noopener noreferrer\">@Rian_dundon\u003c/a>, who says, “I make photos for myself. It’s the best way I’ve found for compartmentalizing the disorder of existence — and a reminder that I’m in control of none of it.” In a similar stance, \u003ca href=\"https://www.instagram.com/chali_aesthetics/\" target=\"_blank\" rel=\"noopener noreferrer\">@Chali_aesthetics\u003c/a> says photography helps him combat depression and PTSD. During a therapy session he was asked what he appreciates, and “all I could come up with was flowers and sunsets,” he says. “So, the therapist told me to capture that.” Beyond nature, he captures his environment, from the hood in San Francisco’s Double Rock to North Oakland’s Ice City. I love it all.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There’s another photographer who goes by the handle \u003ca href=\"https://www.instagram.com/amandasade/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">@Amandasade\u003c/a>. I love how she practices her craft in the traditional sense, by regularly going on photo walks and documenting what’s happening at the golden hour — a window to what it’s like to be a human on any given day.\u003c/p>\n\u003cp>Amanda, who has never been “published,” tells me, “You know what’s crazy beautiful? I get most of my IG compliments in person! When I’m out on the town, I get affirmations from people who’ve seen my posts.”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Another awesome portrait photographer who doesn’t have a large following, and has never been published in the traditional sense, is \u003ca href=\"https://www.instagram.com/dexwill87/\" target=\"_blank\" rel=\"noopener noreferrer\">@DexWill87\u003c/a>. He too uses Instagram as a catharsis, as well as a portfolio of his work. He’s split on whether or not Instagram is helping or hindering the photography industry, he tells me.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Former college classmate \u003ca href=\"https://www.instagram.com/forrestloew/\" target=\"_blank\" rel=\"noopener noreferrer\">@Forrestloew\u003c/a>, who isn’t Bay Area-based but has frequented the terrain, seems to believe that Instagram isn’t hurting the photography industry. “Almost all of my paid gigs come from IG,” he told me. He says he’s definitely not concerned with the amount of followers either: “I think it’s the Who, and even more important, the engagement. Are people actually feeling my posts or not? The right people following and engaging with my posts are going to end up on more of the right people’s feeds.”\u003c/p>\n\u003cp>That same thought about valuing \u003cem>who\u003c/em> follows you, and not being concerned with the amount of followers you have, is shared by a former coworker of mine who goes by \u003ca href=\"https://www.instagram.com/eugevon/\" target=\"_blank\" rel=\"noopener noreferrer\">@Eugevon\u003c/a>. He photographs everything from broad landscapes to microscopic shots of food, and I had no idea when we working together that he was such an intricate photographer; really glad I found his Instagram account.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The last person I talked to about Instagram and photography was my mentee, \u003ca href=\"https://www.instagram.com/__mmbrvce/\" target=\"_blank\" rel=\"noopener noreferrer\">@__Mmbrvce\u003c/a>. He’s a model, designer and photographer who’s looking to pierce the industry. He tells me that the ultimate goal is “traveling all across the world, getting paid and meeting all kinds of amazing important, and beautiful people who appreciate the art.”\u003c/p>\n\u003cp>Just about every photographer I talked to shares his sentiment.\u003c/p>\n\u003cp>So while twerk videos and memes pile up likes by the thousands, skilled photographers are pounding the pavement everyday, chasing their dreams and uploading their visions to a social network that uses photos, but doesn’t value photographers. Artists like \u003ca href=\"https://www.instagram.com/_illuminollie/\" target=\"_blank\" rel=\"noopener noreferrer\">@_illuminollie\u003c/a>, who takes awesome shots of street art, and \u003ca href=\"https://www.instagram.com/salihahsaadiqphoto/\" target=\"_blank\" rel=\"noopener noreferrer\">@Salihahsaadiqphoto\u003c/a> who captures some of the most notable figures of the Bay Area’s arts community, and \u003ca href=\"https://www.instagram.com/christiehklok/\" target=\"_blank\" rel=\"noopener noreferrer\">@Christiehklok\u003c/a>, whose project on \u003ca href=\"https://ww2.kqed.org/arts/2017/10/02/firefighter-portraits-women-of-sffd-christie-hemm-klok/\" target=\"_blank\" rel=\"noopener noreferrer\">female firefighters in San Francisco\u003c/a> is nothing short of five flame emojis. And the list goes on.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I appreciate these artists as further proof that art isn’t popular. And, although Instagram is a social network, I can’t get over the fact that it’s photography-based. So why don’t photographers get more love?\u003c/p>\n\u003cp>Hopefully, in the midst of your mindless scrolling and liking, you’ll check out their pages and glimpse into a mirror of everyday life in the Bay Area.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"headTitle": "Editorial Bias Exposed in Unpublished Gordon Parks Images | KQED",
"content": "\u003cp>In 1948, Gordon Parks became the first Black photographer featured in \u003ci>Life\u003c/i> magazine. Already a seasoned professional with work in \u003ci>Vogue\u003c/i> and \u003ci>Glamour\u003c/i>, Parks chose \u003ci>Life\u003c/i> for a story he wanted to tell about Harlem’s gang wars after having spent some time in the systemically under-resourced borough. He found a subject in 17-year-old Harlem resident Leonard “Red” Jackson, leader of the Midtowners crew, and his story went on to be published under the title “Harlem Gang Leader.”\u003c/p>\n\u003cp>As was custom, Parks presented hundreds of negatives to his editors at \u003ci>Life\u003c/i>, who in turn selected and edited 21 images from that collection to tell the story of Jackson and his friends. \u003ci>\u003ca href=\"https://bampfa.org/program/gordon-parks-making-argument\" target=\"_blank\" rel=\"noopener\">Gordon Parks: The Making of an Argument\u003c/a>\u003c/i>, a touring exhibition making its final stop at BAMPFA, deconstructs the editorial process behind that photo essay while also proposing an alternative story about Jackson and his life in Harlem.\u003c/p>\n\u003cfigure id=\"attachment_13810687\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13810687\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/NewOrleans_13_1200.jpg\" alt=\"Gordon Parks, 'Untitled, Harlem, New York' (Contact Sheet), 1948.\" width=\"1200\" height=\"926\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/NewOrleans_13_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/NewOrleans_13_1200-160x123.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/NewOrleans_13_1200-800x617.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/NewOrleans_13_1200-768x593.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/NewOrleans_13_1200-1020x787.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/NewOrleans_13_1200-1180x911.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/NewOrleans_13_1200-960x741.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/NewOrleans_13_1200-240x185.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/NewOrleans_13_1200-375x289.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/NewOrleans_13_1200-520x401.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Gordon Parks, ‘Untitled, Harlem, New York’ (Contact Sheet), 1948. \u003ccite>(Courtesy of and copyright The Gordon Parks Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As a medium, photography carries implicit values of accuracy and impartial documentation. But there is a dangerous deceitfulness to still images — so much can be left unseen.\u003c/p>\n\u003cp>Russell Lord, curator at the \u003ca href=\"https://noma.org/\" target=\"_blank\" rel=\"noopener\">New Orleans Museum of Art\u003c/a> and organizer of \u003ci>The Making of an Argument\u003c/i>, resists the notion of objectivity behind the photo essay. Instead, Lord presents a show that concentrates on the choices made by the editors at \u003ci>Life\u003c/i> magazine: What biases might they have had towards the sensational and stereotypical? Why did they darken or crop images to distort Jackson’s appearance? Were these choices and the messages they relayed in opposition with Parks’ intentions — or, even more importantly, to the truth of Jackson’s life?\u003c/p>\n\u003cp>Through contact sheets covered with notes from editors, Parks’ unpublished photos, and additional context, the exhibit makes a strong argument for the presence of racial bias in \u003ci>Life\u003c/i>’s “Harlem Gang Leader” story.