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"content": "\u003cp>Every customer service job comes with moments of relative inactivity; those blessed stretches of the work shift where there’s nobody to wait on, and where you can take a breather to commiserate with your fellow employees. \u003c/p>\n\u003cp>At movie theaters, those stretches last much longer, and the routine talk between rushes goes deeper. Add the fact that many theater staff are young. Also, that discussing why you like or don’t like a movie usually brings up personal experiences and emotional details. All of this gets magnified as the clock ticks into nighttime, when movies regularly get out after midnight.\u003c/p>\n\u003cp>This is the premise of \u003cem>The Flick\u003c/em>, the Pulitzer-winning play by Annie Baker currently making its West Coast premiere at Shotgun Players’ Ashby Stage in Berkeley. Full of dialogue and situations that will feel very familiar to anyone who’s worked a customer service job, it also (hopefully) inspires empathy toward the beleaguered minimum-wage worker in those who haven’t.\u003c/p>\n\u003cp>\u003cem>The Flick\u003c/em> starts slowly, because time at a movie theater moves slowly. As Sam (Chris Ginesi) and Avery (Justin Howard) sweep up between rows of seats after a show, the pauses between conversation are almost painfully long. Sam is showing new employee Avery the basic stuff like where to take the trash, and soon, more complicated stuff, like the elaborate system of skimming the box office cash register.\u003c/p>\n\u003cp>Also complicated is Sam’s attraction to projectionist Rose (Ari Rampy), who flirts instead with Avery, the new kid on the block. Meanwhile, Avery’s worried about Rose’s blatant overtures upsetting Sam, and about being blamed, as a nonwhite employee, should the cash-theft scheme be discovered. Hanging over all this is the theater industry’s imminent conversion to digital projection, and rumors that the small local theater will be sold to a corporate chain.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Directed by Jon Tracy, \u003cem>The Flick\u003c/em>‘s pace may throw some viewers off. But not only is it necessary for the revelations in the space between, it’s realistic to customer-service life. That’s true also for the set, designed by Randy Wong-Westbrooke: a perfect replica of a faded 1970s movie theater auditorium and projection booth. \u003c/p>\n\u003cp>But there’s a lot here that resonates beyond movie theaters. Love, ethics, mental health, goals, race, courage and vulnerability all play a role in \u003cem>The Flick\u003c/em>. They’re the type of things that stick around long after the credits roll and the lights come up. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>—Gabe Meline\u003c/em>\u003c/p>\n\n",
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"content": "\u003cp>Lightning-fast guitar solos, a laser light show, a 75-member orchestra and a packed arena of 18,000 Metallica fans in black band T-shirts. That was the scene at Friday’s inaugural concert at \u003ca href=\"https://www.chasecenter.com/\" target=\"_blank\" rel=\"noopener\">Chase Center\u003c/a>, the state-of-the-art new Warriors stadium.\u003c/p>\n\u003cp>A meeting of the minds as powerful as Metallica and San Francisco Symphony was only right to christen such an impressive building, which felt epic simply by virtue of its enormous size and spotless, glass-paneled facade. With LED screens everywhere, Chase Center takes every opportunity to remind you it’s of the 21st century. Unlike the comparatively dusty yet charming Oracle Arena, built in 1966, everything about it exudes wealth—a monument to new-money San Francisco complete with $11 pizza slices and $15 tall cans of Budweiser (which were peanuts for show-goers who paid up to $9,000 a ticket for Friday’s concert).\u003c/p>\n\u003cp>“We have a new arena, a world-class f-cking arena in our own backyard,” announced Metallica’s Lars Ulrich. “F-ck yeah!”\u003c/p>\n\u003cfigure id=\"attachment_13865922\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865922\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/IMG_7050-800x600.jpg\" alt=\"Metallica fans line up outside of Chase Center for the new arena's debut concert featuring the rock legends and San Francisco Symphony.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_7050-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_7050-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_7050-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_7050-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_7050-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_7050.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Metallica fans line up outside of Chase Center for the new arena’s debut concert featuring the rock legends and San Francisco Symphony. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ulrich’s drum kit was perched in the center of a circular, revolving stage, which made for a dynamic presentation. Singer-guitarist James Hetfield, lead guitarist Kirk Hammett and bassist Robert Trujillo orbited him, moving freely about. Surrounding them were the stationary orchestra musicians, with Edwin Outwater conducting the first half of the concert and San Francisco Symphony music director Michael Tilson Thomas (who is set to retire this year after 25 years) conducting the second half.\u003c/p>\n\u003cp>After opening with a cover of Spaghetti Western classic “Ecstasy of Gold,” Metallica’s players got to shredding, wasting no time before launching into solos on “The Call of Ktulu,” another instrumental, and the sludgy “For Whom the Bell Tolls.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Although thrilling in its virtuosity, the first half of the show sounded more like a Metallica concert than a collaboration with the symphony—at least from my vantage point in the nosebleeds. The orchestra players were often inaudible over Ulrich’s thunderous drum kit, by far the loudest thing in the arena, and it was difficult to pick up on the nuance of the instrumentation the late Michael Kamen arranged for the two musical powerhouses when they first collaborated on the live album \u003cem>S&M\u003c/em> in 1999.\u003c/p>\n\u003cp>[aside postID='arts_13864717,arts_13865435,news_11771940' label='Related Coverage']\u003c/p>\n\u003cp>The stripped-down woodwind and string section at the end of “Memory Remains” was a turning point in the show, when Metallica’s players allowed their fingers to rest for a moment and let the orchestral arrangement breathe. From that point, the concert became more of an interplay between the two ensembles rather than a Metallica set with an extra boost of strings.\u003c/p>\n\u003cp>After intermission, Michael Tilson Thomas arrived and addressed the audience directly, unlike Outwater, who had been silent throughout the first half (though jumping up and down and rocking out as he conducted). Judging by the attire of the mostly male, Gen X and Baby Boomer audience, the majority of the crowd was there for Metallica and not the orchestra, so MTT assumed the role of an accessible and entertaining educator, like a Bill Nye for classical music.\u003c/p>\n\u003cfigure id=\"attachment_13866000\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13866000\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/IMG_4254-800x450.jpg\" alt=\"Michael Tilson Thomas conducts the San Francisco Symphony and Metallica at the Chase Center's inaugural concert on Sept. 9.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_4254-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_4254-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_4254-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_4254-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_4254-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_4254.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Michael Tilson Thomas conducts the San Francisco Symphony and Metallica at the Chase Center’s inaugural concert on Sept. 9. \u003ccite>(Dan Nykolayko)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He also revealed tidbits about his cute and unlikely friendship with Ulrich. “Lars and I sometimes talk music late at night,” said MTT, describing the similarities between different classical music movements and heavy metal. Metallica then joined the symphony for Sergei Prokofiev’s 1915 \u003cem>Scythian Suite\u003c/em>. MTT described the anxious piece as “a mighty dance of ecstatic vengeance”—also an apt characterization of Hetfield and Hammett’s ferocious guitar playing.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Closing the show with their hits “Master of Puppets” and “Enter Sandman,” Metallica and the SF Symphony unleashed 18,000 fans into the wild. Fortunately, the traffic leaving the new Mission Bay venue wasn’t quite as apocalyptic as feared. People dispersed into MUNI trams, pedicabs, bikes, scooters and ride shares, slightly deafened and giddy, diffusing the evening’s energy into the night.\u003c/p>\n\n",
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"excerpt": "The epic first concert befit the new state-of-the-art venue, which exudes new-money San Francisco opulence.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Lightning-fast guitar solos, a laser light show, a 75-member orchestra and a packed arena of 18,000 Metallica fans in black band T-shirts. That was the scene at Friday’s inaugural concert at \u003ca href=\"https://www.chasecenter.com/\" target=\"_blank\" rel=\"noopener\">Chase Center\u003c/a>, the state-of-the-art new Warriors stadium.\u003c/p>\n\u003cp>A meeting of the minds as powerful as Metallica and San Francisco Symphony was only right to christen such an impressive building, which felt epic simply by virtue of its enormous size and spotless, glass-paneled facade. With LED screens everywhere, Chase Center takes every opportunity to remind you it’s of the 21st century. Unlike the comparatively dusty yet charming Oracle Arena, built in 1966, everything about it exudes wealth—a monument to new-money San Francisco complete with $11 pizza slices and $15 tall cans of Budweiser (which were peanuts for show-goers who paid up to $9,000 a ticket for Friday’s concert).\u003c/p>\n\u003cp>“We have a new arena, a world-class f-cking arena in our own backyard,” announced Metallica’s Lars Ulrich. “F-ck yeah!”\u003c/p>\n\u003cfigure id=\"attachment_13865922\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865922\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/IMG_7050-800x600.jpg\" alt=\"Metallica fans line up outside of Chase Center for the new arena's debut concert featuring the rock legends and San Francisco Symphony.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_7050-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_7050-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_7050-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_7050-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_7050-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_7050.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Metallica fans line up outside of Chase Center for the new arena’s debut concert featuring the rock legends and San Francisco Symphony. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ulrich’s drum kit was perched in the center of a circular, revolving stage, which made for a dynamic presentation. Singer-guitarist James Hetfield, lead guitarist Kirk Hammett and bassist Robert Trujillo orbited him, moving freely about. Surrounding them were the stationary orchestra musicians, with Edwin Outwater conducting the first half of the concert and San Francisco Symphony music director Michael Tilson Thomas (who is set to retire this year after 25 years) conducting the second half.\u003c/p>\n\u003cp>After opening with a cover of Spaghetti Western classic “Ecstasy of Gold,” Metallica’s players got to shredding, wasting no time before launching into solos on “The Call of Ktulu,” another instrumental, and the sludgy “For Whom the Bell Tolls.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Although thrilling in its virtuosity, the first half of the show sounded more like a Metallica concert than a collaboration with the symphony—at least from my vantage point in the nosebleeds. The orchestra players were often inaudible over Ulrich’s thunderous drum kit, by far the loudest thing in the arena, and it was difficult to pick up on the nuance of the instrumentation the late Michael Kamen arranged for the two musical powerhouses when they first collaborated on the live album \u003cem>S&M\u003c/em> in 1999.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The stripped-down woodwind and string section at the end of “Memory Remains” was a turning point in the show, when Metallica’s players allowed their fingers to rest for a moment and let the orchestral arrangement breathe. From that point, the concert became more of an interplay between the two ensembles rather than a Metallica set with an extra boost of strings.\u003c/p>\n\u003cp>After intermission, Michael Tilson Thomas arrived and addressed the audience directly, unlike Outwater, who had been silent throughout the first half (though jumping up and down and rocking out as he conducted). Judging by the attire of the mostly male, Gen X and Baby Boomer audience, the majority of the crowd was there for Metallica and not the orchestra, so MTT assumed the role of an accessible and entertaining educator, like a Bill Nye for classical music.\u003c/p>\n\u003cfigure id=\"attachment_13866000\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13866000\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/IMG_4254-800x450.jpg\" alt=\"Michael Tilson Thomas conducts the San Francisco Symphony and Metallica at the Chase Center's inaugural concert on Sept. 9.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_4254-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_4254-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_4254-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_4254-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_4254-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_4254.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Michael Tilson Thomas conducts the San Francisco Symphony and Metallica at the Chase Center’s inaugural concert on Sept. 9. \u003ccite>(Dan Nykolayko)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He also revealed tidbits about his cute and unlikely friendship with Ulrich. “Lars and I sometimes talk music late at night,” said MTT, describing the similarities between different classical music movements and heavy metal. Metallica then joined the symphony for Sergei Prokofiev’s 1915 \u003cem>Scythian Suite\u003c/em>. MTT described the anxious piece as “a mighty dance of ecstatic vengeance”—also an apt characterization of Hetfield and Hammett’s ferocious guitar playing.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Closing the show with their hits “Master of Puppets” and “Enter Sandman,” Metallica and the SF Symphony unleashed 18,000 fans into the wild. Fortunately, the traffic leaving the new Mission Bay venue wasn’t quite as apocalyptic as feared. People dispersed into MUNI trams, pedicabs, bikes, scooters and ride shares, slightly deafened and giddy, diffusing the evening’s energy into the night.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "At SJMA, Rina Banerjee's Retrospective Embraces a Fluid Complexity",
"headTitle": "At SJMA, Rina Banerjee’s Retrospective Embraces a Fluid Complexity | KQED",
"content": "\u003cp>When I stepped inside New York-based artist Rina Banerjee’s flamingo-pink, floating Taj Mahal, it felt like the artist had wrapped me in a valentine the size of a small house. The sculpture \u003cem>Take me, take me, take me…to the Palace of love\u003c/em> is suspended from the ceiling at the San Jose Museum of Art, held aloft by wires a few feet above the ground. It’s not an exact replica of Shah Jahan’s memorial to his wife Mumtaz, but you can’t mistake the turrets and distinctive window shapes for any other structure on Earth.\u003c/p>\n\u003cp>\u003cem>Make Me a Summary of the World\u003c/em>—Banerjee’s career retrospective, first shown at the Pennsylvania Academy of Fine Arts and on a U.S. tour that runs through 2021—fills three galleries on the SJMA’s top floor with so many sculptures and paintings they spill out into the hallways. Nothing about her work suggests containment. Even the acrylic paintings that simulate watercolors bleed into and past the edges of their frames. Meanings, too, and when and where you can find or interpret them, are just as fluid.\u003c/p>\n\u003cfigure id=\"attachment_13864903\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/Banerjee_a.jpg\" alt=\"Rina Banerjee, 'The world as burnt fruit...,’ 2009.\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13864903\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Banerjee_a.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Banerjee_a-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Banerjee_a-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Banerjee_a-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Banerjee_a-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Banerjee_a-1200x675.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Rina Banerjee, ‘The world as burnt fruit…,’ 2009. \u003ccite>(JKA Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In PAFA curator Jodi Throckmorton’s essay in the exhibition catalog, she writes, “Despite its obvious beauty and sensuality, Banerjee’s work oozes with this Orientalist unease: her gold-threaded fabrics, jeweled surfaces and Anglo-Indian antiques are steeped in the atrocities of colonialism.” (The retrospective is co-curated by the SJMA’s Lauren Schell Dickens.) After reading this, I felt guilty I’d taken such pleasure in not only \u003cem>Palace of love\u003c/em>, but in each subsequent visit I made to the show.\u003c/p>\n\u003cp>I wasn’t ignoring the sharp, pointed horns that jut out of a dozen sculptures, or the splendid row of gharial crocodile teeth in \u003cem>The world as burnt fruit\u003c/em>. I looked closely at the acrylic ink on paper piece \u003cem>Queen of Cuddles\u003c/em>, a demon-faced mergirl lashing out with her long, froggy tongue. But I didn’t recoil from her zoological phantasms or their sense of menace.\u003c/p>\n\u003cp>Instead, I was dazzled by Banerjee’s approach to organizing glass vials, cowrie shells and feathers into strangely organic arrangements of disparate parts. She’s a re-animator, making new and unfamiliar beasts rise up from death. The intricacy of her nests within nests, within even more nests, indicate that she learned from industrious birds how to recreate their homes.\u003c/p>\n\u003cfigure id=\"attachment_13864907\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/Banerjee_c.jpg\" alt=\"Rina Banerjee, 'Infectious Migrations,’ 1999.\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13864907\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Banerjee_c.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Banerjee_c-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Banerjee_c-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Banerjee_c-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Banerjee_c-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Banerjee_c-1200x675.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Rina Banerjee, ‘Infectious Migrations,’ 1999. \u003ccite>(JKA Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Where an academic might be more inclined to identify such themes as globalism or the fungibility of cultural and gender identities, I marveled at her skills and suspended any analytic response. That is, until I spoke with Banerjee on the phone. I asked her about that tension—between the surface level beauty and the underlying narratives that contradict or undermine it.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“All of the subject matter that you mention [i.e. globalism, identity] can essentially be communicated as colors and shapes,” she says. “It’s an abstract language, then, to them [the viewers]. But it carries that meaning, and I think that that becomes a contagion. It will inform them.”\u003c/p>\n\u003cp>For the artist, my uncontaminated response to \u003cem>Palace of love\u003c/em> was forgivably naive. “For me, it has dark things to say. It really references what became the popularity of a legend as it became a recognizable building, edifice, throughout the world, in a very pop culture way,” she says. People are attracted to the romance of the Taj Mahal, and also to the romance of the colonial period. What we forget about, Banerjee explains, are the laborers who gave their lives in order to create these architectural wonders for posterity.\u003c/p>\n\u003cfigure id=\"attachment_13864909\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/Banerjee_d.jpg\" alt=\"Rina Banerjee, 'Make me a summary of the world!,’ 2014.\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13864909\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Banerjee_d.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Banerjee_d-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Banerjee_d-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Banerjee_d-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Banerjee_d-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Banerjee_d-1200x675.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Rina Banerjee, ‘Make me a summary of the world!,’ 2014. \u003ccite>(JKA Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Banerjee manages to create her sculptures from hundreds and often thousands of distinctive elements by not having an architectural plan. “You really have to make something that is a little bit of an idea in mind and a little bit of the unknown. The more ingredients you plan on using, in the end, allow you that kind of complexity,” she says.\u003c/p>\n\u003cp>The artist also questions simplistic attitudes toward the meaning of chaos. “Sometimes what you see that is unfamiliar gets defined as chaotic because you are uncomfortable with it, because you don’t see the kind of pattern that you are normally seeing, and so those things are very important in the work to consider.” She’s not interested in defeating chaos with order.\u003c/p>\n\u003cp>Banerjee’s earlier paintings were, she says, “much heavier and very pigmented.” She used mica, steel and iron powder to create “a minerality” on the surface. Only one painting from this series, made in 1994, is on view at SJMA. Then her practice shifted; she wanted to make things portable, faster and safer for her health. This newer series of “watercolors” is filled with air and light—it’s hard to connect their delicate teals and burnt magentas with the painting from 1994.\u003c/p>\n\u003cfigure id=\"attachment_13864910\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/Banerjee_e.jpg\" alt=\"Rina Banerjee, 'A world lost,’ 2013.\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13864910\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Banerjee_e.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Banerjee_e-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Banerjee_e-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Banerjee_e-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Banerjee_e-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Banerjee_e-1200x675.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Rina Banerjee, ‘A world lost,’ 2013. \u003ccite>(JKA Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Around 2003, she started to dilute acrylic paint, coupling it with watercolor paper to create floaty, washy effects. “It’s almost like it expands, and you can feel the movement of the water,” she says of this approach.\u003c/p>\n\u003cp>One of these works on paper, \u003cem>If lotion and potion could heal…\u003c/em>, features two finned humanoids with striped green skin. They float in briny leaves, weeds and flowers, attached to each other by their extended tongues. This is what love looks like when you’re swimming together in the deepest fathoms of infatuation.\u003c/p>\n\u003cfigure id=\"attachment_13865624\" class=\"wp-caption alignright\" style=\"max-width: 610px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/If-lotion-and-potion-could-heal....png\" alt=\"Rina Banerjee, 'If lotion and potion could heal...' 2006.\" width=\"610\" height=\"465\" class=\"size-full wp-image-13865624\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/If-lotion-and-potion-could-heal....png 610w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/If-lotion-and-potion-could-heal...-160x122.png 160w\" sizes=\"(max-width: 610px) 100vw, 610px\">\u003cfigcaption class=\"wp-caption-text\">Rina Banerjee, ‘If lotion and potion could heal…’ 2006. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Banerjee believes that water itself is a good metaphor for mobility, saying, “We do not like boundaries at all.” At the SJMA, a docent admonished me for stepping too close to the expanse of sand that spreads across the floor beneath \u003cem>A World Lost…\u003c/em> I couldn’t help myself. I felt like a crow inexorably drawn toward Banerjee’s shiny dioramas, hypnotized by the shimmering colors and the sheer number of minute, unidentifiable objects.\u003c/p>\n\u003cp>That physical response says it all: The artist and curators might insist upon the meaning of every sculpture and painting in \u003ci>Make Me a Summary of the World\u003c/i>, but they can’t anticipate or account for the pleasure of discovering a miniature black rhinoceros nestled in a crown of driftwood; in seeing myself mirrored in the expression of a livid, dissipating goddess; or, in coming to the conclusion that all those fanned out, flushed pink feathers displayed Banerjee’s desire for flight.\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>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Make Me a Summary of the World’ is on view at the San Jose Museum of Art through Oct. 6. \u003ca href=\"https://sjmusart.org/exhibition/rina-banerjee-make-me-summary-world\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "The New York artist's sculptures and paintings spill out into the hallways; nothing about her work suggests containment.",
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"title": "At SJMA, Rina Banerjee's Retrospective Embraces a Fluid Complexity | KQED",
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"venueAddress": "110 South Market St., San José",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When I stepped inside New York-based artist Rina Banerjee’s flamingo-pink, floating Taj Mahal, it felt like the artist had wrapped me in a valentine the size of a small house. The sculpture \u003cem>Take me, take me, take me…to the Palace of love\u003c/em> is suspended from the ceiling at the San Jose Museum of Art, held aloft by wires a few feet above the ground. It’s not an exact replica of Shah Jahan’s memorial to his wife Mumtaz, but you can’t mistake the turrets and distinctive window shapes for any other structure on Earth.\u003c/p>\n\u003cp>\u003cem>Make Me a Summary of the World\u003c/em>—Banerjee’s career retrospective, first shown at the Pennsylvania Academy of Fine Arts and on a U.S. tour that runs through 2021—fills three galleries on the SJMA’s top floor with so many sculptures and paintings they spill out into the hallways. Nothing about her work suggests containment. Even the acrylic paintings that simulate watercolors bleed into and past the edges of their frames. Meanings, too, and when and where you can find or interpret them, are just as fluid.\u003c/p>\n\u003cfigure id=\"attachment_13864903\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/Banerjee_a.jpg\" alt=\"Rina Banerjee, 'The world as burnt fruit...,’ 2009.\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13864903\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Banerjee_a.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Banerjee_a-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Banerjee_a-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Banerjee_a-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Banerjee_a-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Banerjee_a-1200x675.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Rina Banerjee, ‘The world as burnt fruit…,’ 2009. \u003ccite>(JKA Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In PAFA curator Jodi Throckmorton’s essay in the exhibition catalog, she writes, “Despite its obvious beauty and sensuality, Banerjee’s work oozes with this Orientalist unease: her gold-threaded fabrics, jeweled surfaces and Anglo-Indian antiques are steeped in the atrocities of colonialism.” (The retrospective is co-curated by the SJMA’s Lauren Schell Dickens.) After reading this, I felt guilty I’d taken such pleasure in not only \u003cem>Palace of love\u003c/em>, but in each subsequent visit I made to the show.\u003c/p>\n\u003cp>I wasn’t ignoring the sharp, pointed horns that jut out of a dozen sculptures, or the splendid row of gharial crocodile teeth in \u003cem>The world as burnt fruit\u003c/em>. I looked closely at the acrylic ink on paper piece \u003cem>Queen of Cuddles\u003c/em>, a demon-faced mergirl lashing out with her long, froggy tongue. But I didn’t recoil from her zoological phantasms or their sense of menace.\u003c/p>\n\u003cp>Instead, I was dazzled by Banerjee’s approach to organizing glass vials, cowrie shells and feathers into strangely organic arrangements of disparate parts. She’s a re-animator, making new and unfamiliar beasts rise up from death. The intricacy of her nests within nests, within even more nests, indicate that she learned from industrious birds how to recreate their homes.\u003c/p>\n\u003cfigure id=\"attachment_13864907\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/Banerjee_c.jpg\" alt=\"Rina Banerjee, 'Infectious Migrations,’ 1999.\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13864907\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Banerjee_c.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Banerjee_c-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Banerjee_c-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Banerjee_c-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Banerjee_c-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Banerjee_c-1200x675.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Rina Banerjee, ‘Infectious Migrations,’ 1999. \u003ccite>(JKA Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Where an academic might be more inclined to identify such themes as globalism or the fungibility of cultural and gender identities, I marveled at her skills and suspended any analytic response. That is, until I spoke with Banerjee on the phone. I asked her about that tension—between the surface level beauty and the underlying narratives that contradict or undermine it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“All of the subject matter that you mention [i.e. globalism, identity] can essentially be communicated as colors and shapes,” she says. “It’s an abstract language, then, to them [the viewers]. But it carries that meaning, and I think that that becomes a contagion. It will inform them.”\u003c/p>\n\u003cp>For the artist, my uncontaminated response to \u003cem>Palace of love\u003c/em> was forgivably naive. “For me, it has dark things to say. It really references what became the popularity of a legend as it became a recognizable building, edifice, throughout the world, in a very pop culture way,” she says. People are attracted to the romance of the Taj Mahal, and also to the romance of the colonial period. What we forget about, Banerjee explains, are the laborers who gave their lives in order to create these architectural wonders for posterity.\u003c/p>\n\u003cfigure id=\"attachment_13864909\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/Banerjee_d.jpg\" alt=\"Rina Banerjee, 'Make me a summary of the world!,’ 2014.\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13864909\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Banerjee_d.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Banerjee_d-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Banerjee_d-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Banerjee_d-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Banerjee_d-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Banerjee_d-1200x675.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Rina Banerjee, ‘Make me a summary of the world!,’ 2014. \u003ccite>(JKA Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Banerjee manages to create her sculptures from hundreds and often thousands of distinctive elements by not having an architectural plan. “You really have to make something that is a little bit of an idea in mind and a little bit of the unknown. The more ingredients you plan on using, in the end, allow you that kind of complexity,” she says.\u003c/p>\n\u003cp>The artist also questions simplistic attitudes toward the meaning of chaos. “Sometimes what you see that is unfamiliar gets defined as chaotic because you are uncomfortable with it, because you don’t see the kind of pattern that you are normally seeing, and so those things are very important in the work to consider.” She’s not interested in defeating chaos with order.\u003c/p>\n\u003cp>Banerjee’s earlier paintings were, she says, “much heavier and very pigmented.” She used mica, steel and iron powder to create “a minerality” on the surface. Only one painting from this series, made in 1994, is on view at SJMA. Then her practice shifted; she wanted to make things portable, faster and safer for her health. This newer series of “watercolors” is filled with air and light—it’s hard to connect their delicate teals and burnt magentas with the painting from 1994.\u003c/p>\n\u003cfigure id=\"attachment_13864910\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/Banerjee_e.jpg\" alt=\"Rina Banerjee, 'A world lost,’ 2013.\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13864910\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Banerjee_e.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Banerjee_e-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Banerjee_e-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Banerjee_e-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Banerjee_e-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Banerjee_e-1200x675.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Rina Banerjee, ‘A world lost,’ 2013. \u003ccite>(JKA Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Around 2003, she started to dilute acrylic paint, coupling it with watercolor paper to create floaty, washy effects. “It’s almost like it expands, and you can feel the movement of the water,” she says of this approach.\u003c/p>\n\u003cp>One of these works on paper, \u003cem>If lotion and potion could heal…\u003c/em>, features two finned humanoids with striped green skin. They float in briny leaves, weeds and flowers, attached to each other by their extended tongues. This is what love looks like when you’re swimming together in the deepest fathoms of infatuation.\u003c/p>\n\u003cfigure id=\"attachment_13865624\" class=\"wp-caption alignright\" style=\"max-width: 610px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/If-lotion-and-potion-could-heal....png\" alt=\"Rina Banerjee, 'If lotion and potion could heal...' 2006.\" width=\"610\" height=\"465\" class=\"size-full wp-image-13865624\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/If-lotion-and-potion-could-heal....png 610w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/If-lotion-and-potion-could-heal...-160x122.png 160w\" sizes=\"(max-width: 610px) 100vw, 610px\">\u003cfigcaption class=\"wp-caption-text\">Rina Banerjee, ‘If lotion and potion could heal…’ 2006. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Banerjee believes that water itself is a good metaphor for mobility, saying, “We do not like boundaries at all.” At the SJMA, a docent admonished me for stepping too close to the expanse of sand that spreads across the floor beneath \u003cem>A World Lost…\u003c/em> I couldn’t help myself. I felt like a crow inexorably drawn toward Banerjee’s shiny dioramas, hypnotized by the shimmering colors and the sheer number of minute, unidentifiable objects.\u003c/p>\n\u003cp>That physical response says it all: The artist and curators might insist upon the meaning of every sculpture and painting in \u003ci>Make Me a Summary of the World\u003c/i>, but they can’t anticipate or account for the pleasure of discovering a miniature black rhinoceros nestled in a crown of driftwood; in seeing myself mirrored in the expression of a livid, dissipating goddess; or, in coming to the conclusion that all those fanned out, flushed pink feathers displayed Banerjee’s desire for flight.\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>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Make Me a Summary of the World’ is on view at the San Jose Museum of Art through Oct. 6. \u003ca href=\"https://sjmusart.org/exhibition/rina-banerjee-make-me-summary-world\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "At BAMPFA, 'The San Quentin Project' Rewrites the History of Prison Imagery",
"headTitle": "At BAMPFA, ‘The San Quentin Project’ Rewrites the History of Prison Imagery | KQED",
"content": "\u003cp>It started with a box of negatives.\u003c/p>\n\u003cp>In 2012, Bay Area photographer, educator and \u003ca href=\"https://www.earhustlesq.com/\" target=\"_blank\" rel=\"noopener\">podcast host\u003c/a> \u003ca href=\"https://nigelpoor.com/about/\" target=\"_blank\" rel=\"noopener\">Nigel Poor\u003c/a> was one year into teaching the course “Visual Concerns in Photography” at San Quentin State Prison when administrators gave her a box containing thousands of unorganized negatives—images produced between the 1930s and 1980s—from the prison’s archive. \u003c/p>\n\u003cp>Out of this material chaos, Poor and her students gained a profound understanding of photography as a tool for personal development, and learned how it both serves and undermines rigid institutional narratives. \u003ca href=\"https://bampfa.org/program/san-quentin-project-nigel-poor-and-men-san-quentin-state-prison\" target=\"_blank\" rel=\"noopener\">\u003ci>The San Quentin Project: Nigel Poor and the Men of San Quentin State Prison\u003c/i>\u003c/a>, on view at Berkeley Art Museum Pacific Film Archive through Nov. 17, shares the fruit of that knowledge with the public.\u003c/p>\n\u003cfigure id=\"attachment_13865615\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/NPoor_BAMPFA_020_1200.jpg\" alt=\"Installation view of 'The San Quentin Project: Nigel Poor and the Men of San Quentin State Prison' at BAMPFA.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13865615\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/NPoor_BAMPFA_020_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/NPoor_BAMPFA_020_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/NPoor_BAMPFA_020_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/NPoor_BAMPFA_020_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/NPoor_BAMPFA_020_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘The San Quentin Project: Nigel Poor and the Men of San Quentin State Prison’ at BAMPFA. \u003ccite>(JKA Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Poor volunteers at San Quentin through the \u003ca href=\"https://prisonuniversityproject.org/\" target=\"_blank\" rel=\"noopener\">Prison University Project\u003c/a>, a nonprofit organization that offers higher education opportunities to incarcerated men. The class she teaches works with students to develop visual analysis skills, a goal achieved through assignments she calls “mapping exercises.” \u003c/p>\n\u003cp>Poor’s use of the word “mapping” to describe this work is a minor yet compelling detail. Maps represent knowledge; they make it clear who produces and controls the information within them, and for whom that information is intended. The opportunity to work with images created within the prison industrial complex, but without the supervision of that authority, meant that Poor’s students could freely interrogate the official narratives the images convey.\u003c/p>\n\u003cfigure id=\"attachment_13865139\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/07_SQP_Press_Smith_Mapping-Joel-Sternfeld-Side-A.jpg\" alt=\"Nigel Poor and Frankie Smith, 'Mapping Joel Sternfeld, side A,' 2011/12. Inkjet print, with ink notations.\" width=\"2048\" height=\"1315\" class=\"size-full wp-image-13865139\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/07_SQP_Press_Smith_Mapping-Joel-Sternfeld-Side-A.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/07_SQP_Press_Smith_Mapping-Joel-Sternfeld-Side-A-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/07_SQP_Press_Smith_Mapping-Joel-Sternfeld-Side-A-800x513.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/07_SQP_Press_Smith_Mapping-Joel-Sternfeld-Side-A-768x493.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/07_SQP_Press_Smith_Mapping-Joel-Sternfeld-Side-A-1020x655.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/07_SQP_Press_Smith_Mapping-Joel-Sternfeld-Side-A-1200x770.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/07_SQP_Press_Smith_Mapping-Joel-Sternfeld-Side-A-1920x1232.jpg 1920w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Nigel Poor and Frankie Smith, ‘Mapping Joel Sternfeld, side A,’ 2011/12. Inkjet print, with ink notations. \u003ccite>(Courtesy Nigel Poor, with thanks to the Prison University Project)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In one assignment, students deconstructed a range of photographs made by notable photographers such as Joel Sternfeld, analyzing what they saw “like a crime scene to be studied, written on, and mapped to reveal its undisclosed story,” Poor relates in a gallery text panel. On the back of each double-sided image, students composed personal responses to the scenes. Six of these minimally framed objects hang in a circle at the center of the BAMPFA exhibition. Reading them is to witness basic visual analysis transform into absorbing and unexpected narrative arcs that begin and end on the same page.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Students next applied their burgeoning analytical skills to images produced from Poor’s prison archive cache. After printing the photographs and organizing them into rough categories, Poor again asked her class to write down what they saw. As visitors see in framed images hung on one of the gallery’s long walls, scrupulous notes attest that no detail was insignificant. Unlike earlier mapping exercises, Poor’s students were now examining images captured on their turf.\u003c/p>\n\u003cfigure id=\"attachment_13865141\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/13_SQP_Press_Mother_s-Day-5-9-76.jpg\" alt=\"Unknown, 'Mother’s Day 5-9-76,' from the San Quentin State Prison Archive, 1976, printed 2018.\" width=\"2048\" height=\"1644\" class=\"size-full wp-image-13865141\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/13_SQP_Press_Mother_s-Day-5-9-76.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/13_SQP_Press_Mother_s-Day-5-9-76-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/13_SQP_Press_Mother_s-Day-5-9-76-800x642.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/13_SQP_Press_Mother_s-Day-5-9-76-768x616.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/13_SQP_Press_Mother_s-Day-5-9-76-1020x819.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/13_SQP_Press_Mother_s-Day-5-9-76-1200x963.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/13_SQP_Press_Mother_s-Day-5-9-76-1920x1541.jpg 1920w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Unknown, ‘Mother’s Day 5-9-76,’ from the San Quentin State Prison Archive, 1976, printed 2018. \u003ccite>(Courtesy Nigel Poor and the San Quentin State Prison Museum, with thanks to Warden Ron Davis and Lieutenant Sam Robinson.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The students saw familiar spaces—inmate cells, administrative offices and public areas—being used by the men who came before them. The scenes can be blissfully ordinary or sobering: a father seated on the grass with his baby, a cell tossed for contraband items.\u003c/p>\n\u003cp>On the opposite gallery wall, \u003ci>The San Quentin Project\u003c/i> presents many of the same images unembellished, without commentary. A telling juxtaposition—starkly visualized by an image of a CO (correctional officer) holding up a knife confiscated after a stabbing—implicates photography as it supports specific, authoritative narratives. In one image, block text at the bottom reads simply “stabbing in gym.” \u003c/p>\n\u003cfigure id=\"attachment_13865138\" class=\"wp-caption aligncenter\" style=\"max-width: 868px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/06_SQP_Press_Wallace-Stepter_Weeks-Stabbing-in-the-Gym-9-24-63.jpg\" alt=\"Nigel Poor and Shadeed Wallace-Stepter, 'Weeks Stabbing in the Gym 9-24-63,' 2013. \" width=\"868\" height=\"1350\" class=\"size-full wp-image-13865138\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/06_SQP_Press_Wallace-Stepter_Weeks-Stabbing-in-the-Gym-9-24-63.jpg 868w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/06_SQP_Press_Wallace-Stepter_Weeks-Stabbing-in-the-Gym-9-24-63-160x249.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/06_SQP_Press_Wallace-Stepter_Weeks-Stabbing-in-the-Gym-9-24-63-800x1244.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/06_SQP_Press_Wallace-Stepter_Weeks-Stabbing-in-the-Gym-9-24-63-768x1194.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/06_SQP_Press_Wallace-Stepter_Weeks-Stabbing-in-the-Gym-9-24-63-772x1200.jpg 772w\" sizes=\"(max-width: 868px) 100vw, 868px\">\u003cfigcaption class=\"wp-caption-text\">Nigel Poor and Shadeed Wallace-Stepter, ‘Weeks Stabbing in the Gym 9-24-63,’ 2013. \u003ccite>(Courtesy Nigel Poor, with thanks to Warden Ron Davis and Lieutenant Sam Robinson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the companion image, Shadeed Wallace-Stepter notes the officer’s inscrutable expression, writing, “Doesn’t look like he’s been affected by the incident at all. Makes me wonder if he’s always been like this or if the job is responsible.” Wallace-Stepter recognizes the officer’s humanity, his relatability, in an institutional system that has a tendency to dehumanize all caught within it.\u003c/p>\n\u003cp>\u003ci>The San Quentin Project: Nigel Poor and the Men of San Quentin\u003c/i> was produced by Poor and former SFMOMA curator Lisa J. Sutcliffe for the Milwaukee Museum of Art. Since its lauded debut in late 2018, conversations about the links between \u003ca href=\"https://eji.org/videos/slavery-to-mass-incarceration\" target=\"_blank\" rel=\"noopener\">slavery and mass incarceration\u003c/a> and pushes for prison sentencing reform have helped shape a difficult and long-overdue critical dialogue. By hosting this important project a mere 14.5 miles from San Quentin State Prison, BAMPFA brings those ideas—through images—home, making them all the more immediate for Bay Area residents.\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>\u003cem>‘The San Quentin Project: Nigel Poor and the Men of San Quentin State Prison’ is on view at Berkeley Art Museum Pacific Film Archive through Nov. 17, 2019. \u003ca href=\"https://bampfa.org/program/san-quentin-project-nigel-poor-and-men-san-quentin-state-prison\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Artist Nigel Poor presents photographs from the prison's archive annotated by her incarcerated students, dissecting the imagery of official narratives.",