\u003c/p>\n\u003cfigure id=\"attachment_13810686\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13810686\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/NewOrleans_02_1200.jpg\" alt=\"Gordon Parks, 'Untitled, Harlem, New York,' 1948.\" width=\"1200\" height=\"1203\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/NewOrleans_02_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/NewOrleans_02_1200-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/NewOrleans_02_1200-800x802.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/NewOrleans_02_1200-768x770.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/NewOrleans_02_1200-1020x1023.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/NewOrleans_02_1200-1180x1183.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/NewOrleans_02_1200-960x962.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/NewOrleans_02_1200-240x241.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/NewOrleans_02_1200-375x376.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/NewOrleans_02_1200-520x521.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/NewOrleans_02_1200-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/NewOrleans_02_1200-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/NewOrleans_02_1200-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/NewOrleans_02_1200-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/NewOrleans_02_1200-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/NewOrleans_02_1200-150x150.jpg 150w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Gordon Parks, ‘Untitled, Harlem, New York,’ 1948. \u003ccite>(Courtesy of and copyright The Gordon Parks Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The first display in the exhibit features enlarged prints of the published photographs, laid out on the wall to mimic the magazine’s version of the story. Notably missing is the text that Parks provided to his editors. At a talk following the exhibition’s BAMPFA opening, Lord argued that this is in fact how most folks consume photo essays — primarily through images and without much input from words. There lies the show’s first argument: the visual story holds the most weight.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In the 21 images featured in \u003ci>Life\u003c/i>, we see the teenage Jackson looking out a window with a cigarette perched on his lips, play fighting with a friend, getting a scratch tended to by another, sitting with family, looking into an open casket at a funeral, and hiding in an abandoned building.\u003c/p>\n\u003cfigure id=\"attachment_13810683\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13810683\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/319_Parks_e_1200.jpg\" alt=\"Gordon Parks, 'Red Jackson with His Mother and Brother, Harlem, New York,' 1948.\" width=\"1200\" height=\"1237\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/319_Parks_e_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/319_Parks_e_1200-160x165.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/319_Parks_e_1200-800x825.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/319_Parks_e_1200-768x792.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/319_Parks_e_1200-1020x1051.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/319_Parks_e_1200-1180x1216.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/319_Parks_e_1200-960x990.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/319_Parks_e_1200-240x247.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/319_Parks_e_1200-375x387.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/319_Parks_e_1200-520x536.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/319_Parks_e_1200-32x32.jpg 32w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Gordon Parks, ‘Red Jackson with His Mother and Brother, Harlem, New York,’ 1948. \u003ccite>(Courtesy of and copyright The Gordon Parks Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Further along in the exhibit, magazine excerpts and gallery wall text illuminate the stories behind photographs from \u003ci>Life\u003c/i> that are harder to decipher without context. These include images of a brawl between two crews, Jackson and the Midtowners painting repaired bikes to ride together, and the teenage leader receiving the honor of “boy mayor” after his mentor, police officer Jimmy Morrow, recommended him. In these pictures, the gang Jackson led is better understood as a unit that found safety in numbers and camaraderie in each other’s company.\u003c/p>\n\u003cp>Lord elaborates on Jackson’s life using photos the editors discarded. Many document quiet, domestic moments. In one, Parks shows the young man sweeping the home he shares with his mother and brother. In others, Jackson fidgets with a radio and combs his hair in the mirror. Parks intentionally documented these radically ordinary moments of Jackson’s life, but they were omitted from the magazine; they didn’t fit the \u003ci>Life\u003c/i> narrative of a Harlem gang leader.\u003c/p>\n\u003cfigure id=\"attachment_13810684\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13810684\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/1607_Parks_NewOrleans_1200.jpg\" alt=\"Gordon Parks, 'Untitled, Harlem, New York,' 1948.\" width=\"1200\" height=\"1247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1607_Parks_NewOrleans_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1607_Parks_NewOrleans_1200-160x166.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1607_Parks_NewOrleans_1200-800x831.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1607_Parks_NewOrleans_1200-768x798.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1607_Parks_NewOrleans_1200-1020x1060.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1607_Parks_NewOrleans_1200-1180x1226.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1607_Parks_NewOrleans_1200-960x998.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1607_Parks_NewOrleans_1200-240x249.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1607_Parks_NewOrleans_1200-375x390.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1607_Parks_NewOrleans_1200-520x540.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1607_Parks_NewOrleans_1200-32x32.jpg 32w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Gordon Parks, ‘Untitled, Harlem, New York,’ 1948. \u003ccite>(Courtesy of and copyright The Gordon Parks Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>These revelations make the show unambiguously opinionated, but there’s still much in \u003ci>The Making of an Argument\u003c/i> for the audience to ponder. I came away thinking about the audience served by seeing a young Black man — who by Parks’ account was desperate to find legitimate work and a good life — solely as a violent gang member. I contemplated the consequences, at personal and policy levels, that such perceptions of young Black folks inform. \u003c/p>\n\u003cp>Jackson’s leadership, whether it be in the Midtowners or elsewhere (later in his life, he reached out to Parks, seeking opportunities to educate youth), is evident in the photographs Parks took. It’s impossible not to wonder what might have become of his life had he lived in a place with more abundant possibilities than post-World War II Harlem. Or if he hadn’t been a young Black man about which the world had already made up its mind. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Gordon Parks: The Making of an Argument’ is on view at the Berkeley Art Museum and Pacific Film Archive through Dec. 17. For more information, \u003ca href=\"https://bampfa.org/program/gordon-parks-making-argument\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 1948, Gordon Parks became the first Black photographer featured in \u003ci>Life\u003c/i> magazine. Already a seasoned professional with work in \u003ci>Vogue\u003c/i> and \u003ci>Glamour\u003c/i>, Parks chose \u003ci>Life\u003c/i> for a story he wanted to tell about Harlem’s gang wars after having spent some time in the systemically under-resourced borough. He found a subject in 17-year-old Harlem resident Leonard “Red” Jackson, leader of the Midtowners crew, and his story went on to be published under the title “Harlem Gang Leader.”\u003c/p>\n\u003cp>As was custom, Parks presented hundreds of negatives to his editors at \u003ci>Life\u003c/i>, who in turn selected and edited 21 images from that collection to tell the story of Jackson and his friends. \u003ci>\u003ca href=\"https://bampfa.org/program/gordon-parks-making-argument\" target=\"_blank\" rel=\"noopener\">Gordon Parks: The Making of an Argument\u003c/a>\u003c/i>, a touring exhibition making its final stop at BAMPFA, deconstructs the editorial process behind that photo essay while also proposing an alternative story about Jackson and his life in Harlem.\u003c/p>\n\u003cfigure id=\"attachment_13810687\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13810687\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/NewOrleans_13_1200.jpg\" alt=\"Gordon Parks, 'Untitled, Harlem, New York' (Contact Sheet), 1948.\" width=\"1200\" height=\"926\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/NewOrleans_13_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/NewOrleans_13_1200-160x123.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/NewOrleans_13_1200-800x617.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/NewOrleans_13_1200-768x593.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/NewOrleans_13_1200-1020x787.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/NewOrleans_13_1200-1180x911.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/NewOrleans_13_1200-960x741.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/NewOrleans_13_1200-240x185.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/NewOrleans_13_1200-375x289.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/NewOrleans_13_1200-520x401.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Gordon Parks, ‘Untitled, Harlem, New York’ (Contact Sheet), 1948. \u003ccite>(Courtesy of and copyright The Gordon Parks Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As a medium, photography carries implicit values of accuracy and impartial documentation. But there is a dangerous deceitfulness to still images — so much can be left unseen.\u003c/p>\n\u003cp>Russell Lord, curator at the \u003ca href=\"https://noma.org/\" target=\"_blank\" rel=\"noopener\">New Orleans Museum of Art\u003c/a> and organizer of \u003ci>The Making of an Argument\u003c/i>, resists the notion of objectivity behind the photo essay. Instead, Lord presents a show that concentrates on the choices made by the editors at \u003ci>Life\u003c/i> magazine: What biases might they have had towards the sensational and stereotypical? Why did they darken or crop images to distort Jackson’s appearance? Were these choices and the messages they relayed in opposition with Parks’ intentions — or, even more importantly, to the truth of Jackson’s life?\u003c/p>\n\u003cp>Through contact sheets covered with notes from editors, Parks’ unpublished photos, and additional context, the exhibit makes a strong argument for the presence of racial bias in \u003ci>Life\u003c/i>’s “Harlem Gang Leader” story.\u003c/p>\n\u003cfigure id=\"attachment_13810686\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13810686\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/NewOrleans_02_1200.jpg\" alt=\"Gordon Parks, 'Untitled, Harlem, New York,' 1948.\" width=\"1200\" height=\"1203\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/NewOrleans_02_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/NewOrleans_02_1200-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/NewOrleans_02_1200-800x802.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/NewOrleans_02_1200-768x770.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/NewOrleans_02_1200-1020x1023.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/NewOrleans_02_1200-1180x1183.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/NewOrleans_02_1200-960x962.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/NewOrleans_02_1200-240x241.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/NewOrleans_02_1200-375x376.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/NewOrleans_02_1200-520x521.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/NewOrleans_02_1200-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/NewOrleans_02_1200-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/NewOrleans_02_1200-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/NewOrleans_02_1200-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/NewOrleans_02_1200-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/NewOrleans_02_1200-150x150.jpg 150w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Gordon Parks, ‘Untitled, Harlem, New York,’ 1948. \u003ccite>(Courtesy of and copyright The Gordon Parks Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The first display in the exhibit features enlarged prints of the published photographs, laid out on the wall to mimic the magazine’s version of the story. Notably missing is the text that Parks provided to his editors. At a talk following the exhibition’s BAMPFA opening, Lord argued that this is in fact how most folks consume photo essays — primarily through images and without much input from words. There lies the show’s first argument: the visual story holds the most weight.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the 21 images featured in \u003ci>Life\u003c/i>, we see the teenage Jackson looking out a window with a cigarette perched on his lips, play fighting with a friend, getting a scratch tended to by another, sitting with family, looking into an open casket at a funeral, and hiding in an abandoned building.\u003c/p>\n\u003cfigure id=\"attachment_13810683\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13810683\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/319_Parks_e_1200.jpg\" alt=\"Gordon Parks, 'Red Jackson with His Mother and Brother, Harlem, New York,' 1948.\" width=\"1200\" height=\"1237\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/319_Parks_e_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/319_Parks_e_1200-160x165.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/319_Parks_e_1200-800x825.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/319_Parks_e_1200-768x792.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/319_Parks_e_1200-1020x1051.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/319_Parks_e_1200-1180x1216.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/319_Parks_e_1200-960x990.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/319_Parks_e_1200-240x247.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/319_Parks_e_1200-375x387.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/319_Parks_e_1200-520x536.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/319_Parks_e_1200-32x32.jpg 32w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Gordon Parks, ‘Red Jackson with His Mother and Brother, Harlem, New York,’ 1948. \u003ccite>(Courtesy of and copyright The Gordon Parks Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Further along in the exhibit, magazine excerpts and gallery wall text illuminate the stories behind photographs from \u003ci>Life\u003c/i> that are harder to decipher without context. These include images of a brawl between two crews, Jackson and the Midtowners painting repaired bikes to ride together, and the teenage leader receiving the honor of “boy mayor” after his mentor, police officer Jimmy Morrow, recommended him. In these pictures, the gang Jackson led is better understood as a unit that found safety in numbers and camaraderie in each other’s company.\u003c/p>\n\u003cp>Lord elaborates on Jackson’s life using photos the editors discarded. Many document quiet, domestic moments. In one, Parks shows the young man sweeping the home he shares with his mother and brother. In others, Jackson fidgets with a radio and combs his hair in the mirror. Parks intentionally documented these radically ordinary moments of Jackson’s life, but they were omitted from the magazine; they didn’t fit the \u003ci>Life\u003c/i> narrative of a Harlem gang leader.\u003c/p>\n\u003cfigure id=\"attachment_13810684\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13810684\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/1607_Parks_NewOrleans_1200.jpg\" alt=\"Gordon Parks, 'Untitled, Harlem, New York,' 1948.\" width=\"1200\" height=\"1247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1607_Parks_NewOrleans_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1607_Parks_NewOrleans_1200-160x166.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1607_Parks_NewOrleans_1200-800x831.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1607_Parks_NewOrleans_1200-768x798.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1607_Parks_NewOrleans_1200-1020x1060.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1607_Parks_NewOrleans_1200-1180x1226.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1607_Parks_NewOrleans_1200-960x998.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1607_Parks_NewOrleans_1200-240x249.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1607_Parks_NewOrleans_1200-375x390.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1607_Parks_NewOrleans_1200-520x540.