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"title": "At BAMPFA, 'The San Quentin Project' Rewrites the History of Prison Imagery | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It started with a box of negatives.\u003c/p>\n\u003cp>In 2012, Bay Area photographer, educator and \u003ca href=\"https://www.earhustlesq.com/\" target=\"_blank\" rel=\"noopener\">podcast host\u003c/a> \u003ca href=\"https://nigelpoor.com/about/\" target=\"_blank\" rel=\"noopener\">Nigel Poor\u003c/a> was one year into teaching the course “Visual Concerns in Photography” at San Quentin State Prison when administrators gave her a box containing thousands of unorganized negatives—images produced between the 1930s and 1980s—from the prison’s archive. \u003c/p>\n\u003cp>Out of this material chaos, Poor and her students gained a profound understanding of photography as a tool for personal development, and learned how it both serves and undermines rigid institutional narratives. \u003ca href=\"https://bampfa.org/program/san-quentin-project-nigel-poor-and-men-san-quentin-state-prison\" target=\"_blank\" rel=\"noopener\">\u003ci>The San Quentin Project: Nigel Poor and the Men of San Quentin State Prison\u003c/i>\u003c/a>, on view at Berkeley Art Museum Pacific Film Archive through Nov. 17, shares the fruit of that knowledge with the public.\u003c/p>\n\u003cfigure id=\"attachment_13865615\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/NPoor_BAMPFA_020_1200.jpg\" alt=\"Installation view of 'The San Quentin Project: Nigel Poor and the Men of San Quentin State Prison' at BAMPFA.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13865615\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/NPoor_BAMPFA_020_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/NPoor_BAMPFA_020_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/NPoor_BAMPFA_020_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/NPoor_BAMPFA_020_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/NPoor_BAMPFA_020_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘The San Quentin Project: Nigel Poor and the Men of San Quentin State Prison’ at BAMPFA. \u003ccite>(JKA Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Poor volunteers at San Quentin through the \u003ca href=\"https://prisonuniversityproject.org/\" target=\"_blank\" rel=\"noopener\">Prison University Project\u003c/a>, a nonprofit organization that offers higher education opportunities to incarcerated men. The class she teaches works with students to develop visual analysis skills, a goal achieved through assignments she calls “mapping exercises.” \u003c/p>\n\u003cp>Poor’s use of the word “mapping” to describe this work is a minor yet compelling detail. Maps represent knowledge; they make it clear who produces and controls the information within them, and for whom that information is intended. The opportunity to work with images created within the prison industrial complex, but without the supervision of that authority, meant that Poor’s students could freely interrogate the official narratives the images convey.\u003c/p>\n\u003cfigure id=\"attachment_13865139\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/07_SQP_Press_Smith_Mapping-Joel-Sternfeld-Side-A.jpg\" alt=\"Nigel Poor and Frankie Smith, 'Mapping Joel Sternfeld, side A,' 2011/12. Inkjet print, with ink notations.\" width=\"2048\" height=\"1315\" class=\"size-full wp-image-13865139\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/07_SQP_Press_Smith_Mapping-Joel-Sternfeld-Side-A.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/07_SQP_Press_Smith_Mapping-Joel-Sternfeld-Side-A-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/07_SQP_Press_Smith_Mapping-Joel-Sternfeld-Side-A-800x513.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/07_SQP_Press_Smith_Mapping-Joel-Sternfeld-Side-A-768x493.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/07_SQP_Press_Smith_Mapping-Joel-Sternfeld-Side-A-1020x655.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/07_SQP_Press_Smith_Mapping-Joel-Sternfeld-Side-A-1200x770.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/07_SQP_Press_Smith_Mapping-Joel-Sternfeld-Side-A-1920x1232.jpg 1920w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Nigel Poor and Frankie Smith, ‘Mapping Joel Sternfeld, side A,’ 2011/12. Inkjet print, with ink notations. \u003ccite>(Courtesy Nigel Poor, with thanks to the Prison University Project)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In one assignment, students deconstructed a range of photographs made by notable photographers such as Joel Sternfeld, analyzing what they saw “like a crime scene to be studied, written on, and mapped to reveal its undisclosed story,” Poor relates in a gallery text panel. On the back of each double-sided image, students composed personal responses to the scenes. Six of these minimally framed objects hang in a circle at the center of the BAMPFA exhibition. Reading them is to witness basic visual analysis transform into absorbing and unexpected narrative arcs that begin and end on the same page.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Students next applied their burgeoning analytical skills to images produced from Poor’s prison archive cache. After printing the photographs and organizing them into rough categories, Poor again asked her class to write down what they saw. As visitors see in framed images hung on one of the gallery’s long walls, scrupulous notes attest that no detail was insignificant. Unlike earlier mapping exercises, Poor’s students were now examining images captured on their turf.\u003c/p>\n\u003cfigure id=\"attachment_13865141\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/13_SQP_Press_Mother_s-Day-5-9-76.jpg\" alt=\"Unknown, 'Mother’s Day 5-9-76,' from the San Quentin State Prison Archive, 1976, printed 2018.\" width=\"2048\" height=\"1644\" class=\"size-full wp-image-13865141\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/13_SQP_Press_Mother_s-Day-5-9-76.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/13_SQP_Press_Mother_s-Day-5-9-76-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/13_SQP_Press_Mother_s-Day-5-9-76-800x642.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/13_SQP_Press_Mother_s-Day-5-9-76-768x616.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/13_SQP_Press_Mother_s-Day-5-9-76-1020x819.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/13_SQP_Press_Mother_s-Day-5-9-76-1200x963.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/13_SQP_Press_Mother_s-Day-5-9-76-1920x1541.jpg 1920w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Unknown, ‘Mother’s Day 5-9-76,’ from the San Quentin State Prison Archive, 1976, printed 2018. \u003ccite>(Courtesy Nigel Poor and the San Quentin State Prison Museum, with thanks to Warden Ron Davis and Lieutenant Sam Robinson.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The students saw familiar spaces—inmate cells, administrative offices and public areas—being used by the men who came before them. The scenes can be blissfully ordinary or sobering: a father seated on the grass with his baby, a cell tossed for contraband items.\u003c/p>\n\u003cp>On the opposite gallery wall, \u003ci>The San Quentin Project\u003c/i> presents many of the same images unembellished, without commentary. A telling juxtaposition—starkly visualized by an image of a CO (correctional officer) holding up a knife confiscated after a stabbing—implicates photography as it supports specific, authoritative narratives. In one image, block text at the bottom reads simply “stabbing in gym.” \u003c/p>\n\u003cfigure id=\"attachment_13865138\" class=\"wp-caption aligncenter\" style=\"max-width: 868px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/06_SQP_Press_Wallace-Stepter_Weeks-Stabbing-in-the-Gym-9-24-63.jpg\" alt=\"Nigel Poor and Shadeed Wallace-Stepter, 'Weeks Stabbing in the Gym 9-24-63,' 2013. \" width=\"868\" height=\"1350\" class=\"size-full wp-image-13865138\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/06_SQP_Press_Wallace-Stepter_Weeks-Stabbing-in-the-Gym-9-24-63.jpg 868w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/06_SQP_Press_Wallace-Stepter_Weeks-Stabbing-in-the-Gym-9-24-63-160x249.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/06_SQP_Press_Wallace-Stepter_Weeks-Stabbing-in-the-Gym-9-24-63-800x1244.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/06_SQP_Press_Wallace-Stepter_Weeks-Stabbing-in-the-Gym-9-24-63-768x1194.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/06_SQP_Press_Wallace-Stepter_Weeks-Stabbing-in-the-Gym-9-24-63-772x1200.jpg 772w\" sizes=\"(max-width: 868px) 100vw, 868px\">\u003cfigcaption class=\"wp-caption-text\">Nigel Poor and Shadeed Wallace-Stepter, ‘Weeks Stabbing in the Gym 9-24-63,’ 2013. \u003ccite>(Courtesy Nigel Poor, with thanks to Warden Ron Davis and Lieutenant Sam Robinson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the companion image, Shadeed Wallace-Stepter notes the officer’s inscrutable expression, writing, “Doesn’t look like he’s been affected by the incident at all. Makes me wonder if he’s always been like this or if the job is responsible.” Wallace-Stepter recognizes the officer’s humanity, his relatability, in an institutional system that has a tendency to dehumanize all caught within it.\u003c/p>\n\u003cp>\u003ci>The San Quentin Project: Nigel Poor and the Men of San Quentin\u003c/i> was produced by Poor and former SFMOMA curator Lisa J. Sutcliffe for the Milwaukee Museum of Art. Since its lauded debut in late 2018, conversations about the links between \u003ca href=\"https://eji.org/videos/slavery-to-mass-incarceration\" target=\"_blank\" rel=\"noopener\">slavery and mass incarceration\u003c/a> and pushes for prison sentencing reform have helped shape a difficult and long-overdue critical dialogue. By hosting this important project a mere 14.5 miles from San Quentin State Prison, BAMPFA brings those ideas—through images—home, making them all the more immediate for Bay Area residents.\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>\u003cem>‘The San Quentin Project: Nigel Poor and the Men of San Quentin State Prison’ is on view at Berkeley Art Museum Pacific Film Archive through Nov. 17, 2019. \u003ca href=\"https://bampfa.org/program/san-quentin-project-nigel-poor-and-men-san-quentin-state-prison\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "In Stalker Thriller 'The Fanatic,' Travolta Stalks, But Never Thrills",
"headTitle": "In Stalker Thriller ‘The Fanatic,’ Travolta Stalks, But Never Thrills | KQED",
"content": "\u003cp>Halfway through the miserable psychodrama \u003cem>The Fanatic\u003c/em>, Dick (Kenneth Farmer, playing a minor character with only a few lines), asks a couple of aggressive panhandlers to stop harassing his buddy Moose (John Travolta): “Why can’t you leave this guy alone, huh?” You won’t find any good answers in the movie, an ugly character study about Moose, an emotionally unstable cinephile who stalks Hunter Dunbar (Devon Sawa), his favorite horror movie star. \u003c/p>\n\u003cp>Moose is such an underdeveloped character that one can’t help but wonder why co-writer/director Fred Durst (lead singer of the Nu-Metal group Limp Bizkit)\u003cstrong>, \u003c/strong>can’t stop picking on Travolta’s character, though \u003cem>The Fanatic\u003c/em> is supposedly based (in part) on Durst’s real-life encounters with a starstruck harasser. (Durst shares screenplay credit with Dave Bekerman.)\u003c/p>\n\u003cp>https://youtu.be/YRS6V8RXIKE\u003c/p>\n\u003cp>There’s nothing sympathetic about Moose, a petulant fanboy who’s defined by his childlike accessories — Hawaiian shirts, a backpack, and a haircut that’s halfway between a bowl cut and a mullet, hunched shoulders, constipated waddle, and emotional volatility. Moose repeatedly tries to befriend Hunter, an ungenerous, but understandably vexed B-lister, after the actor leaves a book signing before he can sign Moose’s memorabilia. \u003c/p>\n\u003cp>Some cliché-filled voiceover narration, provided by Moose’s celeb-hating/chasing paparazzo friend Leah (Ana Golja), ties Moose and Hunter together, but always in a way that suggests Hunter deserves whatever’s coming to him, like when she mysteriously suggests that while, “I have no idea why Moose would go back to that man’s house. But I suppose when you find the cookie jar, it’s hard to not go back for more.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Still: There’s nothing to Moose beyond some general commentary about how fans are entitled bullies, a proposition that’s literally spelled out, onscreen, in an introductory quote from Hunter (which he repeats later in the movie, only this time the line occurs as dialogue that Moose forces Hunter to say): “You are a fan. Without you I’m nothing.” \u003c/p>\n\u003cp>Moose’s behavior suggests that he’s mentally unstable, but the film never explicitly suggests that he’s psychologically impaired. Instead, Moose runs around doing whatever he wants, busking on Hollywood Boulevard (dressed as a British bobby, with a truly regrettable accent and fake mustache) and stalking Hunter at his home. Moose is also frequently picked on by fellow street performer Todd (Jacob Grodnik), but that doesn’t slow Moose down anymore than do Leah’s admonishments to stop stalking Hunter. \u003c/p>\n\u003cp>Durst fixates on Moose’s freakish behavior to the same unhealthy degree that Moose tries to impress Hunter. This is disappointing since Durst—who directed almost two dozen music videos before helming two sturdy enough features (\u003ci>The Education of Charlie Banks\u003c/i>, \u003ci>The Longshots\u003c/i>)—isn’t as amateurish a story-teller as \u003cem>The Fanatic\u003c/em> would attest. Still, \u003cem>The Fanatic\u003c/em> stinks because Durst doesn’t really care about whatever it is that’s motivating Moose. He’s violent and movie-obsessed, but viewers barely see what Hunter’s movies are like, or what Moose likes about them. Moose’s friends prove equally hard to read: Leah and Dick never register strongly enough as characters to provide Travolta’s character any useful, normalizing context.\u003c/p>\n\u003cp>Instead, we get a bunch of scenes where Travolta zealously overacts, as when he screams at Hunter, “I wish Freddy Krueger would come, and chop off your head, and it would roll in the street, and a truck would squish it, and the blood would splatter everywhere, and everyone would watch it.” Durst sometimes seems to pity Moose, as when he underscores, with a dramatic musical sting, his emotional devastation when Hunter pokes his chest with a marker and angrily signs his name on his shirt. But Travolta’s performance, like his twitchy character, isn’t even desperate in a cruelly amusing way: When he inevitably manages to get Hunter where he wants him, Moose tries to win over his captive audience by crudely imitating movie baddies from \u003cem>Friday the 13\u003c/em>\u003cem>\u003csup>th\u003c/sup>\u003c/em>, \u003cem>Saw\u003c/em> and \u003cem>Reservoir Dogs\u003c/em>, as if we needed reminding that this character knows more about movies than reality.\u003c/p>\n\u003cp>The same could be said about Durst and \u003cem>The Fanatic\u003c/em>: He consistently punches down at fans who, in the relatively innocent days of the late 90s and early 00s, might have been encouraged by Durst’s band when they sang about “my generation” and doing things “my way,” not to mention feeling misunderstood “behind blue eyes,” and “[doing] it all for the nookie.” \u003c/p>\n\u003cp>Instead, Durst now refers us to “The Truth”—Limp Bizkit’s 2005 rallying cry about “accepting the truth” and rejecting a vaguely menacing father figure—in a brief scene where Hunter and his son bond over Durst’s mediocre metal music. Unfortunately, \u003cem>The Fanatic \u003c/em>proves just as opaque as that song’s lyrics: “Somehow, you replaced all your game with a debt, now the payback’s a bitch/Why owe your life to a bitch?” \u003c/p>\n\u003cp>Hunter, in this example, is presumably the “bitch” that leads Moose astray, but nothing he does makes their fallen idol/clueless stalker power dynamic any more concrete and apprehendable. Moose’s addiction to social media serves him poorly, his fair-weather friends treat him abominably, but in the end, nothing regards him with more cruel indifference than the film itself. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Copyright 2019 \u003ca href=\"https://www.npr.org\" rel=\"noopener\" target=\"_blank\">NPR\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Halfway through the miserable psychodrama \u003cem>The Fanatic\u003c/em>, Dick (Kenneth Farmer, playing a minor character with only a few lines), asks a couple of aggressive panhandlers to stop harassing his buddy Moose (John Travolta): “Why can’t you leave this guy alone, huh?” You won’t find any good answers in the movie, an ugly character study about Moose, an emotionally unstable cinephile who stalks Hunter Dunbar (Devon Sawa), his favorite horror movie star. \u003c/p>\n\u003cp>Moose is such an underdeveloped character that one can’t help but wonder why co-writer/director Fred Durst (lead singer of the Nu-Metal group Limp Bizkit)\u003cstrong>, \u003c/strong>can’t stop picking on Travolta’s character, though \u003cem>The Fanatic\u003c/em> is supposedly based (in part) on Durst’s real-life encounters with a starstruck harasser. (Durst shares screenplay credit with Dave Bekerman.)\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/YRS6V8RXIKE'\n title='//www.youtube.com/embed/YRS6V8RXIKE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>There’s nothing sympathetic about Moose, a petulant fanboy who’s defined by his childlike accessories — Hawaiian shirts, a backpack, and a haircut that’s halfway between a bowl cut and a mullet, hunched shoulders, constipated waddle, and emotional volatility. Moose repeatedly tries to befriend Hunter, an ungenerous, but understandably vexed B-lister, after the actor leaves a book signing before he can sign Moose’s memorabilia. \u003c/p>\n\u003cp>Some cliché-filled voiceover narration, provided by Moose’s celeb-hating/chasing paparazzo friend Leah (Ana Golja), ties Moose and Hunter together, but always in a way that suggests Hunter deserves whatever’s coming to him, like when she mysteriously suggests that while, “I have no idea why Moose would go back to that man’s house. But I suppose when you find the cookie jar, it’s hard to not go back for more.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Still: There’s nothing to Moose beyond some general commentary about how fans are entitled bullies, a proposition that’s literally spelled out, onscreen, in an introductory quote from Hunter (which he repeats later in the movie, only this time the line occurs as dialogue that Moose forces Hunter to say): “You are a fan. Without you I’m nothing.” \u003c/p>\n\u003cp>Moose’s behavior suggests that he’s mentally unstable, but the film never explicitly suggests that he’s psychologically impaired. Instead, Moose runs around doing whatever he wants, busking on Hollywood Boulevard (dressed as a British bobby, with a truly regrettable accent and fake mustache) and stalking Hunter at his home. Moose is also frequently picked on by fellow street performer Todd (Jacob Grodnik), but that doesn’t slow Moose down anymore than do Leah’s admonishments to stop stalking Hunter. \u003c/p>\n\u003cp>Durst fixates on Moose’s freakish behavior to the same unhealthy degree that Moose tries to impress Hunter. This is disappointing since Durst—who directed almost two dozen music videos before helming two sturdy enough features (\u003ci>The Education of Charlie Banks\u003c/i>, \u003ci>The Longshots\u003c/i>)—isn’t as amateurish a story-teller as \u003cem>The Fanatic\u003c/em> would attest. Still, \u003cem>The Fanatic\u003c/em> stinks because Durst doesn’t really care about whatever it is that’s motivating Moose. He’s violent and movie-obsessed, but viewers barely see what Hunter’s movies are like, or what Moose likes about them. Moose’s friends prove equally hard to read: Leah and Dick never register strongly enough as characters to provide Travolta’s character any useful, normalizing context.\u003c/p>\n\u003cp>Instead, we get a bunch of scenes where Travolta zealously overacts, as when he screams at Hunter, “I wish Freddy Krueger would come, and chop off your head, and it would roll in the street, and a truck would squish it, and the blood would splatter everywhere, and everyone would watch it.” Durst sometimes seems to pity Moose, as when he underscores, with a dramatic musical sting, his emotional devastation when Hunter pokes his chest with a marker and angrily signs his name on his shirt. But Travolta’s performance, like his twitchy character, isn’t even desperate in a cruelly amusing way: When he inevitably manages to get Hunter where he wants him, Moose tries to win over his captive audience by crudely imitating movie baddies from \u003cem>Friday the 13\u003c/em>\u003cem>\u003csup>th\u003c/sup>\u003c/em>, \u003cem>Saw\u003c/em> and \u003cem>Reservoir Dogs\u003c/em>, as if we needed reminding that this character knows more about movies than reality.\u003c/p>\n\u003cp>The same could be said about Durst and \u003cem>The Fanatic\u003c/em>: He consistently punches down at fans who, in the relatively innocent days of the late 90s and early 00s, might have been encouraged by Durst’s band when they sang about “my generation” and doing things “my way,” not to mention feeling misunderstood “behind blue eyes,” and “[doing] it all for the nookie.” \u003c/p>\n\u003cp>Instead, Durst now refers us to “The Truth”—Limp Bizkit’s 2005 rallying cry about “accepting the truth” and rejecting a vaguely menacing father figure—in a brief scene where Hunter and his son bond over Durst’s mediocre metal music. Unfortunately, \u003cem>The Fanatic \u003c/em>proves just as opaque as that song’s lyrics: “Somehow, you replaced all your game with a debt, now the payback’s a bitch/Why owe your life to a bitch?” \u003c/p>\n\u003cp>Hunter, in this example, is presumably the “bitch” that leads Moose astray, but nothing he does makes their fallen idol/clueless stalker power dynamic any more concrete and apprehendable. Moose’s addiction to social media serves him poorly, his fair-weather friends treat him abominably, but in the end, nothing regards him with more cruel indifference than the film itself. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Copyright 2019 \u003ca href=\"https://www.npr.org\" rel=\"noopener\" target=\"_blank\">NPR\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Activists' Messages Line Market Street, Route of Historic Marches",
"headTitle": "Activists’ Messages Line Market Street, Route of Historic Marches | KQED",