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1607_Parks_NewOrleans_1200-32x32.jpg 32w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Gordon Parks, ‘Untitled, Harlem, New York,’ 1948. \u003ccite>(Courtesy of and copyright The Gordon Parks Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>These revelations make the show unambiguously opinionated, but there’s still much in \u003ci>The Making of an Argument\u003c/i> for the audience to ponder. I came away thinking about the audience served by seeing a young Black man — who by Parks’ account was desperate to find legitimate work and a good life — solely as a violent gang member. I contemplated the consequences, at personal and policy levels, that such perceptions of young Black folks inform. \u003c/p>\n\u003cp>Jackson’s leadership, whether it be in the Midtowners or elsewhere (later in his life, he reached out to Parks, seeking opportunities to educate youth), is evident in the photographs Parks took. It’s impossible not to wonder what might have become of his life had he lived in a place with more abundant possibilities than post-World War II Harlem. Or if he hadn’t been a young Black man about which the world had already made up its mind. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Gordon Parks: The Making of an Argument’ is on view at the Berkeley Art Museum and Pacific Film Archive through Dec. 17. For more information, \u003ca href=\"https://bampfa.org/program/gordon-parks-making-argument\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "At Interface, Two Photographers Translate Light into Solid Forms",
"headTitle": "At Interface, Two Photographers Translate Light into Solid Forms | KQED",
"content": "\u003cp>“It was serendipitous.” That’s how Suzanne L’Heureux, founder and director of Oakland’s \u003ca href=\"http://www.interfaceartgallery.com/\" target=\"_blank\" rel=\"noopener\">Interface Gallery\u003c/a>, describes the studio visits and conversations that ultimately produced the exhibition \u003cem>The sun shot out from its silver side\u003c/em>. \u003c/p>\n\u003cp>The intimate installation, which pairs photographic work by \u003ca href=\"http://gregorykaplowitz.com/\" target=\"_blank\" rel=\"noopener\">Gregory Kaplowitz\u003c/a> and \u003ca href=\"http://elizabethbernsteinartist.com/\" target=\"_blank\" rel=\"noopener\">Elizabeth Bernstein\u003c/a>, captures the medium’s foundational tenet — translating light into solid forms — and explores its physical, psychological, and likewise serendipitous potential.\u003c/p>\n\u003cp>Both bodies of work demonstrate the artists’ interest in light and its effects, but the methods by which they arrive at those ends are notably different.\u003c/p>\n\u003cfigure id=\"attachment_13810671\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/01_Interface_TheSunShotOutFromItsSilverSide_1200.jpg\" alt=\"Installation view, Installation shot, 'The sun shot out from its silver side'\" width=\"1200\" height=\"726\" class=\"size-full wp-image-13810671\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/01_Interface_TheSunShotOutFromItsSilverSide_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/01_Interface_TheSunShotOutFromItsSilverSide_1200-160x97.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/01_Interface_TheSunShotOutFromItsSilverSide_1200-800x484.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/01_Interface_TheSunShotOutFromItsSilverSide_1200-768x465.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/01_Interface_TheSunShotOutFromItsSilverSide_1200-1020x617.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/01_Interface_TheSunShotOutFromItsSilverSide_1200-1180x714.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/01_Interface_TheSunShotOutFromItsSilverSide_1200-960x581.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/01_Interface_TheSunShotOutFromItsSilverSide_1200-240x145.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/01_Interface_TheSunShotOutFromItsSilverSide_1200-375x227.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/01_Interface_TheSunShotOutFromItsSilverSide_1200-520x315.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view, Installation shot, ‘The sun shot out from its silver side’ \u003ccite>(Courtesy of Interface Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kaplowitz creates \u003ca href=\"http://photograms.org/\" target=\"_blank\" rel=\"noopener\">photograms\u003c/a>, a process actively explored by 19th-century photography enthusiasts in which objects are positioned on chemically treated, light-sensitive paper — or fabric in this case — and exposed to sunlight. \u003c/p>\n\u003cp>While completing a residency in upstate New York, Kaplowitz, who is interested in the aesthetic resonance between photography and abstract or non-objective painting, explored a nearby cemetery for the physical and spiritual inspiration it offered. He wrapped funerary plants he found there with treated mesh and muslin swaths and, after allowing the fabric to dry, stretched the textiles over frames or small wood supports. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The resulting images, \u003cem>Emanations\u003c/em> and \u003cem>Cemetery\u003c/em> specifically, convey a painterly quality that reminds me of \u003ca href=\"http://www.artic.edu/aic/collections/exhibitions/ApostlesBeauty/pictorialist\" target=\"_blank\" rel=\"noopener\">pictorialist\u003c/a> compositions (an early 20th-century photographic movement that promoted photography as a fine art, prioritizing tonality and creativity over hard documentation). \u003c/p>\n\u003cfigure id=\"attachment_13810674\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/Kaplowitz_1200.jpg\" alt=\"Left: Gregory Kaplowitz, 'Emanations,' 2017; Right: 'Martin Riley (6),' 2017.\" width=\"1200\" height=\"894\" class=\"size-full wp-image-13810674\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Kaplowitz_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Kaplowitz_1200-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Kaplowitz_1200-800x596.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Kaplowitz_1200-768x572.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Kaplowitz_1200-1020x760.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Kaplowitz_1200-1180x879.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Kaplowitz_1200-960x715.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Kaplowitz_1200-240x179.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Kaplowitz_1200-375x279.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Kaplowitz_1200-520x387.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Left: Gregory Kaplowitz, ‘Emanations,’ 2017; Right: ‘Martin Riley (6),’ 2017. \u003ccite>(Courtesy of Interface Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Like \u003cem>Emanations\u003c/em>, in which the curving mesh ground and light passing through the fabric hint at movement, \u003cem>Martin Riley (6)\u003c/em> suggests dimensionality on an otherwise flat ground. In it, Kaplowitz stretches a photogram printed on strategically loosened burlap over a printed silk scarf, reflecting the artist’s interest in linear abstraction, as seen in the work of painters \u003ca href=\"https://www.moma.org/artists/3787\" target=\"_blank\" rel=\"noopener\">Agnes Martin\u003c/a> and \u003ca href=\"http://www.tate.org.uk/art/artists/bridget-riley-1845\" target=\"_blank\" rel=\"noopener\">Bridget Riley\u003c/a>.\u003c/p>\n\u003cp>Translated directly, to photograph means “to write with light,” and that visual transcription often strives to transmit experiences that are external, or history-making. Elizabeth Bernstein’s eye, however, is drawn to smaller yet no less significant personal moments — those that are likely to pass without recognition. Looking at the diminutive, often paired, shelf-bound compositions in which she features a quiet corner or a patch of sunlight progressing across an empty wall, we’re invited into the artist’s internal space, both physical and mental. \u003c/p>\n\u003cp>Bernstein describes her practice as one centered on human dynamics — love, fear, vulnerability, and a desire for connection. The close photographic observations exhibited here may suggest that what we see is the space or stage on which those dynamics unfold if, like the artist, we watch for them.\u003c/p>\n\u003cfigure id=\"attachment_13810673\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/15_Interface_TheSunShotOutFromItsSilverSide_Bernstein_1200.jpg\" alt=\"Elizabeth Bernstein, 'Something opened...' 2017.