"content": "\u003cp>The latest crop of \u003ca href=\"https://www.sfartscommission.org/\" rel=\"noopener\" target=\"_blank\">San Francisco Arts Commission\u003c/a> Art on Market Street posters may at first glance look like a series of inspirational quotes. “Consciousness is power,” reads one bus stop kiosk. “Tomorrow’s world is yours to build.” \u003c/p>\n\u003cp>But there’s more to those messages than a dose of optimism: Each quote from a prominent author or activist, selected by artist \u003ca href=\"https://jessalynaaland.com/\" rel=\"noopener\" target=\"_blank\">Jessalyn Aaland\u003c/a>, opens the door to a deeper understanding of Market Street as a site of history-making marches and demonstrations. Informing the candy-colored posters is research on nearly 125 years of localized dissent, all part of a larger undertaking meant to provide future generations with the tools to make their voices heard.\u003c/p>\n\u003cp>The nine bus stop designs, which will remain on view through October, are enlarged versions of Risograph prints Aaland produced as part of \u003ci>\u003ca href=\"https://classset.org/\" rel=\"noopener\" target=\"_blank\">Class Set\u003c/a>\u003c/i>, an ongoing project that distributes free artist-designed posters to K–12 classrooms. (Full disclosure: this writer contributed a design for \u003ci>Class Set Volume 1\u003c/i> in 2016).\u003c/p>\n\u003cfigure id=\"attachment_13865301\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/main_1200.jpg\" alt=\"The full group of posters to be distributed in 'Class Set Volume 3,' 2019.\" width=\"1200\" height=\"770\" class=\"size-full wp-image-13865301\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/main_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/main_1200-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/main_1200-800x513.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/main_1200-768x493.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/main_1200-1020x655.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">The full group of posters to be distributed in ‘Class Set Volume 3,’ 2019. \u003ccite>(Courtesy of Jessalyn Aaland)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So far, Aaland has distributed over 10,890 posters to classrooms across the United States; each volume is also available for sale to non-teachers, and proceeds from those sales help fund the next round of posters. The project is inspired by Aaland’s past experience as a teacher at San Francisco’s Balboa High School, where she inherited a classroom of peeling paint, broken lights, water-stained ceiling tiles and (fittingly) a clock frozen in time.\u003c/p>\n\u003cp>While Aaland livened up the space with her own art, student work and contributions from artist friends, she knew other teachers relied on a hodgepodge of free posters to decorate their walls. \u003ci>Class Set\u003c/i> combines positive, progressive messages with contemporary art aesthetics. Aaland sees her role as that of the commissioning body; she picks the quotes, solicits the artwork and prints the posters with her partner, Paul Morgan.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I like to get artists who use pattern and color, maybe things that are mysterious or unexpected in text,” she says of \u003ci>Class Set\u003c/i>’s look. “For me this work falls under social practice: working with other people to use art as a tool to do something useful.”\u003c/p>\n\u003cp>In this third iteration of the project, Aaland decided to address the Art on Market Street poster theme (“24/7”) by deeply researching the history of protests on the thoroughfare or in nearby neighborhoods like the Tenderloin, SoMA and Civic Center. \u003c/p>\n\u003cp>“I spent a lot of time watching—this was a really intense research process actually—so I was watching videos of certain protests to confirm if they went down Market Street or not,” she says.\u003c/p>\n\u003cfigure id=\"attachment_13865299\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/BriefHistory_BikeSpread_1200.jpg\" alt=\"Spread from Jessalyn Aaland's 'A Brief and Inconclusive History of Protests on San Francisco's Market Street,' 2019. \" width=\"1200\" height=\"872\" class=\"size-full wp-image-13865299\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/BriefHistory_BikeSpread_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/BriefHistory_BikeSpread_1200-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/BriefHistory_BikeSpread_1200-800x581.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/BriefHistory_BikeSpread_1200-768x558.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/BriefHistory_BikeSpread_1200-1020x741.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Spread from Jessalyn Aaland’s ‘A Brief and Inconclusive History of Protests on San Francisco’s Market Street,’ 2019. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>During a residency at Oakland’s \u003ca href=\"https://www.realtimeandspace.org/\" rel=\"noopener\" target=\"_blank\">Real Time and Space\u003c/a> earlier this year, Aaland compiled her research into a zine titled \u003ci>A Brief and Inconclusive History of Protests on San Francisco’s Market Street\u003c/i>. “Part of my interest as an artist (and former educator) is helping ordinary people see that their potential role in transforming our future is not that far out of reach,” she writes in the zine’s introduction. \u003c/p>\n\u003cp>In the zine, Aaland connects each quote to three events linked by themes like “transportation-related activism,” “labor demonstrations and strikes,” and “anti-war marches.” Some of the events, Aaland says, were well known to her, others completely new. \u003c/p>\n\u003cp>“Finding out about the Great Bicycle Protest of 1896 was pretty amazing,” she says. (Nineteenth-century cyclists rode en masse to protest poor road conditions on Market Street.) Aaland traces the legacy of that event to a 1972 protest for a dedicated bike lane and the 1992 “mobile traffic clot” that launched Critical Mass.\u003c/p>\n\u003cp>“At a time when there’s a lot of frustrating things about living here, it was really exciting and enriching to read about this history,” Aaland says. “It’s reinvigorating to be reminded of that history—that we live in this place that’s so rich and has actually changed a huge amount of things on the social and political landscape.”\u003c/p>\n\u003cfigure id=\"attachment_13865302\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/Huerta_MarketStreet_1200.jpg\" alt=\"Poster designed by Jesjit Gil in a Market Street bus kiosk.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13865302\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Huerta_MarketStreet_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Huerta_MarketStreet_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Huerta_MarketStreet_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Huerta_MarketStreet_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Huerta_MarketStreet_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Poster designed by Jesjit Gil in a Market Street bus kiosk. \u003ccite>(Sarah Hotchkiss/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And while this historical information isn’t included on the Market Street posters themselves, a small note running up the left side of each design points people to the \u003ci>Class Set\u003c/i> website, where Aaland provides a \u003ca href=\"https://classset.org/Curriculum\" rel=\"noopener\" target=\"_blank\">teacher’s guide\u003c/a> (distributed in booklet form with each set of posters heading to a classroom) filled with ideas for discussions and activities centered around poster design and—\u003ca href=\"https://files.cargocollective.com/766347/ClassSet-TeacherCompanion-Vol3.pdf\" rel=\"noopener\" target=\"_blank\">for Volume 3\u003c/a>—youth activism. \u003c/p>\n\u003cp>“High school students are getting involved in protests, but they don’t necessarily know how to do that safely,” Aaland says. In 2017, she produced a zine called \u003ci>\u003ca href=\"https://jessalynaaland.com/Guide-for-Youth-Protestors-2017\" rel=\"noopener\" target=\"_blank\">Guide for Youth Protestors\u003c/a>\u003c/i>; the scenarios put forward in the Volume 3 booklet cover issues of dealing with counter-protestors, tear gas and post-protest consequences at school.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But even if the average Muni rider doesn’t go the extra mile to unlock all this background information, Aaland hopes they’ll get something out of the series. “I think it’s this feeling that it’s within reach to make social change, that you can participate,” she says. “There’s all these kinds of small things that you can do if you’re empowered and start taking action, even on a micro level. So I’m just hoping it might inspire someone to think about things they could do in their life.”\u003c/p>\n\n",
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"headline": "Activists' Messages Line Market Street, Route of Historic Marches",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The latest crop of \u003ca href=\"https://www.sfartscommission.org/\" rel=\"noopener\" target=\"_blank\">San Francisco Arts Commission\u003c/a> Art on Market Street posters may at first glance look like a series of inspirational quotes. “Consciousness is power,” reads one bus stop kiosk. “Tomorrow’s world is yours to build.” \u003c/p>\n\u003cp>But there’s more to those messages than a dose of optimism: Each quote from a prominent author or activist, selected by artist \u003ca href=\"https://jessalynaaland.com/\" rel=\"noopener\" target=\"_blank\">Jessalyn Aaland\u003c/a>, opens the door to a deeper understanding of Market Street as a site of history-making marches and demonstrations. Informing the candy-colored posters is research on nearly 125 years of localized dissent, all part of a larger undertaking meant to provide future generations with the tools to make their voices heard.\u003c/p>\n\u003cp>The nine bus stop designs, which will remain on view through October, are enlarged versions of Risograph prints Aaland produced as part of \u003ci>\u003ca href=\"https://classset.org/\" rel=\"noopener\" target=\"_blank\">Class Set\u003c/a>\u003c/i>, an ongoing project that distributes free artist-designed posters to K–12 classrooms. (Full disclosure: this writer contributed a design for \u003ci>Class Set Volume 1\u003c/i> in 2016).\u003c/p>\n\u003cfigure id=\"attachment_13865301\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/main_1200.jpg\" alt=\"The full group of posters to be distributed in 'Class Set Volume 3,' 2019.\" width=\"1200\" height=\"770\" class=\"size-full wp-image-13865301\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/main_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/main_1200-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/main_1200-800x513.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/main_1200-768x493.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/main_1200-1020x655.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">The full group of posters to be distributed in ‘Class Set Volume 3,’ 2019. \u003ccite>(Courtesy of Jessalyn Aaland)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So far, Aaland has distributed over 10,890 posters to classrooms across the United States; each volume is also available for sale to non-teachers, and proceeds from those sales help fund the next round of posters. The project is inspired by Aaland’s past experience as a teacher at San Francisco’s Balboa High School, where she inherited a classroom of peeling paint, broken lights, water-stained ceiling tiles and (fittingly) a clock frozen in time.\u003c/p>\n\u003cp>While Aaland livened up the space with her own art, student work and contributions from artist friends, she knew other teachers relied on a hodgepodge of free posters to decorate their walls. \u003ci>Class Set\u003c/i> combines positive, progressive messages with contemporary art aesthetics. Aaland sees her role as that of the commissioning body; she picks the quotes, solicits the artwork and prints the posters with her partner, Paul Morgan.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I like to get artists who use pattern and color, maybe things that are mysterious or unexpected in text,” she says of \u003ci>Class Set\u003c/i>’s look. “For me this work falls under social practice: working with other people to use art as a tool to do something useful.”\u003c/p>\n\u003cp>In this third iteration of the project, Aaland decided to address the Art on Market Street poster theme (“24/7”) by deeply researching the history of protests on the thoroughfare or in nearby neighborhoods like the Tenderloin, SoMA and Civic Center. \u003c/p>\n\u003cp>“I spent a lot of time watching—this was a really intense research process actually—so I was watching videos of certain protests to confirm if they went down Market Street or not,” she says.\u003c/p>\n\u003cfigure id=\"attachment_13865299\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/BriefHistory_BikeSpread_1200.jpg\" alt=\"Spread from Jessalyn Aaland's 'A Brief and Inconclusive History of Protests on San Francisco's Market Street,' 2019. \" width=\"1200\" height=\"872\" class=\"size-full wp-image-13865299\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/BriefHistory_BikeSpread_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/BriefHistory_BikeSpread_1200-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/BriefHistory_BikeSpread_1200-800x581.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/BriefHistory_BikeSpread_1200-768x558.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/BriefHistory_BikeSpread_1200-1020x741.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Spread from Jessalyn Aaland’s ‘A Brief and Inconclusive History of Protests on San Francisco’s Market Street,’ 2019. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>During a residency at Oakland’s \u003ca href=\"https://www.realtimeandspace.org/\" rel=\"noopener\" target=\"_blank\">Real Time and Space\u003c/a> earlier this year, Aaland compiled her research into a zine titled \u003ci>A Brief and Inconclusive History of Protests on San Francisco’s Market Street\u003c/i>. “Part of my interest as an artist (and former educator) is helping ordinary people see that their potential role in transforming our future is not that far out of reach,” she writes in the zine’s introduction. \u003c/p>\n\u003cp>In the zine, Aaland connects each quote to three events linked by themes like “transportation-related activism,” “labor demonstrations and strikes,” and “anti-war marches.” Some of the events, Aaland says, were well known to her, others completely new. \u003c/p>\n\u003cp>“Finding out about the Great Bicycle Protest of 1896 was pretty amazing,” she says. (Nineteenth-century cyclists rode en masse to protest poor road conditions on Market Street.) Aaland traces the legacy of that event to a 1972 protest for a dedicated bike lane and the 1992 “mobile traffic clot” that launched Critical Mass.\u003c/p>\n\u003cp>“At a time when there’s a lot of frustrating things about living here, it was really exciting and enriching to read about this history,” Aaland says. “It’s reinvigorating to be reminded of that history—that we live in this place that’s so rich and has actually changed a huge amount of things on the social and political landscape.”\u003c/p>\n\u003cfigure id=\"attachment_13865302\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/Huerta_MarketStreet_1200.jpg\" alt=\"Poster designed by Jesjit Gil in a Market Street bus kiosk.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13865302\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Huerta_MarketStreet_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Huerta_MarketStreet_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Huerta_MarketStreet_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Huerta_MarketStreet_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Huerta_MarketStreet_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Poster designed by Jesjit Gil in a Market Street bus kiosk. \u003ccite>(Sarah Hotchkiss/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And while this historical information isn’t included on the Market Street posters themselves, a small note running up the left side of each design points people to the \u003ci>Class Set\u003c/i> website, where Aaland provides a \u003ca href=\"https://classset.org/Curriculum\" rel=\"noopener\" target=\"_blank\">teacher’s guide\u003c/a> (distributed in booklet form with each set of posters heading to a classroom) filled with ideas for discussions and activities centered around poster design and—\u003ca href=\"https://files.cargocollective.com/766347/ClassSet-TeacherCompanion-Vol3.pdf\" rel=\"noopener\" target=\"_blank\">for Volume 3\u003c/a>—youth activism. \u003c/p>\n\u003cp>“High school students are getting involved in protests, but they don’t necessarily know how to do that safely,” Aaland says. In 2017, she produced a zine called \u003ci>\u003ca href=\"https://jessalynaaland.com/Guide-for-Youth-Protestors-2017\" rel=\"noopener\" target=\"_blank\">Guide for Youth Protestors\u003c/a>\u003c/i>; the scenarios put forward in the Volume 3 booklet cover issues of dealing with counter-protestors, tear gas and post-protest consequences at school.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But even if the average Muni rider doesn’t go the extra mile to unlock all this background information, Aaland hopes they’ll get something out of the series. “I think it’s this feeling that it’s within reach to make social change, that you can participate,” she says. “There’s all these kinds of small things that you can do if you’re empowered and start taking action, even on a micro level. So I’m just hoping it might inspire someone to think about things they could do in their life.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Video Artist Lisa Reihana Brings Truth Back to the History of the Pacific",
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"content": "\u003cp>\u003ci>Les Sauvages de la Mer Pacifique\u003c/i>, a large 19th-century wallpaper at the de Young Museum, depicts a romanticized version of British Captain James Cook’s three expeditions to the Pacific, and primarily Polynesia. At over 17 feet long, the scene portrays happy people lounging, dancing and unhurriedly working in a verdant tropical setting. \u003c/p>\n\u003cp>And though each of the 20 panels is meant to represent different locales from Cook’s journeys, the continuous landscape does not readily present the distinction between people and places, not least of all because designer Jean-Gabriel Charvet drew on attire from classical antiquity and the French Empire period when illustrating the people of the Pacific. This results in a scene that is ahistorical even before considering history. The greatest distortion, however, is the artist’s failure to represent the violence and colonization that Cook and the British brought to the Pacific.\u003c/p>\n\u003cp>After chancing upon the wallpaper in an Australian museum, Lisa Reihana, a Māori artist from New Zealand, embarked on a decade-long project to reimagine \u003ci>Les Sauvages de la Mer Pacifique\u003c/i> by infusing it with the truth that it lacks.\u003c/p>\n\u003cfigure id=\"attachment_13864092\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/Dufour_Charvet_A332373_Complete_AT_8.jpg\" alt=\"Joseph Dufour et Cie (printer) and Jean Gabriel Charvet (designer), 'Les Sauvages de la Mer Pacifique,' ca. 1804–1806.\" width=\"1500\" height=\"726\" class=\"size-full wp-image-13864092\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Dufour_Charvet_A332373_Complete_AT_8.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Dufour_Charvet_A332373_Complete_AT_8-160x77.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Dufour_Charvet_A332373_Complete_AT_8-800x387.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Dufour_Charvet_A332373_Complete_AT_8-768x372.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Dufour_Charvet_A332373_Complete_AT_8-1020x494.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Dufour_Charvet_A332373_Complete_AT_8-1200x581.jpg 1200w\" sizes=\"auto, (max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">Joseph Dufour et Cie (printer) and Jean Gabriel Charvet (designer), ‘Les Sauvages de la Mer Pacifique,’ ca. 1804–1806. \u003ccite>(Courtesy of the Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The result is stunning. Reihana’s \u003ca href=\"https://deyoung.famsf.org/exhibitions/lisa-reihana-pursuit-venus-infected\">\u003ci>in Pursuit of Venus [infected]\u003c/i>\u003c/a>, on view at the de Young until Jan. 5, takes the form of an immersive video that scrolls along a 70-foot screen. The illustrated background is much like Charvet’s, lending an animated feel to the video, but Reihana’s update is populated with a filmed cast of more than 100 characters and performers, all integrated beautifully and seamlessly into the landscape.\u003c/p>\n\u003cp>Though the video loops back on itself and has no definite beginning or end, there is a narrative progression. Prior to Cook’s arrival, the locals are shown living a life not too unlike that depicted by Charvet—they appear happy and fulfilled. Immediately following the arrival of the explorers, the various groups appear to get along relatively well. But minor hostility on the part of the British quickly devolves into the torture and subjugation of the locals, culminating in the killing of Cook as he tries to kidnap Kalaniʻōpuʻu, the ruler of Hawaiʻi (a true story).\u003c/p>\n\u003cfigure id=\"attachment_13864315\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/in-Pursuit-of-Venus-infected-2015-17-STILL-05_1200.jpg\" alt=\"Lisa Reihana, detail 'in Pursuit of Venus [infected],' 2015–17.\" width=\"1200\" height=\"594\" class=\"size-full wp-image-13864315\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/in-Pursuit-of-Venus-infected-2015-17-STILL-05_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/in-Pursuit-of-Venus-infected-2015-17-STILL-05_1200-160x79.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/in-Pursuit-of-Venus-infected-2015-17-STILL-05_1200-800x396.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/in-Pursuit-of-Venus-infected-2015-17-STILL-05_1200-768x380.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/in-Pursuit-of-Venus-infected-2015-17-STILL-05_1200-1020x505.jpg 1020w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Lisa Reihana, detail ‘in Pursuit of Venus [infected],’ 2015–17. \u003ccite>(Courtesy of the Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Tellingly, the first act of violence depicted isn’t a member of Cook’s crew attacking one of the locals, but rather a member of the expedition whipping his comrade. In early scenes the locals are seen tattooing British men, helping them apply body paint, and entertaining them, such as with a comedic mock childbirth with a grown man playing the part of the baby. And while Cook and his crew seem friendly enough at first, the whipping of one of their own breaks the peace—an anticipated inevitability for students of history—and suggests that while they have met with hospitality, the British have brought their own violence and inherited trauma to the Pacific.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Even when it isn’t made heroic in retellings, colonial violence is sometimes dismissed as the unavoidable result of clashing civilizations in which neither party (especially the colonial party) is free from blame. But Lisa Reihana makes clear that the ensuing destruction came from and within the British.\u003c/p>\n\u003cp>The video is billed as 64 minutes long, but in truth it is much longer. There are simultaneous scenes on the screen at any given time, and it is impossible to fully devote one’s attention to all of them. Once you move on from a scene, it continues to play out regardless of the attention you give it. And if you keep your gaze on it until it exits the screen, you will miss the new scenes that have entered the frame. To combine the time of all of the vignettes might triple or quadruple the length of the piece. Having watched the piece in its entirety, and then some, I wonder what nuance or detail I may yet have missed.\u003c/p>\n\u003cfigure id=\"attachment_13864094\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/2019_DEY_LIsaReihana_V25.jpg\" alt=\"Lisa Reihana, Installation view of 'in Pursuit of Venus [infected],' at de Young Museum, 2019.\" width=\"2048\" height=\"1537\" class=\"size-full wp-image-13864094\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/2019_DEY_LIsaReihana_V25.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/2019_DEY_LIsaReihana_V25-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/2019_DEY_LIsaReihana_V25-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/2019_DEY_LIsaReihana_V25-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/2019_DEY_LIsaReihana_V25-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/2019_DEY_LIsaReihana_V25-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/2019_DEY_LIsaReihana_V25-1920x1441.jpg 1920w\" sizes=\"auto, (max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Lisa Reihana, Installation view of ‘in Pursuit of Venus [infected],’ at de Young Museum, 2019. \u003ccite>(Photo by Randy Dodson; Courtesy of the Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>All of this only contributes to the mesmerizing nature of the video. In the peaceful moments, the beauty of the setting, the music and the dancing are captivating, and rather than trying to take in every element (an impossibility), I surrendered myself to the aesthetic experience.