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13810673\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/15_Interface_TheSunShotOutFromItsSilverSide_Bernstein_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/15_Interface_TheSunShotOutFromItsSilverSide_Bernstein_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/15_Interface_TheSunShotOutFromItsSilverSide_Bernstein_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/15_Interface_TheSunShotOutFromItsSilverSide_Bernstein_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/15_Interface_TheSunShotOutFromItsSilverSide_Bernstein_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/15_Interface_TheSunShotOutFromItsSilverSide_Bernstein_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/15_Interface_TheSunShotOutFromItsSilverSide_Bernstein_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/15_Interface_TheSunShotOutFromItsSilverSide_Bernstein_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/15_Interface_TheSunShotOutFromItsSilverSide_Bernstein_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/15_Interface_TheSunShotOutFromItsSilverSide_Bernstein_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Elizabeth Bernstein, ‘Something opened…’ 2017. \u003ccite>(Courtesy of Interface Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Since opening Interface Gallery in 2012, L’Heureux has curated precisely staged installations that maximize the gallery’s limited space and showcase her selected artists’ most accomplished pieces. While she couldn’t forecast the content of the conversations she had with Kaplowitz and Bernstein, the result of that happy accident is a contemplative exhibition that instills a sense of calm in otherwise calamitous times.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The sun shot out from its silver side’ is on view at Interface Gallery in Oakland through Oct. 15. For more information, \u003ca href=\"http://www.interfaceartgallery.com/\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Gregory Kaplowitz's photograms and Elizabeth Bernstein's shelf-bound compositions instill a much-needed sense of calm in 'the sun shot out from its silver side.'",
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"description": "Gregory Kaplowitz's photograms and Elizabeth Bernstein's shelf-bound compositions instill a much-needed sense of calm in 'the sun shot out from its silver side.'",
"title": "At Interface, Two Photographers Translate Light into Solid Forms | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“It was serendipitous.” That’s how Suzanne L’Heureux, founder and director of Oakland’s \u003ca href=\"http://www.interfaceartgallery.com/\" target=\"_blank\" rel=\"noopener\">Interface Gallery\u003c/a>, describes the studio visits and conversations that ultimately produced the exhibition \u003cem>The sun shot out from its silver side\u003c/em>. \u003c/p>\n\u003cp>The intimate installation, which pairs photographic work by \u003ca href=\"http://gregorykaplowitz.com/\" target=\"_blank\" rel=\"noopener\">Gregory Kaplowitz\u003c/a> and \u003ca href=\"http://elizabethbernsteinartist.com/\" target=\"_blank\" rel=\"noopener\">Elizabeth Bernstein\u003c/a>, captures the medium’s foundational tenet — translating light into solid forms — and explores its physical, psychological, and likewise serendipitous potential.\u003c/p>\n\u003cp>Both bodies of work demonstrate the artists’ interest in light and its effects, but the methods by which they arrive at those ends are notably different.\u003c/p>\n\u003cfigure id=\"attachment_13810671\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/01_Interface_TheSunShotOutFromItsSilverSide_1200.jpg\" alt=\"Installation view, Installation shot, 'The sun shot out from its silver side'\" width=\"1200\" height=\"726\" class=\"size-full wp-image-13810671\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/01_Interface_TheSunShotOutFromItsSilverSide_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/01_Interface_TheSunShotOutFromItsSilverSide_1200-160x97.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/01_Interface_TheSunShotOutFromItsSilverSide_1200-800x484.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/01_Interface_TheSunShotOutFromItsSilverSide_1200-768x465.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/01_Interface_TheSunShotOutFromItsSilverSide_1200-1020x617.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/01_Interface_TheSunShotOutFromItsSilverSide_1200-1180x714.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/01_Interface_TheSunShotOutFromItsSilverSide_1200-960x581.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/01_Interface_TheSunShotOutFromItsSilverSide_1200-240x145.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/01_Interface_TheSunShotOutFromItsSilverSide_1200-375x227.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/01_Interface_TheSunShotOutFromItsSilverSide_1200-520x315.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view, Installation shot, ‘The sun shot out from its silver side’ \u003ccite>(Courtesy of Interface Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kaplowitz creates \u003ca href=\"http://photograms.org/\" target=\"_blank\" rel=\"noopener\">photograms\u003c/a>, a process actively explored by 19th-century photography enthusiasts in which objects are positioned on chemically treated, light-sensitive paper — or fabric in this case — and exposed to sunlight. \u003c/p>\n\u003cp>While completing a residency in upstate New York, Kaplowitz, who is interested in the aesthetic resonance between photography and abstract or non-objective painting, explored a nearby cemetery for the physical and spiritual inspiration it offered. He wrapped funerary plants he found there with treated mesh and muslin swaths and, after allowing the fabric to dry, stretched the textiles over frames or small wood supports. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The resulting images, \u003cem>Emanations\u003c/em> and \u003cem>Cemetery\u003c/em> specifically, convey a painterly quality that reminds me of \u003ca href=\"http://www.artic.edu/aic/collections/exhibitions/ApostlesBeauty/pictorialist\" target=\"_blank\" rel=\"noopener\">pictorialist\u003c/a> compositions (an early 20th-century photographic movement that promoted photography as a fine art, prioritizing tonality and creativity over hard documentation). \u003c/p>\n\u003cfigure id=\"attachment_13810674\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/Kaplowitz_1200.jpg\" alt=\"Left: Gregory Kaplowitz, 'Emanations,' 2017; Right: 'Martin Riley (6),' 2017.\" width=\"1200\" height=\"894\" class=\"size-full wp-image-13810674\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Kaplowitz_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Kaplowitz_1200-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Kaplowitz_1200-800x596.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Kaplowitz_1200-768x572.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Kaplowitz_1200-1020x760.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Kaplowitz_1200-1180x879.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Kaplowitz_1200-960x715.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Kaplowitz_1200-240x179.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Kaplowitz_1200-375x279.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Kaplowitz_1200-520x387.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Left: Gregory Kaplowitz, ‘Emanations,’ 2017; Right: ‘Martin Riley (6),’ 2017. \u003ccite>(Courtesy of Interface Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Like \u003cem>Emanations\u003c/em>, in which the curving mesh ground and light passing through the fabric hint at movement, \u003cem>Martin Riley (6)\u003c/em> suggests dimensionality on an otherwise flat ground. In it, Kaplowitz stretches a photogram printed on strategically loosened burlap over a printed silk scarf, reflecting the artist’s interest in linear abstraction, as seen in the work of painters \u003ca href=\"https://www.moma.org/artists/3787\" target=\"_blank\" rel=\"noopener\">Agnes Martin\u003c/a> and \u003ca href=\"http://www.tate.org.uk/art/artists/bridget-riley-1845\" target=\"_blank\" rel=\"noopener\">Bridget Riley\u003c/a>.\u003c/p>\n\u003cp>Translated directly, to photograph means “to write with light,” and that visual transcription often strives to transmit experiences that are external, or history-making. Elizabeth Bernstein’s eye, however, is drawn to smaller yet no less significant personal moments — those that are likely to pass without recognition. Looking at the diminutive, often paired, shelf-bound compositions in which she features a quiet corner or a patch of sunlight progressing across an empty wall, we’re invited into the artist’s internal space, both physical and mental. \u003c/p>\n\u003cp>Bernstein describes her practice as one centered on human dynamics — love, fear, vulnerability, and a desire for connection. The close photographic observations exhibited here may suggest that what we see is the space or stage on which those dynamics unfold if, like the artist, we watch for them.