\u003c/p>\n\u003cp>At other times, the video is a cacophony of suspenseful music, screaming and violence. I was ensnared in these moments as well, but it was the spectacle of oppression that had its grip on me, not beauty.\u003c/p>\n\u003cp>This is a mirror to the reality of colonial violence, which can be overwhelming in its overactivity. The bombardment of the mind can make it too easy to miss details, make it difficult to follow narratives, and ultimately cause bewilderment. And colonialists benefit when it becomes more difficult to hold them to account. There is a difference between an artwork that overwhelms you for a few minutes and centuries of disorientation, exhaustion and propaganda.\u003c/p>\n\u003cp>\u003ci>in Pursuit of Venus [infected]\u003c/i> illustrates the violence and arrogance of colonial endeavors, as well as its dizzying effect on history making. The lesson is not just in the film’s content but in the impact that content has on the senses.\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=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘in Pursuit of Venus [infected]’ is on view at the de Young through Jan. 5, 2020. \u003ca href=\"https://deyoung.famsf.org/exhibitions/lisa-reihana-pursuit-venus-infected\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>Les Sauvages de la Mer Pacifique\u003c/i>, a large 19th-century wallpaper at the de Young Museum, depicts a romanticized version of British Captain James Cook’s three expeditions to the Pacific, and primarily Polynesia. At over 17 feet long, the scene portrays happy people lounging, dancing and unhurriedly working in a verdant tropical setting. \u003c/p>\n\u003cp>And though each of the 20 panels is meant to represent different locales from Cook’s journeys, the continuous landscape does not readily present the distinction between people and places, not least of all because designer Jean-Gabriel Charvet drew on attire from classical antiquity and the French Empire period when illustrating the people of the Pacific. This results in a scene that is ahistorical even before considering history. The greatest distortion, however, is the artist’s failure to represent the violence and colonization that Cook and the British brought to the Pacific.\u003c/p>\n\u003cp>After chancing upon the wallpaper in an Australian museum, Lisa Reihana, a Māori artist from New Zealand, embarked on a decade-long project to reimagine \u003ci>Les Sauvages de la Mer Pacifique\u003c/i> by infusing it with the truth that it lacks.\u003c/p>\n\u003cfigure id=\"attachment_13864092\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/Dufour_Charvet_A332373_Complete_AT_8.jpg\" alt=\"Joseph Dufour et Cie (printer) and Jean Gabriel Charvet (designer), 'Les Sauvages de la Mer Pacifique,' ca. 1804–1806.\" width=\"1500\" height=\"726\" class=\"size-full wp-image-13864092\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Dufour_Charvet_A332373_Complete_AT_8.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Dufour_Charvet_A332373_Complete_AT_8-160x77.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Dufour_Charvet_A332373_Complete_AT_8-800x387.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Dufour_Charvet_A332373_Complete_AT_8-768x372.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Dufour_Charvet_A332373_Complete_AT_8-1020x494.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Dufour_Charvet_A332373_Complete_AT_8-1200x581.jpg 1200w\" sizes=\"auto, (max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">Joseph Dufour et Cie (printer) and Jean Gabriel Charvet (designer), ‘Les Sauvages de la Mer Pacifique,’ ca. 1804–1806. \u003ccite>(Courtesy of the Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The result is stunning. Reihana’s \u003ca href=\"https://deyoung.famsf.org/exhibitions/lisa-reihana-pursuit-venus-infected\">\u003ci>in Pursuit of Venus [infected]\u003c/i>\u003c/a>, on view at the de Young until Jan. 5, takes the form of an immersive video that scrolls along a 70-foot screen. The illustrated background is much like Charvet’s, lending an animated feel to the video, but Reihana’s update is populated with a filmed cast of more than 100 characters and performers, all integrated beautifully and seamlessly into the landscape.\u003c/p>\n\u003cp>Though the video loops back on itself and has no definite beginning or end, there is a narrative progression. Prior to Cook’s arrival, the locals are shown living a life not too unlike that depicted by Charvet—they appear happy and fulfilled. Immediately following the arrival of the explorers, the various groups appear to get along relatively well. But minor hostility on the part of the British quickly devolves into the torture and subjugation of the locals, culminating in the killing of Cook as he tries to kidnap Kalaniʻōpuʻu, the ruler of Hawaiʻi (a true story).\u003c/p>\n\u003cfigure id=\"attachment_13864315\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/in-Pursuit-of-Venus-infected-2015-17-STILL-05_1200.jpg\" alt=\"Lisa Reihana, detail 'in Pursuit of Venus [infected],' 2015–17.\" width=\"1200\" height=\"594\" class=\"size-full wp-image-13864315\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/in-Pursuit-of-Venus-infected-2015-17-STILL-05_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/in-Pursuit-of-Venus-infected-2015-17-STILL-05_1200-160x79.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/in-Pursuit-of-Venus-infected-2015-17-STILL-05_1200-800x396.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/in-Pursuit-of-Venus-infected-2015-17-STILL-05_1200-768x380.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/in-Pursuit-of-Venus-infected-2015-17-STILL-05_1200-1020x505.jpg 1020w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Lisa Reihana, detail ‘in Pursuit of Venus [infected],’ 2015–17. \u003ccite>(Courtesy of the Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Tellingly, the first act of violence depicted isn’t a member of Cook’s crew attacking one of the locals, but rather a member of the expedition whipping his comrade. In early scenes the locals are seen tattooing British men, helping them apply body paint, and entertaining them, such as with a comedic mock childbirth with a grown man playing the part of the baby. And while Cook and his crew seem friendly enough at first, the whipping of one of their own breaks the peace—an anticipated inevitability for students of history—and suggests that while they have met with hospitality, the British have brought their own violence and inherited trauma to the Pacific.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Even when it isn’t made heroic in retellings, colonial violence is sometimes dismissed as the unavoidable result of clashing civilizations in which neither party (especially the colonial party) is free from blame. But Lisa Reihana makes clear that the ensuing destruction came from and within the British.\u003c/p>\n\u003cp>The video is billed as 64 minutes long, but in truth it is much longer. There are simultaneous scenes on the screen at any given time, and it is impossible to fully devote one’s attention to all of them. Once you move on from a scene, it continues to play out regardless of the attention you give it. And if you keep your gaze on it until it exits the screen, you will miss the new scenes that have entered the frame. To combine the time of all of the vignettes might triple or quadruple the length of the piece. Having watched the piece in its entirety, and then some, I wonder what nuance or detail I may yet have missed.\u003c/p>\n\u003cfigure id=\"attachment_13864094\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/2019_DEY_LIsaReihana_V25.jpg\" alt=\"Lisa Reihana, Installation view of 'in Pursuit of Venus [infected],' at de Young Museum, 2019.\" width=\"2048\" height=\"1537\" class=\"size-full wp-image-13864094\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/2019_DEY_LIsaReihana_V25.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/2019_DEY_LIsaReihana_V25-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/2019_DEY_LIsaReihana_V25-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/2019_DEY_LIsaReihana_V25-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/2019_DEY_LIsaReihana_V25-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/2019_DEY_LIsaReihana_V25-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/2019_DEY_LIsaReihana_V25-1920x1441.jpg 1920w\" sizes=\"auto, (max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Lisa Reihana, Installation view of ‘in Pursuit of Venus [infected],’ at de Young Museum, 2019. \u003ccite>(Photo by Randy Dodson; Courtesy of the Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>All of this only contributes to the mesmerizing nature of the video. In the peaceful moments, the beauty of the setting, the music and the dancing are captivating, and rather than trying to take in every element (an impossibility), I surrendered myself to the aesthetic experience.\u003c/p>\n\u003cp>At other times, the video is a cacophony of suspenseful music, screaming and violence. I was ensnared in these moments as well, but it was the spectacle of oppression that had its grip on me, not beauty.\u003c/p>\n\u003cp>This is a mirror to the reality of colonial violence, which can be overwhelming in its overactivity. The bombardment of the mind can make it too easy to miss details, make it difficult to follow narratives, and ultimately cause bewilderment. And colonialists benefit when it becomes more difficult to hold them to account. There is a difference between an artwork that overwhelms you for a few minutes and centuries of disorientation, exhaustion and propaganda.\u003c/p>\n\u003cp>\u003ci>in Pursuit of Venus [infected]\u003c/i> illustrates the violence and arrogance of colonial endeavors, as well as its dizzying effect on history making. The lesson is not just in the film’s content but in the impact that content has on the senses.\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=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘in Pursuit of Venus [infected]’ is on view at the de Young through Jan. 5, 2020. \u003ca href=\"https://deyoung.famsf.org/exhibitions/lisa-reihana-pursuit-venus-infected\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Kahlil Joseph Broadcasts the Vastness of Black Life in ‘BLKNWS’",
"headTitle": "Kahlil Joseph Broadcasts the Vastness of Black Life in ‘BLKNWS’ | KQED",
"content": "\u003cp>\u003ci>Editor’s note: Please welcome a new monthly column from writer, editor and producer Ruth Gebreyesus, who will cover Bay Area arts and culture, with an eye towards the East Bay, for KQED Arts.\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>here’s no good reason to summarize or itemize Kahlil Joseph’s \u003cem>\u003ca href=\"https://museum.stanford.edu/exhibitions/kahlil-joseph-blknws\" target=\"_blank\" rel=\"noopener noreferrer\">BLKNWS\u003c/a>\u003c/em>, a two-channel video installation now on view at Stanford University. Its density resists any such effort.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-13864254\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/RuthHeadshot_160.jpg\" alt=\"\" width=\"160\" height=\"187\">\u003c/p>\n\u003cp>In fact, there’s great relief in arriving at a show about blackness that isn’t attempting a frugal summary of its subject matter or extolling moral lessons through black bodies. But for the sake of fulfilling my duties as a messenger, here goes: \u003cem>BLKNWS\u003c/em> is a broadcast of black life in America expressed through abundant footage pulled from headline news, archival material, internet-native clips and Joseph’s own past films.\u003c/p>\n\u003cp>At a screening for the San Francisco Film Festival in April, Joseph explained he originally pitched \u003cem>BLKNWS\u003c/em> to television networks as a news program. With painter Henry Taylor and actress Amandla Stenberg, among others, as anchors, the broadcast reads more like a social media feed or a journey at the mercy of YouTube’s calculus than any news currently on TV.\u003c/p>\n\u003cp>On \u003cem>BLKNWS\u003c/em>, algorithmic chapters sway between disparate poles. Dystopian climate change headlines play alongside clips from \u003cem>Annihilation\u003c/em> and other catastrophe movies. Soon after, June Jordan sits at her desk reciting her poem “Song of the Law Abiding Citizen.”\u003c/p>\n\u003cp>“And I can’t pay the rent / but I sent 10,000 food stamps / back to the President and his beautiful wife,” she chants in her distinct birdsong, as the footage switches to a scene at the iconic dining table in Spike Lee’s \u003cem>Crooklyn\u003c/em>. In this case, the algorithm is Joseph’s own math, a living formula he edits and adds to at will, remotely via a server.\u003c/p>\n\u003cfigure id=\"attachment_13864256\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13864256\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/Kushner_Joseph_byTommyLau_08_1200.jpg\" alt=\"Kahlil Joseph speaking with Rachel Kushner at the 2019 San Francisco International Film Festival.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Kushner_Joseph_byTommyLau_08_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Kushner_Joseph_byTommyLau_08_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Kushner_Joseph_byTommyLau_08_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Kushner_Joseph_byTommyLau_08_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Kushner_Joseph_byTommyLau_08_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Kahlil Joseph speaking with Rachel Kushner at the 2019 San Francisco International Film Festival. \u003ccite>(Courtesy of Tommy Lau, SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If there’s one through line that connects Joseph’s art and film career thus far, it’s the presence of music. His earliest films found their way to the public through music videos he directed for Shabazz Palaces, Flying Lotus and FKA Twigs. In 2014, he debuted \u003cem>\u003ca href=\"https://www.moca.org/exhibition/kahlil-joseph-double-conscience\" target=\"_blank\" rel=\"noopener noreferrer\">m.A.A.d.\u003c/a>\u003c/em> at MOCA, a short film set to songs from Kendrick Lamar’s critically acclaimed 2012 album, \u003cem>Good Kid, M.A.A.D City\u003c/em>. Opening with Lamar’s family home videos, shot just a month before the 1992 L.A. riots, and continuing with clips of quotidian life Joseph captured after the album’s release, \u003cem>m.A.A.d.\u003c/em> paints a portrait of Compton as if it were recollected from communal memory.\u003c/p>\n\u003cp>[pullquote size='large']He resists the urge towards a conclusion about blackness. It is everything he’s showed and much more.[/pullquote]\u003c/p>\n\u003cp>A shot of a young man taking a swig at a block party switches to him dancing at the concrete mouth of the L.A. River for a few seconds then back to the block party again. It’s a signature rhythm of Joseph’s, a loyalty to emotional time over the logic of a ticking clock. It’s the difference between how warm it is and how warm it feels. Between going fast and flying.\u003c/p>\n\u003cp>\u003cem>BLKNWS\u003c/em> leans further into that pace with synchronized screens and a keen awareness of how we digest information in the age of social media: how we jump from joy to terror in the space of a click or a scroll. Joseph must understand our tolerance for those emotional swings has transformed into an appetite. As he travels through visuals and sounds from the black zeitgeist into smaller, intimate moments of home life, shifting between cosmic and cellular scales, he resists the urge towards a conclusion about blackness. It is everything he’s showed and much more.\u003c/p>\n\u003cfigure id=\"attachment_13864258\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13864258\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/BLKNWS_Stanford_Final_Web_Diptych_1200.jpg\" alt=\"Kahlil Joseph, 'BLKNWS,' 2018; Still from 2-channel broadcast.\" width=\"1200\" height=\"338\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/BLKNWS_Stanford_Final_Web_Diptych_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/BLKNWS_Stanford_Final_Web_Diptych_1200-160x45.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/BLKNWS_Stanford_Final_Web_Diptych_1200-800x225.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/BLKNWS_Stanford_Final_Web_Diptych_1200-768x216.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/BLKNWS_Stanford_Final_Web_Diptych_1200-1020x287.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Kahlil Joseph, ‘BLKNWS,’ 2018; Still from 2-channel broadcast. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Though he couldn’t find a home on TV for \u003cem>BLKNWS\u003c/em>, Joseph chose three locations to stream it at Stanford: the Cantor Arts Center; the Lagunita dining hall in the complex that houses Ujamaa, a residence with black cultural focus; and Harmony House, home to the Institute for Diversity in the Arts (IDA).\u003c/p>\n\u003cp>I chose to watch \u003cem>BLKNWS\u003c/em> at Harmony House. (The full piece is estimated to be around nine hours long, though Joseph’s periodic edits defy a running time.) Across from the two wall-mounted monitors, I sank into a cozy couch in what was likely once a living room. Sipping water offered to me by A-lan Holt, the director of the IDA, I imagined this as Joseph’s original intended setting for the broadcast. Visiting someone’s home and catching a bit of news: The planet is in peril it seems. The brilliant Saidiya Hartman has thoughts to share about fugitive modernity. A young, shrill-toned Dave Chappelle does a bit. They do name all these hurricanes after women, don’t they? A child giggles at his father’s silly voices. Toni Morrison speaks a few words from the generous mountain she left us to climb up and see the vastness of black life.\u003c/p>\n\u003cp>Back home, my Twitter feed’s assemblage feels less profound and artful than ever. Instead, I seek out the fragments I saw on \u003cem>BLKNWS\u003c/em>. In one, Joseph interplays \u003ca href=\"https://www.youtube.com/watch?v=Ap0dUrCRKBg\" target=\"_blank\" rel=\"noopener noreferrer\">Christina Sharpe reading\u003c/a> from her book \u003cem>In Wake: On Blackness and Being\u003c/em> with brutal scenes from \u003cem>Amistad\u003c/em>.\u003c/p>\n\u003cp>“The amount of time it takes for a substance to enter the ocean and then leave the ocean is called ‘residence time,’” Sharpe says, later borrowing a phrase from Morrison’s \u003cem>Jazz\u003c/em>. “We black people exist in the residence time of the wake. A time in which ‘everything is now.’ It is all now.” Her last sentence, a proverb of \u003cem>BLKNWS\u003c/em>’s intangible magnitude, echoed in my head for hours.\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>\u003ci>‘BLKNWS’ is on view at Stanford University through Nov. 25. \u003ca href=\"https://museum.stanford.edu/exhibitions/kahlil-joseph-blknws\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>Editor’s note: Please welcome a new monthly column from writer, editor and producer Ruth Gebreyesus, who will cover Bay Area arts and culture, with an eye towards the East Bay, for KQED Arts.\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>here’s no good reason to summarize or itemize Kahlil Joseph’s \u003cem>\u003ca href=\"https://museum.stanford.edu/exhibitions/kahlil-joseph-blknws\" target=\"_blank\" rel=\"noopener noreferrer\">BLKNWS\u003c/a>\u003c/em>, a two-channel video installation now on view at Stanford University. Its density resists any such effort.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-13864254\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/RuthHeadshot_160.jpg\" alt=\"\" width=\"160\" height=\"187\">\u003c/p>\n\u003cp>In fact, there’s great relief in arriving at a show about blackness that isn’t attempting a frugal summary of its subject matter or extolling moral lessons through black bodies. But for the sake of fulfilling my duties as a messenger, here goes: \u003cem>BLKNWS\u003c/em> is a broadcast of black life in America expressed through abundant footage pulled from headline news, archival material, internet-native clips and Joseph’s own past films.\u003c/p>\n\u003cp>At a screening for the San Francisco Film Festival in April, Joseph explained he originally pitched \u003cem>BLKNWS\u003c/em> to television networks as a news program. With painter Henry Taylor and actress Amandla Stenberg, among others, as anchors, the broadcast reads more like a social media feed or a journey at the mercy of YouTube’s calculus than any news currently on TV.\u003c/p>\n\u003cp>On \u003cem>BLKNWS\u003c/em>, algorithmic chapters sway between disparate poles. Dystopian climate change headlines play alongside clips from \u003cem>Annihilation\u003c/em> and other catastrophe movies. Soon after, June Jordan sits at her desk reciting her poem “Song of the Law Abiding Citizen.”\u003c/p>\n\u003cp>“And I can’t pay the rent / but I sent 10,000 food stamps / back to the President and his beautiful wife,” she chants in her distinct birdsong, as the footage switches to a scene at the iconic dining table in Spike Lee’s \u003cem>Crooklyn\u003c/em>. In this case, the algorithm is Joseph’s own math, a living formula he edits and adds to at will, remotely via a server.\u003c/p>\n\u003cfigure id=\"attachment_13864256\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13864256\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/Kushner_Joseph_byTommyLau_08_1200.jpg\" alt=\"Kahlil Joseph speaking with Rachel Kushner at the 2019 San Francisco International Film Festival.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Kushner_Joseph_byTommyLau_08_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Kushner_Joseph_byTommyLau_08_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Kushner_Joseph_byTommyLau_08_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Kushner_Joseph_byTommyLau_08_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Kushner_Joseph_byTommyLau_08_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Kahlil Joseph speaking with Rachel Kushner at the 2019 San Francisco International Film Festival. \u003ccite>(Courtesy of Tommy Lau, SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If there’s one through line that connects Joseph’s art and film career thus far, it’s the presence of music. His earliest films found their way to the public through music videos he directed for Shabazz Palaces, Flying Lotus and FKA Twigs. In 2014, he debuted \u003cem>\u003ca href=\"https://www.moca.org/exhibition/kahlil-joseph-double-conscience\" target=\"_blank\" rel=\"noopener noreferrer\">m.A.A.d.\u003c/a>\u003c/em> at MOCA, a short film set to songs from Kendrick Lamar’s critically acclaimed 2012 album, \u003cem>Good Kid, M.A.A.D City\u003c/em>. Opening with Lamar’s family home videos, shot just a month before the 1992 L.A. riots, and continuing with clips of quotidian life Joseph captured after the album’s release, \u003cem>m.A.A.d.\u003c/em> paints a portrait of Compton as if it were recollected from communal memory.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "He resists the urge towards a conclusion about blackness. It is everything he’s showed and much more.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A shot of a young man taking a swig at a block party switches to him dancing at the concrete mouth of the L.A. River for a few seconds then back to the block party again. It’s a signature rhythm of Joseph’s, a loyalty to emotional time over the logic of a ticking clock. It’s the difference between how warm it is and how warm it feels. Between going fast and flying.\u003c/p>\n\u003cp>\u003cem>BLKNWS\u003c/em> leans further into that pace with synchronized screens and a keen awareness of how we digest information in the age of social media: how we jump from joy to terror in the space of a click or a scroll. Joseph must understand our tolerance for those emotional swings has transformed into an appetite. As he travels through visuals and sounds from the black zeitgeist into smaller, intimate moments of home life, shifting between cosmic and cellular scales, he resists the urge towards a conclusion about blackness. It is everything he’s showed and much more.\u003c/p>\n\u003cfigure id=\"attachment_13864258\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13864258\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/BLKNWS_Stanford_Final_Web_Diptych_1200.jpg\" alt=\"Kahlil Joseph, 'BLKNWS,' 2018; Still from 2-channel broadcast.\" width=\"1200\" height=\"338\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/BLKNWS_Stanford_Final_Web_Diptych_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/BLKNWS_Stanford_Final_Web_Diptych_1200-160x45.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/BLKNWS_Stanford_Final_Web_Diptych_1200-800x225.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/BLKNWS_Stanford_Final_Web_Diptych_1200-768x216.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/BLKNWS_Stanford_Final_Web_Diptych_1200-1020x287.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Kahlil Joseph, ‘BLKNWS,’ 2018; Still from 2-channel broadcast. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Though he couldn’t find a home on TV for \u003cem>BLKNWS\u003c/em>, Joseph chose three locations to stream it at Stanford: the Cantor Arts Center; the Lagunita dining hall in the complex that houses Ujamaa, a residence with black cultural focus; and Harmony House, home to the Institute for Diversity in the Arts (IDA).\u003c/p>\n\u003cp>I chose to watch \u003cem>BLKNWS\u003c/em> at Harmony House. (The full piece is estimated to be around nine hours long, though Joseph’s periodic edits defy a running time.) Across from the two wall-mounted monitors, I sank into a cozy couch in what was likely once a living room. Sipping water offered to me by A-lan Holt, the director of the IDA, I imagined this as Joseph’s original intended setting for the broadcast. Visiting someone’s home and catching a bit of news: The planet is in peril it seems. The brilliant Saidiya Hartman has thoughts to share about fugitive modernity. A young, shrill-toned Dave Chappelle does a bit. They do name all these hurricanes after women, don’t they? A child giggles at his father’s silly voices. Toni Morrison speaks a few words from the generous mountain she left us to climb up and see the vastness of black life.\u003c/p>\n\u003cp>Back home, my Twitter feed’s assemblage feels less profound and artful than ever. Instead, I seek out the fragments I saw on \u003cem>BLKNWS\u003c/em>. In one, Joseph interplays \u003ca href=\"https://www.youtube.com/watch?v=Ap0dUrCRKBg\" target=\"_blank\" rel=\"noopener noreferrer\">Christina Sharpe reading\u003c/a> from her book \u003cem>In Wake: On Blackness and Being\u003c/em> with brutal scenes from \u003cem>Amistad\u003c/em>.\u003c/p>\n\u003cp>“The amount of time it takes for a substance to enter the ocean and then leave the ocean is called ‘residence time,’” Sharpe says, later borrowing a phrase from Morrison’s \u003cem>Jazz\u003c/em>. “We black people exist in the residence time of the wake. A time in which ‘everything is now.’ It is all now.” Her last sentence, a proverb of \u003cem>BLKNWS\u003c/em>’s intangible magnitude, echoed in my head for hours.\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>\u003ci>‘BLKNWS’ is on view at Stanford University through Nov. 25. \u003ca href=\"https://museum.stanford.edu/exhibitions/kahlil-joseph-blknws\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "tierra-whacks-weirdness-childish-gambinos-doctrine-outside-lands-day-two-highlights",