\u003c/p>\n\u003cfigure id=\"attachment_13810673\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/15_Interface_TheSunShotOutFromItsSilverSide_Bernstein_1200.jpg\" alt=\"Elizabeth Bernstein, 'Something opened...' 2017.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13810673\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/15_Interface_TheSunShotOutFromItsSilverSide_Bernstein_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/15_Interface_TheSunShotOutFromItsSilverSide_Bernstein_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/15_Interface_TheSunShotOutFromItsSilverSide_Bernstein_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/15_Interface_TheSunShotOutFromItsSilverSide_Bernstein_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/15_Interface_TheSunShotOutFromItsSilverSide_Bernstein_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/15_Interface_TheSunShotOutFromItsSilverSide_Bernstein_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/15_Interface_TheSunShotOutFromItsSilverSide_Bernstein_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/15_Interface_TheSunShotOutFromItsSilverSide_Bernstein_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/15_Interface_TheSunShotOutFromItsSilverSide_Bernstein_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/15_Interface_TheSunShotOutFromItsSilverSide_Bernstein_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Elizabeth Bernstein, ‘Something opened…’ 2017. \u003ccite>(Courtesy of Interface Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Since opening Interface Gallery in 2012, L’Heureux has curated precisely staged installations that maximize the gallery’s limited space and showcase her selected artists’ most accomplished pieces. While she couldn’t forecast the content of the conversations she had with Kaplowitz and Bernstein, the result of that happy accident is a contemplative exhibition that instills a sense of calm in otherwise calamitous times.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The sun shot out from its silver side’ is on view at Interface Gallery in Oakland through Oct. 15. For more information, \u003ca href=\"http://www.interfaceartgallery.com/\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "photographic-portraits-bring-you-face-to-face-with-the-vietnam-war",
"title": "Photographic Portraits Bring You Face to Face With the Vietnam War",
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"headTitle": "Photographic Portraits Bring You Face to Face With the Vietnam War | KQED",
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"content": "\u003cp>They’re older and grayer now, the men and women who stare unsmiling into the camera. Their figures, shot against a black background, are superimposed on jungle foliage. It looks as if they’ve been surprised, at night, in a private moment: remembering the Vietnam War.\u003c/p>\n\u003cp>That’s the feeling San Francisco Bay Area photographer \u003ca href=\"http://tomsandersphoto.com\" target=\"_blank\" rel=\"noopener noreferrer\">Thomas Sanders\u003c/a> is aiming for. As an undergraduate at Cal Poly San Luis Obispo, he started a series of portraits of World War II veterans that would eventually lead to a book called \u003ca href=\"http://tomsandersphoto.com/portfolio/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Last Good War\u003c/em>\u003c/a>. As a graduate student at San Jose State, Sanders launched \u003ca href=\"http://tomsandersphoto.com/vietnam-war/\" target=\"_blank\" rel=\"noopener noreferrer\">something similar\u003c/a> with U.S. veterans of the Vietnam War, as well as South Vietnamese veterans, and other Vietnamese refugees who came to California.\u003c/p>\n\u003cp>“The idea is that the viewer becomes emotionally enthralled by the portrait,” Sanders says. “Then, right next to the photo, is a brief history on that veteran or immigrant, and they get to learn an individual story about them.”\u003c/p>\n\u003cfigure id=\"attachment_13815358\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13815358\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Thuy-B-800x450.jpg\" alt='Thuy B. says she will always miss her home country. During the Vietnam War, her family was forced to flee south to escape the advancing Viet Cong. \"People got panic-stricken. More and more people evacuated every day. My mother also made decision to leave for Saigon. It was a long, exhausting journey full of pain, stress, and fear.\"' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Thuy-B.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Thuy-B-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Thuy-B-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Thuy-B-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Thuy-B-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Thuy-B-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Thuy B. says she will always miss her home country. During the Vietnam War, her family was forced to flee south to escape the advancing Viet Cong. “People got panic-stricken. More and more people evacuated every day. My mother also made decision to leave for Saigon. It was a long, exhausting journey full of pain, stress, and fear.” \u003ccite>(Thomas Sanders)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sanders has been working with veterans groups and the \u003ca href=\"http://www.sjelks.com/home/\" target=\"_blank\" rel=\"noopener noreferrer\">San Jose Elks Club\u003c/a> to identify people like 69 year-old Dave Sanders — no relation to Thomas — who brought a piece of shrapnel with him to the photo shoot. “From a 122 millimeter rocket that almost got me. Almost!”\u003c/p>\n\u003cp>Dave Sanders doesn’t have any illusions about the war, but he’s proud that he enlisted. He volunteered for military service right out of high school. “All of our friends were being drafted. So the inevitable was coming,” he says.\u003c/p>\n\u003cfigure id=\"attachment_13815359\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13815359\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Rob-Petty-800x1200.jpg\" alt=\"Ron Petty was a helicopter pilot. The necklace he's holding is the bullet that hit him while he was flying in Vietnam. After medics pulled that bullet out of him, he put it on a chain. Photographer Thomas Sanders says he’s been taken by the fact many of his subjects carry grim mementos. "I think, the Vietnam veterans - some of them carry their war relics with them as a reminder that they’re living," he says.\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Rob-Petty.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Rob-Petty-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Rob-Petty-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Rob-Petty-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Rob-Petty-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Rob-Petty-520x780.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ron Petty was a helicopter pilot. The necklace he’s holding is the bullet that hit him while he was flying in Vietnam. After medics pulled that bullet out of him, he put it on a chain. Photographer Thomas Sanders says he’s been taken by the fact many of his subjects carry grim mementos. “I think, the Vietnam veterans – some of them carry their war relics with them as a reminder that they’re living,” he says. \u003ccite>(Thomas Sanders)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sanders made it back in one piece from Vietnam after a one -year tour of duty from May of 1967 to May of 1968. He returned home 50 pounds lighter, but carrying the weight of post traumatic stress disorder.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We did what our country wanted – the military portion of our country and the politicians – but, you know, the more I know, the sadder I get,” Sanders reflects. “I really have a lot of hate and discontent in my mind for people like McNamara, Westmoreland: those that sent other people to die.”\u003c/p>\n\u003cp>Army General William Westmoreland commanded U.S. forces from 1964 to 1968. Defense Secretary Robert McNamara was in charge in the administration in Washington , D.C.\u003c/p>\n\u003cp>I ask Dave Sanders, “If you had Robert McNamara sitting in front of you right now, what would you say to him?” He thinks for a moment, gathering himself. Then he says emphatically, “I’d kill the son-of-a-bitch, for the 58,000 guys that we have on a wall.\u003c/p>\n\u003cp>He’s talking about the American service members who died or went missing. Their names are etched on the polished black rock of the \u003ca href=\"https://www.nps.gov/vive/index.htm\" target=\"_blank\" rel=\"noopener noreferrer\">Vietnam Veterans Memorial\u003c/a> in Washington, D.C.\u003c/p>\n\u003cp>Thomas Sanders has photographed about 200 people for the Vietnam project so far, mostly in and around San Jose. The region is home to one of the largest populations of expatriate Vietnamese in the United States.\u003c/p>\n\u003cfigure id=\"attachment_13815357\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13815357\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Vet-photos-Loc-800x450.jpg\" alt='Loc Vu, an 85-year-old retired colonel who served in the Army of the Republic of Vietnam, holds a bust of a South Vietnamese soldier at the Viet Museum in San Jose. \"This is a beautiful work from the museum,\" he says. \"It reminds me of the unknown soldier.\"' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Vet-photos-Loc.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Vet-photos-Loc-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Vet-photos-Loc-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Vet-photos-Loc-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Vet-photos-Loc-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Vet-photos-Loc-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Loc Vu, an 85-year-old retired colonel who served in the Army of the Republic of Vietnam, holds a bust of a South Vietnamese soldier at the Viet Museum in San Jose. “This is a beautiful work from the museum,” he says. “It reminds me of the unknown soldier.” \u003ccite>(Thomas Sanders)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>People like Loc Vu, an 85-year-old retired colonel who served in the Army of the Republic of Vietnam, are eager to participate in the project.\u003c/p>\n\u003cp>Vu has a history of taking leadership roles. Not long after he arrived in San Jose in the mid-1970s, Vu took the helm of the \u003ca href=\"https://www.facebook.com/irccsanjose/\" target=\"_blank\" rel=\"noopener noreferrer\">Immigrant Resettlement and Cultural Center\u003c/a>. Now he runs the \u003ca href=\"http://www.mercurynews.com/2007/08/25/san-joses-new-vietnamese-museum-elicits-deep-emotions/\" target=\"_blank\" rel=\"noopener noreferrer\">Viet Museum\u003c/a> in San Jose’s History Park, a modest, re-purposed Victorian house stuffed to the gills with framed photos, maps, artwork, and other mementos from the Vietnam War.\u003c/p>\n\u003cp>[audio src=\"https://www.kqed.org/.stream/anon/radio/tcrmag/2017/09/TCRPM20170915seg2VietnamPortraits.mp3\" title=\"Vietnam Portraits\" program=\"The California Report\" image=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/RS26520_DAVE_SANDERS-2-1920x1080.jpg\"]\u003c/p>\n\u003cp>Every item, Vu says, tells a story. Four machine guns mounted on the wall, for instance, serve as pointed reminders of multi-national meddling in Vietnam. “One make by France. One make by Russia. One make by [the] Americans. One make by Chinese Communists. Given to the young Vietnamese, North and South, to die in the Vietnam War,” he says.\u003c/p>\n\u003cp>He adds that the concepts of “winning” or “losing” a war mean nothing to those who fight and die in them. “That is the lesson I want to bring to our children,” he says.\u003c/p>\n\u003cp>Vu has been a helpful community liaison for photographer Thomas Sanders, who is too young to have experienced the war, even as a news story.\u003c/p>\n\u003cfigure id=\"attachment_13815361\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13815361\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Meal-LEtter-800x1200.jpg\" alt=\"Humidity disintegrated paper in the jungles of Vietnam. Resourceful American soldiers used alternatives like the sturdy cardboard wrappers their food rations came in to write letters home to loved ones.\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Meal-LEtter.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Meal-LEtter-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Meal-LEtter-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Meal-LEtter-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Meal-LEtter-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Meal-LEtter-520x780.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Humidity disintegrated paper in the jungles of Vietnam. Resourceful American soldiers used alternatives like the sturdy cardboard wrappers their food rations came in to write letters home to loved ones. \u003ccite>(Thomas Sanders)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This project has taught Sanders some of that history.\u003c/p>\n\u003cp>Vu counts that as a personal win. He wants that kind of history lesson for second generation Vietnamese-Americans as well.\u003c/p>\n\u003cp>“I’m very worried our next generation in the United States do not remember why the Vietnamese are here: where they came from, when, and the reasons why,” he says.\u003c/p>\n\u003cp>As for Thomas Sanders, he hopes to publish some of the portraits in a book. He wants them to serve as a document for those too young to remember the war, and a memento for those too old to forget.\u003c/p>\n\u003cp>“It’s important that these Vietnam veterans and the immigrants get the opportunity to tell their story,” he says. “It’s therapeutic. It gives them the opportunity to be honored.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>To see more stories and photographs from KQED’s series about the impact of the Vietnam War on the Bay Area and other communities in California, visit \u003ca href=\"https://ww2.kqed.org/arts/programs/vietnamwar/\" target=\"_blank\" rel=\"noopener noreferrer\">kqed.org/vietnamwar\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"excerpt": "Photographer Thomas Sanders is working on a series of portraits of those who survived the Vietnam War.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>They’re older and grayer now, the men and women who stare unsmiling into the camera. Their figures, shot against a black background, are superimposed on jungle foliage. It looks as if they’ve been surprised, at night, in a private moment: remembering the Vietnam War.\u003c/p>\n\u003cp>That’s the feeling San Francisco Bay Area photographer \u003ca href=\"http://tomsandersphoto.com\" target=\"_blank\" rel=\"noopener noreferrer\">Thomas Sanders\u003c/a> is aiming for. As an undergraduate at Cal Poly San Luis Obispo, he started a series of portraits of World War II veterans that would eventually lead to a book called \u003ca href=\"http://tomsandersphoto.com/portfolio/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Last Good War\u003c/em>\u003c/a>. As a graduate student at San Jose State, Sanders launched \u003ca href=\"http://tomsandersphoto.com/vietnam-war/\" target=\"_blank\" rel=\"noopener noreferrer\">something similar\u003c/a> with U.S. veterans of the Vietnam War, as well as South Vietnamese veterans, and other Vietnamese refugees who came to California.\u003c/p>\n\u003cp>“The idea is that the viewer becomes emotionally enthralled by the portrait,” Sanders says. “Then, right next to the photo, is a brief history on that veteran or immigrant, and they get to learn an individual story about them.”\u003c/p>\n\u003cfigure id=\"attachment_13815358\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13815358\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Thuy-B-800x450.jpg\" alt='Thuy B. says she will always miss her home country. During the Vietnam War, her family was forced to flee south to escape the advancing Viet Cong. \"People got panic-stricken. More and more people evacuated every day. My mother also made decision to leave for Saigon. It was a long, exhausting journey full of pain, stress, and fear.\"' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Thuy-B.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Thuy-B-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Thuy-B-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Thuy-B-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Thuy-B-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Thuy-B-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Thuy B. says she will always miss her home country. During the Vietnam War, her family was forced to flee south to escape the advancing Viet Cong. “People got panic-stricken. More and more people evacuated every day. My mother also made decision to leave for Saigon. It was a long, exhausting journey full of pain, stress, and fear.” \u003ccite>(Thomas Sanders)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sanders has been working with veterans groups and the \u003ca href=\"http://www.sjelks.com/home/\" target=\"_blank\" rel=\"noopener noreferrer\">San Jose Elks Club\u003c/a> to identify people like 69 year-old Dave Sanders — no relation to Thomas — who brought a piece of shrapnel with him to the photo shoot. “From a 122 millimeter rocket that almost got me. Almost!”