"title": "Tierra Whack's Weirdness, Childish Gambino's Doctrine: Outside Lands Day Two Highlights",
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"headTitle": "Tierra Whack’s Weirdness, Childish Gambino’s Doctrine: Outside Lands Day Two Highlights | KQED",
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"content": "\u003cp>Tierra Whack’s 2018 debut, \u003cem>Whack World\u003c/em>, gave a taste of the breakout star’s weird imagination in 15 one-minute-long, bite-sized pieces. Without such stringent time constraints, her hour-long Outside Lands set allowed her oddball, colorful personality to flourish in one of the day’s most dynamic performances.\u003c/p>\n\u003cp>Whack took the stage Saturday in a \u003cem>Cat in the Hat \u003c/em>T-shirt dress draped in tassels, plus matching red-and-white socks and Jordans. Opening with her propulsive trap single “Westbound Eastbound,” she worked the crowd, running back and forth and imploring the audience to turn up with her cartoonish facial expressions.\u003c/p>\n\u003cp>The packed crowd happily obeyed. After asking if there were any birthdays in the house, Whack climbed onto the barrier as if about to crowdsurf, and then, endearingly, handed out cupcakes. (When she was finished, her DJ revealed that it was actually Whack’s birthday, and the audience sang to her.)\u003c/p>\n\u003cfigure id=\"attachment_13863641\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6704-800x533.jpg\" alt=\"Tierra Whack performs at Outside Lands music festival in San Francisco, Aug. 10, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863641\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6704.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6704-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6704-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tierra Whack performs at Outside Lands music festival in San Francisco, Aug. 10, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The rapper then ran through her \u003cem>Whack World\u003c/em> tracks, each one distilling a different emotion in 60 seconds—a testament to her effectiveness as a songwriter and performer. The twangy “F-ck Off” gave the audience an opportunity for catharsis as they jumped up and down with middle fingers raised, cursing their “deadbeat dads.” During the sexy, winding R&B joint “Hungry Hippo,” she walked offstage in a pseudo-diva moment because the audience didn’t sing along loudly enough. She returned more hyped than ever when they yelled the lyrics to her satisfaction.\u003c/p>\n\u003cp>After a call and response of “Whack! Whack!,” Whack had her audience repeat weird noises—the kind little kids might make when they think adults aren’t listening to their game of pretend. It was the sound of Tierra Whack taking Outside Lands to the wonderful, wacky world of her imagination.\u003c/p>\n\u003ch2>Other Highlights\u003c/h2>\n\u003cfigure id=\"attachment_13863653\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6854-Edit-800x533.jpg\" alt=\"Childish Gambino performs at Outside Lands music festival in San Francisco, Aug. 10, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863653\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6854-Edit.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6854-Edit-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6854-Edit-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Childish Gambino performs at Outside Lands music festival in San Francisco, Aug. 10, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Childish Gambino\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Backed by gospel singers in church robes, Childish Gambino told the Outside Lands audience to put their phones away because “this is church.” Though he commanded the largest crowd in the festival’s history, as he announced, he took care to make the show feel as intimate as possible during Saturday’s headlining set, which he began by singing a cappella in the middle of the audience and giving high fives on the way to the main stage.\u003c/p>\n\u003cp>Calling Oakland his second home, he sang his 2013 pop-rap homage to the Bay Area, “Telegraph Ave. (“Oakland” by Lloyd).” When it came time to perform “This is America,” Gambino—shirtless and in white pants, just like in the music video—broke out in a frenzied dance that underscored the song’s frenetic tempo changes and message of spiritual and political upheaval.\u003c/p>\n\u003cfigure id=\"attachment_13863639\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6646-800x533.jpg\" alt=\"Altın Gün performs at Outside Lands music festival in San Francisco, Aug. 10, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863639\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6646.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6646-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6646-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Altın Gün performs at Outside Lands music festival in San Francisco, Aug. 10, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Altin Gün\u003c/strong>\u003c/p>\n\u003cp>Hailing from Amsterdam, the multicultural, psychedelic sextet Altin Gün fused Turkish folk sounds with well-placed electronics and oozing funk-rock instrumentation. Singer, keyboardist and \u003cem>baglama\u003c/em> player Erdinc Yildiz Ecevit proved to be the star of the show with his breathy, dramatic vocal delivery and impressive dexterity on keys and strings alike. Though the audience couldn’t understand the band’s Turkish lyrics, they happily danced and snapped along in the sun.\u003c/p>\n\u003cfigure id=\"attachment_13863645\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6764-Edit-800x533.jpg\" alt=\"Big Wild performs at Outside Lands music festival in San Francisco, Aug. 10, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863645\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6764-Edit.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6764-Edit-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6764-Edit-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Big Wild performs at Outside Lands music festival in San Francisco, Aug. 10, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Big Wild\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Indie pop singer Jackson Stell, a.k.a. Big Wild, showed off his many abilities as his big, wild hair billowed in the wind. Electronic drumming? Check. Singing anthemic hooks? Check. Not one, but two whistle solos?! Check. Accompanied by an all-woman band in matching jumpsuits and red lipstick, Stell’s soul and disco-infused tracks took the audience to ecstatic heights.\u003c/p>\n\u003ch2>More Photos from Outside Lands 2019 Day Two\u003c/h2>\n\u003cfigure id=\"attachment_13863654\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6878-Edit-800x533.jpg\" alt=\"Childish Gambino performs at Outside Lands music festival in San Francisco, Aug. 10, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863654\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6878-Edit.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6878-Edit-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6878-Edit-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Childish Gambino performs at Outside Lands music festival in San Francisco, Aug. 10, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863648\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6792-800x533.jpg\" alt=\"Ella Mai performs at Outside Lands music festival in San Francisco, Aug. 10, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863648\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6792.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6792-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6792-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ella Mai performs at Outside Lands music festival in San Francisco, Aug. 10, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863647\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6782-Edit-800x533.jpg\" alt=\"CupcakKe performs at Outside Lands music festival in San Francisco, Aug. 10, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863647\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6782-Edit.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6782-Edit-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6782-Edit-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">CupcakKe performs at Outside Lands music festival in San Francisco, Aug. 10, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863638\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6644-Edit-800x533.jpg\" alt=\"Delacey at Outside Lands music festival in San Francisco, Aug. 10, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863638\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6644-Edit.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6644-Edit-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6644-Edit-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Delacey at Outside Lands music festival in San Francisco, Aug. 10, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863655\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6882-800x533.jpg\" alt=\"Childish Gambino performs at Outside Lands music festival in San Francisco, Aug. 10, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863655\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6882.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6882-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6882-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Childish Gambino performs at Outside Lands music festival in San Francisco, Aug. 10, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863649\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6799-800x533.jpg\" alt=\"The crowd at Outside Lands music festival in San Francisco, Aug. 10, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863649\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6799.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6799-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6799-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands music festival in San Francisco, Aug. 10, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863642\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6720-Edit-800x533.jpg\" alt=\"Hozier at Outside Lands music festival in San Francisco, Aug. 10, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863642\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6720-Edit.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6720-Edit-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6720-Edit-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hozier at Outside Lands music festival in San Francisco, Aug. 10, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863644\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6742-800x533.jpg\" alt=\"Alina Baraz performs at Outside Lands music festival in San Francisco, Aug. 10, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863644\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6742.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6742-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6742-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Alina Baraz performs at Outside Lands music festival in San Francisco, Aug. 10, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863650\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6803-800x533.jpg\" alt=\"The crowd at Outside Lands music festival in San Francisco, Aug. 10, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863650\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6803.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6803-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6803-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands music festival in San Francisco, Aug. 10, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863660\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6888-800x533.jpg\" alt=\"The crowd at Outside Lands music festival in San Francisco, Aug. 10, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863660\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6888.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6888-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6888-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands music festival in San Francisco, Aug. 10, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863636\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6629-Edit-800x533.jpg\" alt=\"Wallows perform at Outside Lands music festival in San Francisco, Aug. 10, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863636\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6629-Edit.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6629-Edit-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6629-Edit-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Wallows perform at Outside Lands music festival in San Francisco, Aug. 10, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863637\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6633-800x533.jpg\" alt=\"The crowd at Outside Lands music festival in San Francisco, Aug. 10, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863637\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6633.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6633-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6633-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands music festival in San Francisco, Aug. 10, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863643\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6722-800x533.jpg\" alt=\"Caamp at Outside Lands music festival in San Francisco, Aug. 10, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863643\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6722.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6722-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6722-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Caamp at Outside Lands music festival in San Francisco, Aug. 10, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863646\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6773-Edit-800x533.jpg\" alt=\"Big Wild performs at Outside Lands music festival in San Francisco, Aug. 10, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863646\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6773-Edit.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6773-Edit-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6773-Edit-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Big Wild performs at Outside Lands music festival in San Francisco, Aug. 10, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863657\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6893-800x533.jpg\" alt=\"The crowd at Outside Lands music festival in San Francisco, Aug. 10, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863657\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6893.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6893-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6893-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands music festival in San Francisco, Aug. 10, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"excerpt": "Gambino led a sermon, Whack handed out cupcakes, and Saturday's Outside Lands crowd was reportedly the largest in the festival's history.",
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"title": "Tierra Whack's Weirdness, Childish Gambino's Doctrine: Outside Lands Day Two Highlights | KQED",
"description": "Gambino led a sermon, Whack handed out cupcakes, and Saturday's Outside Lands crowd was reportedly the largest in the festival's history.",
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"headline": "Tierra Whack's Weirdness, Childish Gambino's Doctrine: Outside Lands Day Two Highlights",
"datePublished": "2019-08-11T07:58:56-07:00",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Tierra Whack’s 2018 debut, \u003cem>Whack World\u003c/em>, gave a taste of the breakout star’s weird imagination in 15 one-minute-long, bite-sized pieces. Without such stringent time constraints, her hour-long Outside Lands set allowed her oddball, colorful personality to flourish in one of the day’s most dynamic performances.\u003c/p>\n\u003cp>Whack took the stage Saturday in a \u003cem>Cat in the Hat \u003c/em>T-shirt dress draped in tassels, plus matching red-and-white socks and Jordans. Opening with her propulsive trap single “Westbound Eastbound,” she worked the crowd, running back and forth and imploring the audience to turn up with her cartoonish facial expressions.\u003c/p>\n\u003cp>The packed crowd happily obeyed. After asking if there were any birthdays in the house, Whack climbed onto the barrier as if about to crowdsurf, and then, endearingly, handed out cupcakes. (When she was finished, her DJ revealed that it was actually Whack’s birthday, and the audience sang to her.)\u003c/p>\n\u003cfigure id=\"attachment_13863641\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6704-800x533.jpg\" alt=\"Tierra Whack performs at Outside Lands music festival in San Francisco, Aug. 10, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863641\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6704.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6704-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6704-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tierra Whack performs at Outside Lands music festival in San Francisco, Aug. 10, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The rapper then ran through her \u003cem>Whack World\u003c/em> tracks, each one distilling a different emotion in 60 seconds—a testament to her effectiveness as a songwriter and performer. The twangy “F-ck Off” gave the audience an opportunity for catharsis as they jumped up and down with middle fingers raised, cursing their “deadbeat dads.” During the sexy, winding R&B joint “Hungry Hippo,” she walked offstage in a pseudo-diva moment because the audience didn’t sing along loudly enough. She returned more hyped than ever when they yelled the lyrics to her satisfaction.\u003c/p>\n\u003cp>After a call and response of “Whack! Whack!,” Whack had her audience repeat weird noises—the kind little kids might make when they think adults aren’t listening to their game of pretend. It was the sound of Tierra Whack taking Outside Lands to the wonderful, wacky world of her imagination.\u003c/p>\n\u003ch2>Other Highlights\u003c/h2>\n\u003cfigure id=\"attachment_13863653\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6854-Edit-800x533.jpg\" alt=\"Childish Gambino performs at Outside Lands music festival in San Francisco, Aug. 10, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863653\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6854-Edit.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6854-Edit-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6854-Edit-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Childish Gambino performs at Outside Lands music festival in San Francisco, Aug. 10, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Childish Gambino\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Backed by gospel singers in church robes, Childish Gambino told the Outside Lands audience to put their phones away because “this is church.” Though he commanded the largest crowd in the festival’s history, as he announced, he took care to make the show feel as intimate as possible during Saturday’s headlining set, which he began by singing a cappella in the middle of the audience and giving high fives on the way to the main stage.\u003c/p>\n\u003cp>Calling Oakland his second home, he sang his 2013 pop-rap homage to the Bay Area, “Telegraph Ave. (“Oakland” by Lloyd).” When it came time to perform “This is America,” Gambino—shirtless and in white pants, just like in the music video—broke out in a frenzied dance that underscored the song’s frenetic tempo changes and message of spiritual and political upheaval.\u003c/p>\n\u003cfigure id=\"attachment_13863639\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6646-800x533.jpg\" alt=\"Altın Gün performs at Outside Lands music festival in San Francisco, Aug. 10, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863639\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6646.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6646-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6646-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Altın Gün performs at Outside Lands music festival in San Francisco, Aug. 10, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Altin Gün\u003c/strong>\u003c/p>\n\u003cp>Hailing from Amsterdam, the multicultural, psychedelic sextet Altin Gün fused Turkish folk sounds with well-placed electronics and oozing funk-rock instrumentation. Singer, keyboardist and \u003cem>baglama\u003c/em> player Erdinc Yildiz Ecevit proved to be the star of the show with his breathy, dramatic vocal delivery and impressive dexterity on keys and strings alike. Though the audience couldn’t understand the band’s Turkish lyrics, they happily danced and snapped along in the sun.\u003c/p>\n\u003cfigure id=\"attachment_13863645\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6764-Edit-800x533.jpg\" alt=\"Big Wild performs at Outside Lands music festival in San Francisco, Aug. 10, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863645\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6764-Edit.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6764-Edit-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6764-Edit-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Big Wild performs at Outside Lands music festival in San Francisco, Aug. 10, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Big Wild\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Indie pop singer Jackson Stell, a.k.a. Big Wild, showed off his many abilities as his big, wild hair billowed in the wind. Electronic drumming? Check. Singing anthemic hooks? Check. Not one, but two whistle solos?! Check. Accompanied by an all-woman band in matching jumpsuits and red lipstick, Stell’s soul and disco-infused tracks took the audience to ecstatic heights.\u003c/p>\n\u003ch2>More Photos from Outside Lands 2019 Day Two\u003c/h2>\n\u003cfigure id=\"attachment_13863654\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6878-Edit-800x533.jpg\" alt=\"Childish Gambino performs at Outside Lands music festival in San Francisco, Aug. 10, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863654\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6878-Edit.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6878-Edit-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6878-Edit-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Childish Gambino performs at Outside Lands music festival in San Francisco, Aug. 10, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863648\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6792-800x533.jpg\" alt=\"Ella Mai performs at Outside Lands music festival in San Francisco, Aug. 10, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863648\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6792.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6792-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6792-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ella Mai performs at Outside Lands music festival in San Francisco, Aug. 10, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863647\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6782-Edit-800x533.jpg\" alt=\"CupcakKe performs at Outside Lands music festival in San Francisco, Aug. 10, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863647\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6782-Edit.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6782-Edit-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6782-Edit-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">CupcakKe performs at Outside Lands music festival in San Francisco, Aug. 10, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863638\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6644-Edit-800x533.jpg\" alt=\"Delacey at Outside Lands music festival in San Francisco, Aug. 10, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863638\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6644-Edit.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6644-Edit-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6644-Edit-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Delacey at Outside Lands music festival in San Francisco, Aug. 10, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863655\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6882-800x533.jpg\" alt=\"Childish Gambino performs at Outside Lands music festival in San Francisco, Aug. 10, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863655\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6882.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6882-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6882-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Childish Gambino performs at Outside Lands music festival in San Francisco, Aug. 10, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863649\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6799-800x533.jpg\" alt=\"The crowd at Outside Lands music festival in San Francisco, Aug. 10, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863649\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6799.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6799-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6799-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands music festival in San Francisco, Aug. 10, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863642\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6720-Edit-800x533.jpg\" alt=\"Hozier at Outside Lands music festival in San Francisco, Aug. 10, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863642\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6720-Edit.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6720-Edit-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6720-Edit-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hozier at Outside Lands music festival in San Francisco, Aug. 10, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863644\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6742-800x533.jpg\" alt=\"Alina Baraz performs at Outside Lands music festival in San Francisco, Aug. 10, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863644\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6742.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6742-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6742-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Alina Baraz performs at Outside Lands music festival in San Francisco, Aug. 10, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863650\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6803-800x533.jpg\" alt=\"The crowd at Outside Lands music festival in San Francisco, Aug. 10, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863650\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6803.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6803-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6803-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands music festival in San Francisco, Aug. 10, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863660\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6888-800x533.jpg\" alt=\"The crowd at Outside Lands music festival in San Francisco, Aug. 10, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863660\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6888.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6888-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6888-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands music festival in San Francisco, Aug. 10, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863636\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6629-Edit-800x533.jpg\" alt=\"Wallows perform at Outside Lands music festival in San Francisco, Aug. 10, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863636\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6629-Edit.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6629-Edit-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6629-Edit-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Wallows perform at Outside Lands music festival in San Francisco, Aug. 10, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863637\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6633-800x533.jpg\" alt=\"The crowd at Outside Lands music festival in San Francisco, Aug. 10, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863637\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6633.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6633-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6633-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands music festival in San Francisco, Aug. 10, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863643\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6722-800x533.jpg\" alt=\"Caamp at Outside Lands music festival in San Francisco, Aug. 10, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863643\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6722.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6722-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6722-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Caamp at Outside Lands music festival in San Francisco, Aug. 10, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863646\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6773-Edit-800x533.jpg\" alt=\"Big Wild performs at Outside Lands music festival in San Francisco, Aug. 10, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863646\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6773-Edit.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6773-Edit-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6773-Edit-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Big Wild performs at Outside Lands music festival in San Francisco, Aug. 10, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863657\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6893-800x533.jpg\" alt=\"The crowd at Outside Lands music festival in San Francisco, Aug. 10, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863657\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6893.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6893-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6893-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands music festival in San Francisco, Aug. 10, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"slug": "lil-wayne-bodied-outside-lands-day-one-and-other-highlights",
"title": "Lil Wayne Bodied Outside Lands Day One—And Other Highlights",
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"headTitle": "Lil Wayne Bodied Outside Lands Day One—And Other Highlights | KQED",
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"content": "\u003cp>“Music!” yelled Lil Wayne on Friday night, ordering his band to play with the tone of a cartoon villain demanding the hounds be released. After pausing for a moment to humbly bask in applause, his face flashed a mischievous, Joker-like grin of diamond grills as the DJ dropped the instantly recognizable drum roll of “A Milli,” one of the many hits that defined his reign over the 2000s rap charts.\u003c/p>\n\u003cp>Humor and theatrics came naturally to Wayne on the opening day of Outside Lands on Aug. 9, where his early-evening performance was indisputably one of the day’s strongest. Like a big little kid in his oversized, multicolored Gucci sweatsuit, he gleefully frolicked on stage while delivering dynamic, arena-scale renditions of sex songs like “Bed Rock” and “Lollipop,” rap braggadocio like “6 Foot 7 Foot,” and testaments to resilience and survival like “Can’t Be Broken.”\u003c/p>\n\u003cfigure id=\"attachment_13863565\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6328-800x533.jpg\" alt=\"Lil Wayne performs at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863565\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6328.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6328-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6328-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lil Wayne performs at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At 36 years old, Lil Wayne is still young for a rap veteran, though influential and successful enough to have a decade-defining resume of hits, and to have spawned a legion of successors (Nicki Minaj, Drake, Young Thug) who’ve carried his zany, raunchy style into the present. While some of his peers barely rap along to their backing vocal tracks, at Outside Lands, Wayne went full rockstar in his live show, flexing his vocal abilities with a DJ, a mighty drummer and a solo-happy guitarist with a top hat like Slash from Guns N’ Roses. It was a dynamic format for his hit parade, and Lil Wayne joyfully presided over the party.\u003c/p>\n\u003cp>All in all, Wayne exuded an uplifting, centered energy. He implored the audience to love and celebrate themselves, to applaud (and to tip) the festival staff. Throughout the show, he reminded us of his gratitude with his self-effacing refrain: “We all ain’t shit without the love, and I ain’t shit without you.”\u003c/p>\n\u003ch2>Other Highlights\u003c/h2>\n\u003cfigure id=\"attachment_13863567\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6366-800x533.jpg\" alt=\"Yaeji performs at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863567\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6366.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6366-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6366-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Yaeji performs at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Yaeji\u003c/strong>\u003cbr>\nThere are fewer indie rock bands at Outside Lands than usual this year, and the festival lineup includes a noticeable increase in dance music acts. One of the standouts of that genre is Yaeji, whose hard-to-classify style encompasses club bangers like “Raingurl”—which sparked an unselfconscious dance party—and slower, more contemplative songs like “One More,” which had the English-speaking Outside Lands audience singing along in Korean. A one-woman band, she switched between singing on the mic, dancing at the front of the stage like a pop star, and working her magic behind the decks. Her minimal cover of Drake’s “Passionfruit” inspired dreamy sways and sentimental embraces among lovers and friends.\u003c/p>\n\u003cfigure id=\"attachment_13863576\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6460-800x533.jpg\" alt=\"The crowd at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863576\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6460.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6460-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6460-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Still Woozy\u003c/strong>\u003cbr>\nOakland’s Still Woozy proved himself a promising up-and-coming performer, commanding a surprisingly full and enthusiastic early crowd with his charming, awkward exuberance. His lo-fi R&B and indie pop tracks gained new dimensions with the accompaniment of live drums, bass, guitar and keys as Still Woozy wiggled around the stage like an inflatable tube man, bending his knees and shaking his hips with unbridled enthusiasm.\u003c/p>\n\u003cfigure id=\"attachment_13863571\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6423-800x533.jpg\" alt=\"Blink 182 perform at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863571\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6423.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6423-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6423-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Blink 182 perform at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Blink-182\u003c/strong>\u003cbr>\nPop-punk idols Blink-182 took the Outside Lands audience back to 1999 with “Adam’s Song” and “All the Small Things,” peppering their angsty anthems with sarcastic asides that kept the mood light—essential for a bunch of adults (both on stage and in the audience) channeling their whiniest middle school selves.\u003c/p>\n\u003cfigure id=\"attachment_13863577\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6464-800x533.jpg\" alt=\"Luttrell performs at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863577\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6464.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6464-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6464-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Luttrell performs at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Luttrell\u003c/strong>\u003cbr>\nSan Francisco techno producer Luttrell is better known in the Burning Man circuit than the festival scene. At Outside Lands, he sparked a small yet enthusiastic dance party with his euphoric grooves during the lull before headliners Twenty One Pilots. Grandiose, soaring synths carried listeners away like the wings of a pegasus, while pounding bass grounded them back down to earth.\u003c/p>\n\u003cfigure id=\"attachment_13863594\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6613-1-800x533.jpg\" alt=\"Flying Lotus performs at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863594\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6613-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6613-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6613-1-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Flying Lotus performs at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Flying Lotus\u003c/strong>\u003cbr>\nFlying Lotus’ sculptural DJ booth looked like an outer-space submarine as he spun his golden threads of jazz, hip-hop and experimental beats. Transfixed festival-goers in 3D glasses bobbed along, vapes in hand, to his heady music and biomorphic, neon visuals.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\u003ch2>More Photos from Outside Lands 2019 Day One\u003c/h2>\n\u003cfigure id=\"attachment_13863592\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6524-Edit-1-800x533.jpg\" alt=\"Twenty One Pilots perform at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863592\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6524-Edit-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6524-Edit-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6524-Edit-1-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Twenty One Pilots perform at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863556\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6267-800x533.jpg\" alt=\"Miya Folick performs at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863556\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6267.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6267-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6267-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Miya Folick performs at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863555\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6224-800x533.jpg\" alt=\"K. Flay at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863555\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6224.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6224-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6224-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">K. Flay at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863589\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6499-1-800x533.jpg\" alt=\"Twenty One Pilots perform at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863589\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6499-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6499-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6499-1-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Twenty One Pilots perform at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863575\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6452-800x533.jpg\" alt=\"The crowd at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863575\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6452-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6452-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863568\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6370-800x533.jpg\" alt=\"Yaeji performs at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863568\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6370.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6370-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6370-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Yaeji performs at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863593\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6590-1-800x533.jpg\" alt=\"The crowd at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863593\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6590-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6590-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6590-1-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863570\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6406-800x533.jpg\" alt=\"Blink 182 perform at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863570\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6406.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6406-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6406-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Blink 182 perform at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863559\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6288-800x533.jpg\" alt=\"P-Lo at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863559\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6288.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6288-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6288-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">P-Lo at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863569\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6376-800x533.jpg\" alt=\"The crowd at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863569\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6376.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6376-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6376-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863595\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6619-1-800x533.jpg\" alt=\"Flying Lotus performs at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863595\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6619-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6619-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6619-1-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Flying Lotus performs at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863573\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6440-800x533.jpg\" alt=\"The crowd at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863573\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6440.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6440-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6440-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"excerpt": "At Outside Lands on Friday, electronic musicians, such as Yaeji, Flying Lotus and Luttrell, also shined in Golden Gate Park. ",
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"title": "Lil Wayne Bodied Outside Lands Day One—And Other Highlights | KQED",
"description": "At Outside Lands on Friday, electronic musicians, such as Yaeji, Flying Lotus and Luttrell, also shined in Golden Gate Park. ",
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"headline": "Lil Wayne Bodied Outside Lands Day One—And Other Highlights",