\u003c/p>\n\u003cp>Dave Sanders doesn’t have any illusions about the war, but he’s proud that he enlisted. He volunteered for military service right out of high school. “All of our friends were being drafted. So the inevitable was coming,” he says.\u003c/p>\n\u003cfigure id=\"attachment_13815359\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13815359\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Rob-Petty-800x1200.jpg\" alt=\"Ron Petty was a helicopter pilot. The necklace he's holding is the bullet that hit him while he was flying in Vietnam. After medics pulled that bullet out of him, he put it on a chain. Photographer Thomas Sanders says he’s been taken by the fact many of his subjects carry grim mementos. "I think, the Vietnam veterans - some of them carry their war relics with them as a reminder that they’re living," he says.\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Rob-Petty.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Rob-Petty-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Rob-Petty-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Rob-Petty-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Rob-Petty-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Rob-Petty-520x780.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ron Petty was a helicopter pilot. The necklace he’s holding is the bullet that hit him while he was flying in Vietnam. After medics pulled that bullet out of him, he put it on a chain. Photographer Thomas Sanders says he’s been taken by the fact many of his subjects carry grim mementos. “I think, the Vietnam veterans – some of them carry their war relics with them as a reminder that they’re living,” he says. \u003ccite>(Thomas Sanders)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sanders made it back in one piece from Vietnam after a one -year tour of duty from May of 1967 to May of 1968. He returned home 50 pounds lighter, but carrying the weight of post traumatic stress disorder.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We did what our country wanted – the military portion of our country and the politicians – but, you know, the more I know, the sadder I get,” Sanders reflects. “I really have a lot of hate and discontent in my mind for people like McNamara, Westmoreland: those that sent other people to die.”\u003c/p>\n\u003cp>Army General William Westmoreland commanded U.S. forces from 1964 to 1968. Defense Secretary Robert McNamara was in charge in the administration in Washington , D.C.\u003c/p>\n\u003cp>I ask Dave Sanders, “If you had Robert McNamara sitting in front of you right now, what would you say to him?” He thinks for a moment, gathering himself. Then he says emphatically, “I’d kill the son-of-a-bitch, for the 58,000 guys that we have on a wall.\u003c/p>\n\u003cp>He’s talking about the American service members who died or went missing. Their names are etched on the polished black rock of the \u003ca href=\"https://www.nps.gov/vive/index.htm\" target=\"_blank\" rel=\"noopener noreferrer\">Vietnam Veterans Memorial\u003c/a> in Washington, D.C.\u003c/p>\n\u003cp>Thomas Sanders has photographed about 200 people for the Vietnam project so far, mostly in and around San Jose. The region is home to one of the largest populations of expatriate Vietnamese in the United States.\u003c/p>\n\u003cfigure id=\"attachment_13815357\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13815357\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Vet-photos-Loc-800x450.jpg\" alt='Loc Vu, an 85-year-old retired colonel who served in the Army of the Republic of Vietnam, holds a bust of a South Vietnamese soldier at the Viet Museum in San Jose. \"This is a beautiful work from the museum,\" he says. \"It reminds me of the unknown soldier.\"' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Vet-photos-Loc.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Vet-photos-Loc-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Vet-photos-Loc-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Vet-photos-Loc-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Vet-photos-Loc-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Vet-photos-Loc-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Loc Vu, an 85-year-old retired colonel who served in the Army of the Republic of Vietnam, holds a bust of a South Vietnamese soldier at the Viet Museum in San Jose. “This is a beautiful work from the museum,” he says. “It reminds me of the unknown soldier.” \u003ccite>(Thomas Sanders)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>People like Loc Vu, an 85-year-old retired colonel who served in the Army of the Republic of Vietnam, are eager to participate in the project.\u003c/p>\n\u003cp>Vu has a history of taking leadership roles. Not long after he arrived in San Jose in the mid-1970s, Vu took the helm of the \u003ca href=\"https://www.facebook.com/irccsanjose/\" target=\"_blank\" rel=\"noopener noreferrer\">Immigrant Resettlement and Cultural Center\u003c/a>. Now he runs the \u003ca href=\"http://www.mercurynews.com/2007/08/25/san-joses-new-vietnamese-museum-elicits-deep-emotions/\" target=\"_blank\" rel=\"noopener noreferrer\">Viet Museum\u003c/a> in San Jose’s History Park, a modest, re-purposed Victorian house stuffed to the gills with framed photos, maps, artwork, and other mementos from the Vietnam War.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Every item, Vu says, tells a story. Four machine guns mounted on the wall, for instance, serve as pointed reminders of multi-national meddling in Vietnam. “One make by France. One make by Russia. One make by [the] Americans. One make by Chinese Communists. Given to the young Vietnamese, North and South, to die in the Vietnam War,” he says.\u003c/p>\n\u003cp>He adds that the concepts of “winning” or “losing” a war mean nothing to those who fight and die in them. “That is the lesson I want to bring to our children,” he says.\u003c/p>\n\u003cp>Vu has been a helpful community liaison for photographer Thomas Sanders, who is too young to have experienced the war, even as a news story.\u003c/p>\n\u003cfigure id=\"attachment_13815361\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13815361\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Meal-LEtter-800x1200.jpg\" alt=\"Humidity disintegrated paper in the jungles of Vietnam. Resourceful American soldiers used alternatives like the sturdy cardboard wrappers their food rations came in to write letters home to loved ones.\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Meal-LEtter.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Meal-LEtter-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Meal-LEtter-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Meal-LEtter-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Meal-LEtter-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Meal-LEtter-520x780.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Humidity disintegrated paper in the jungles of Vietnam. Resourceful American soldiers used alternatives like the sturdy cardboard wrappers their food rations came in to write letters home to loved ones. \u003ccite>(Thomas Sanders)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This project has taught Sanders some of that history.\u003c/p>\n\u003cp>Vu counts that as a personal win. He wants that kind of history lesson for second generation Vietnamese-Americans as well.\u003c/p>\n\u003cp>“I’m very worried our next generation in the United States do not remember why the Vietnamese are here: where they came from, when, and the reasons why,” he says.\u003c/p>\n\u003cp>As for Thomas Sanders, he hopes to publish some of the portraits in a book. He wants them to serve as a document for those too young to remember the war, and a memento for those too old to forget.\u003c/p>\n\u003cp>“It’s important that these Vietnam veterans and the immigrants get the opportunity to tell their story,” he says. “It’s therapeutic. It gives them the opportunity to be honored.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>To see more stories and photographs from KQED’s series about the impact of the Vietnam War on the Bay Area and other communities in California, visit \u003ca href=\"https://ww2.kqed.org/arts/programs/vietnamwar/\" target=\"_blank\" rel=\"noopener noreferrer\">kqed.org/vietnamwar\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"soldout": {
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