"datePublished": "2019-08-10T09:14:46-07:00",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“Music!” yelled Lil Wayne on Friday night, ordering his band to play with the tone of a cartoon villain demanding the hounds be released. After pausing for a moment to humbly bask in applause, his face flashed a mischievous, Joker-like grin of diamond grills as the DJ dropped the instantly recognizable drum roll of “A Milli,” one of the many hits that defined his reign over the 2000s rap charts.\u003c/p>\n\u003cp>Humor and theatrics came naturally to Wayne on the opening day of Outside Lands on Aug. 9, where his early-evening performance was indisputably one of the day’s strongest. Like a big little kid in his oversized, multicolored Gucci sweatsuit, he gleefully frolicked on stage while delivering dynamic, arena-scale renditions of sex songs like “Bed Rock” and “Lollipop,” rap braggadocio like “6 Foot 7 Foot,” and testaments to resilience and survival like “Can’t Be Broken.”\u003c/p>\n\u003cfigure id=\"attachment_13863565\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6328-800x533.jpg\" alt=\"Lil Wayne performs at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863565\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6328.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6328-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6328-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lil Wayne performs at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At 36 years old, Lil Wayne is still young for a rap veteran, though influential and successful enough to have a decade-defining resume of hits, and to have spawned a legion of successors (Nicki Minaj, Drake, Young Thug) who’ve carried his zany, raunchy style into the present. While some of his peers barely rap along to their backing vocal tracks, at Outside Lands, Wayne went full rockstar in his live show, flexing his vocal abilities with a DJ, a mighty drummer and a solo-happy guitarist with a top hat like Slash from Guns N’ Roses. It was a dynamic format for his hit parade, and Lil Wayne joyfully presided over the party.\u003c/p>\n\u003cp>All in all, Wayne exuded an uplifting, centered energy. He implored the audience to love and celebrate themselves, to applaud (and to tip) the festival staff. Throughout the show, he reminded us of his gratitude with his self-effacing refrain: “We all ain’t shit without the love, and I ain’t shit without you.”\u003c/p>\n\u003ch2>Other Highlights\u003c/h2>\n\u003cfigure id=\"attachment_13863567\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6366-800x533.jpg\" alt=\"Yaeji performs at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863567\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6366.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6366-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6366-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Yaeji performs at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Yaeji\u003c/strong>\u003cbr>\nThere are fewer indie rock bands at Outside Lands than usual this year, and the festival lineup includes a noticeable increase in dance music acts. One of the standouts of that genre is Yaeji, whose hard-to-classify style encompasses club bangers like “Raingurl”—which sparked an unselfconscious dance party—and slower, more contemplative songs like “One More,” which had the English-speaking Outside Lands audience singing along in Korean. A one-woman band, she switched between singing on the mic, dancing at the front of the stage like a pop star, and working her magic behind the decks. Her minimal cover of Drake’s “Passionfruit” inspired dreamy sways and sentimental embraces among lovers and friends.\u003c/p>\n\u003cfigure id=\"attachment_13863576\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6460-800x533.jpg\" alt=\"The crowd at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863576\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6460.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6460-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6460-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Still Woozy\u003c/strong>\u003cbr>\nOakland’s Still Woozy proved himself a promising up-and-coming performer, commanding a surprisingly full and enthusiastic early crowd with his charming, awkward exuberance. His lo-fi R&B and indie pop tracks gained new dimensions with the accompaniment of live drums, bass, guitar and keys as Still Woozy wiggled around the stage like an inflatable tube man, bending his knees and shaking his hips with unbridled enthusiasm.\u003c/p>\n\u003cfigure id=\"attachment_13863571\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6423-800x533.jpg\" alt=\"Blink 182 perform at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863571\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6423.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6423-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6423-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Blink 182 perform at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Blink-182\u003c/strong>\u003cbr>\nPop-punk idols Blink-182 took the Outside Lands audience back to 1999 with “Adam’s Song” and “All the Small Things,” peppering their angsty anthems with sarcastic asides that kept the mood light—essential for a bunch of adults (both on stage and in the audience) channeling their whiniest middle school selves.\u003c/p>\n\u003cfigure id=\"attachment_13863577\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6464-800x533.jpg\" alt=\"Luttrell performs at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863577\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6464.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6464-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6464-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Luttrell performs at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Luttrell\u003c/strong>\u003cbr>\nSan Francisco techno producer Luttrell is better known in the Burning Man circuit than the festival scene. At Outside Lands, he sparked a small yet enthusiastic dance party with his euphoric grooves during the lull before headliners Twenty One Pilots. Grandiose, soaring synths carried listeners away like the wings of a pegasus, while pounding bass grounded them back down to earth.\u003c/p>\n\u003cfigure id=\"attachment_13863594\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6613-1-800x533.jpg\" alt=\"Flying Lotus performs at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863594\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6613-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6613-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6613-1-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Flying Lotus performs at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Flying Lotus\u003c/strong>\u003cbr>\nFlying Lotus’ sculptural DJ booth looked like an outer-space submarine as he spun his golden threads of jazz, hip-hop and experimental beats. Transfixed festival-goers in 3D glasses bobbed along, vapes in hand, to his heady music and biomorphic, neon visuals.\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\u003ch2>More Photos from Outside Lands 2019 Day One\u003c/h2>\n\u003cfigure id=\"attachment_13863592\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6524-Edit-1-800x533.jpg\" alt=\"Twenty One Pilots perform at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863592\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6524-Edit-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6524-Edit-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6524-Edit-1-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Twenty One Pilots perform at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863556\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6267-800x533.jpg\" alt=\"Miya Folick performs at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863556\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6267.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6267-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6267-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Miya Folick performs at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863555\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6224-800x533.jpg\" alt=\"K. Flay at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863555\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6224.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6224-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6224-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">K. Flay at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863589\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6499-1-800x533.jpg\" alt=\"Twenty One Pilots perform at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863589\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6499-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6499-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6499-1-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Twenty One Pilots perform at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863575\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6452-800x533.jpg\" alt=\"The crowd at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863575\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6452-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6452-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863568\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6370-800x533.jpg\" alt=\"Yaeji performs at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863568\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6370.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6370-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6370-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Yaeji performs at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863593\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6590-1-800x533.jpg\" alt=\"The crowd at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863593\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6590-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6590-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6590-1-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863570\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6406-800x533.jpg\" alt=\"Blink 182 perform at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863570\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6406.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6406-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6406-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Blink 182 perform at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863559\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6288-800x533.jpg\" alt=\"P-Lo at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863559\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6288.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6288-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6288-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">P-Lo at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863569\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6376-800x533.jpg\" alt=\"The crowd at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863569\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6376.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6376-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6376-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863595\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6619-1-800x533.jpg\" alt=\"Flying Lotus performs at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863595\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6619-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6619-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6619-1-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Flying Lotus performs at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863573\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6440-800x533.jpg\" alt=\"The crowd at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863573\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6440.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6440-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6440-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"title": "Steel, Wood and ... Uranium Ore? Vallejo Show Draws From City’s Naval History",
"headTitle": "Steel, Wood and … Uranium Ore? Vallejo Show Draws From City’s Naval History | KQED",
"content": "\u003cp>\u003ca href=\"https://matthewkerkhof.com/section/241920.html\" rel=\"noopener\" target=\"_blank\">Matthew Kerkhof\u003c/a> is good at convincing people to visit Vallejo. And no, he is not employed by the city’s chamber of commerce.\u003c/p>\n\u003cp>He’s an artist with a garage-turned-exhibition space, dubbed Brittany after the name someone carved into once-wet concrete in front of his house. The occasion for his gentle persuasion is a fairly easy sell: \u003ca href=\"http://marshallelliott.com/\" rel=\"noopener\" target=\"_blank\">Marshall Elliott\u003c/a>’s thoughtful \u003ci>Rates of Disappearance\u003c/i>, a show inspired by nearby Mare Island and its history, a show of measurement and communication devices—and a small container of radioactive uranium ore.\u003c/p>\n\u003cp>Though its exterior is an unmissable shade of faded salmon, Brittany’s interior is spare and unadorned, every surface painted a semitransparent white. Smooth drywall covers one wall, floor-to-ceiling, roughly hewn shelving another. Strips of fluorescent lighting hang from the rafters.\u003c/p>\n\u003cfigure id=\"attachment_13863432\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/RatesofDisappearance_10_1200.jpg\" alt=\"Installation view of Marshall Elliott, 'Rates of Disappearance,' 2019.\" width=\"1200\" height=\"893\" class=\"size-full wp-image-13863432\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RatesofDisappearance_10_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RatesofDisappearance_10_1200-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RatesofDisappearance_10_1200-800x595.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RatesofDisappearance_10_1200-768x572.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RatesofDisappearance_10_1200-1020x759.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of Marshall Elliott, ‘Rates of Disappearance,’ 2019. \u003ccite>(Courtesy of the artist and Brittany)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Tucked into the spaces between the walls’ two-by-fours, sitting on the floor and hanging from the ceiling are Elliott’s sculptures, made of wood, lead, cast aluminum, half-burned signal flags, steel and the aforementioned uranium.\u003c/p>\n\u003cp>It’s a lot of work for such a small space, and some of the more minimal gestures (a series called \u003ci>Lead Shields\u003c/i> or the 40 “rulers” of \u003ci>Your Foot Project\u003c/i>) might have been better served with more breathing room, but the artist’s curiosity about local naval history and the legacy of that enterprise is obvious, and ultimately, contagious.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The show’s introduction comes outside the gallery, with the first lead shield: a sheet of the thin, malleable metal “stretched” over plywood, like canvas, and secured around the edges with tacks. A message stamped into the surface reads, “I am abandoning my vessel which has suffered a nuclear accident and is a possible source of radiation danger.” Elliott scaled all the works in this series to the dimensions of various U.S. paper sizes, imbuing even the blank shields with the quality of an official pronouncement.\u003c/p>\n\u003cfigure id=\"attachment_13863433\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/RatesofDisappearance_11_1200.jpg\" alt=\"Marshall Elliott, 'Lead Shields,' 2019.\" width=\"1200\" height=\"908\" class=\"size-full wp-image-13863433\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RatesofDisappearance_11_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RatesofDisappearance_11_1200-160x121.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RatesofDisappearance_11_1200-800x605.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RatesofDisappearance_11_1200-768x581.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RatesofDisappearance_11_1200-1020x772.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Marshall Elliott, ‘Lead Shields,’ 2019. \u003ccite>(Courtesy of the artist and Brittany)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That distress/welcome phrase comes from the \u003ca href=\"https://en.wikipedia.org/wiki/International_Code_of_Signals\" rel=\"noopener\" target=\"_blank\">International Code of Signals\u003c/a>, represented by the flags for “A” and “D,” which Elliott fabricates as a pair of lightboxes inside the garage. And it’s not pulled out of thin air: Between 1957 and 1970, the Mare Island Naval Shipyard built and launched 17 nuclear-powered submarines, including the \u003ca href=\"https://en.wikipedia.org/wiki/USS_Guitarro_(SSN-665)\" rel=\"noopener\" target=\"_blank\">USS Guitarro\u003c/a>, which sank during construction and had to be refloated (at massive cost) three days later.\u003c/p>\n\u003cp>The culprit for that snafu? Two crews working on the submarine were filling its ballast tanks at the same time, trying to achieve different levels of balance and adding tons of water in the process. For Elliott, this story perfectly encapsulates the hazards of different measurement systems, exacerbated by a lack of communication, and the potential for harm in structures (or materials) meant to protect.\u003c/p>\n\u003cfigure id=\"attachment_13863434\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/RatesofDisappearance_20_1200.jpg\" alt=\"Marshall Elliott, 'Your Foot Project,' 2019.\" width=\"1200\" height=\"733\" class=\"size-full wp-image-13863434\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RatesofDisappearance_20_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RatesofDisappearance_20_1200-160x98.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RatesofDisappearance_20_1200-800x489.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RatesofDisappearance_20_1200-768x469.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RatesofDisappearance_20_1200-1020x623.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Marshall Elliott, ‘Your Foot Project,’ 2019. \u003ccite>(Courtesy of the artist and Brittany)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>Your Foot Project\u003c/i>, evenly installed on the garage’s built-in shelves, comprises a series of wooden rulers whose lengths were determined by asking people for their estimation of a foot, then dividing that distance into 12 “inches.” (For those who measure the world in the much more rational metric system, Elliott asked them to identify 30.48 cm and divided the length up accordingly.) Individual understandings of space and distance sometimes vary by several actual inches; no two feet are the same.\u003c/p>\n\u003cp>In the center of the gallery stands \u003ci>Rates of Decay\u003c/i>, a bit of uranium ore (purchased online) inside a lead pig, under a Plexi vitrine, all atop a gangly pedestal Elliott welded together from short segments of steel. That lead, which usually gives me a sensation of unease, blocks the ore’s small amount of radiation. (Elliott has a Geiger counter to confirm this reassuring fact.) \u003c/p>\n\u003cfigure id=\"attachment_13863435\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/RatesofDisappearance_35_1200.jpg\" alt=\"Marshall Elliott, 'Rates of Decay,' 2019.\" width=\"1200\" height=\"899\" class=\"size-full wp-image-13863435\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RatesofDisappearance_35_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RatesofDisappearance_35_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RatesofDisappearance_35_1200-800x599.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RatesofDisappearance_35_1200-768x575.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RatesofDisappearance_35_1200-1020x764.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Marshall Elliott, ‘Rates of Decay,’ 2019. \u003ccite>(Courtesy of the artist and Brittany)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This material shift—from toxic metal to protective container—captures some of the trade-offs at play in Vallejo’s contemporary moment, especially when it comes to the \u003ca href=\"https://www.kqed.org/arts/13861897/in-vallejo-bureaucratic-bullying-threatens-a-nature-preserve-and-unlikely-arts-hub\" rel=\"noopener\" target=\"_blank\">ongoing saga of Mare Island\u003c/a>. The shipyard that once employed tens of thousands of Vallejo’s civilians is now the site of \u003ca href=\"https://projects.propublica.org/bombs/installation/CA9170024775001700\" rel=\"noopener\" target=\"_blank\">ongoing military cleanup actions\u003c/a>. What powers a city or a submarine at one point in history (military contracts or radioactive material, respectively) can have dangerously long-lasting consequences generations later. \u003c/p>\n\u003cp>Despite its dismal welcoming message, \u003ci>Rates of Disappearance\u003c/i> isn’t without optimism. The repeated gesture of measurement, the attempts, however garbled, at communication, betray a hope for a future that might take a closer look at the mistakes of the past, and instead of erasing them, put them under a vitrine (and inside lead shielding) for close and continued study.\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>‘Rates of Disappearance’ is on view at Brittany (801 Sacramento Street, Vallejo) through Sep. 21. \u003ca href=\"https://brittany-vallejo-art.tumblr.com/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"excerpt": "At the new art space Brittany, Marshall Elliott's 'Rates of Disappearance' uses maritime signals and measurement devices to examine the legacy of Mare Island's shipyard.",
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"title": "Steel, Wood and ... Uranium Ore? Vallejo Show Draws From City’s Naval History | KQED",
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"startTimeString": "July 20–Sep. 21",
"venueAddress": "801 Sacramento St., Vallejo",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://matthewkerkhof.com/section/241920.html\" rel=\"noopener\" target=\"_blank\">Matthew Kerkhof\u003c/a> is good at convincing people to visit Vallejo. And no, he is not employed by the city’s chamber of commerce.\u003c/p>\n\u003cp>He’s an artist with a garage-turned-exhibition space, dubbed Brittany after the name someone carved into once-wet concrete in front of his house. The occasion for his gentle persuasion is a fairly easy sell: \u003ca href=\"http://marshallelliott.com/\" rel=\"noopener\" target=\"_blank\">Marshall Elliott\u003c/a>’s thoughtful \u003ci>Rates of Disappearance\u003c/i>, a show inspired by nearby Mare Island and its history, a show of measurement and communication devices—and a small container of radioactive uranium ore.\u003c/p>\n\u003cp>Though its exterior is an unmissable shade of faded salmon, Brittany’s interior is spare and unadorned, every surface painted a semitransparent white. Smooth drywall covers one wall, floor-to-ceiling, roughly hewn shelving another. Strips of fluorescent lighting hang from the rafters.\u003c/p>\n\u003cfigure id=\"attachment_13863432\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/RatesofDisappearance_10_1200.jpg\" alt=\"Installation view of Marshall Elliott, 'Rates of Disappearance,' 2019.\" width=\"1200\" height=\"893\" class=\"size-full wp-image-13863432\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RatesofDisappearance_10_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RatesofDisappearance_10_1200-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RatesofDisappearance_10_1200-800x595.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RatesofDisappearance_10_1200-768x572.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RatesofDisappearance_10_1200-1020x759.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of Marshall Elliott, ‘Rates of Disappearance,’ 2019. \u003ccite>(Courtesy of the artist and Brittany)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Tucked into the spaces between the walls’ two-by-fours, sitting on the floor and hanging from the ceiling are Elliott’s sculptures, made of wood, lead, cast aluminum, half-burned signal flags, steel and the aforementioned uranium.\u003c/p>\n\u003cp>It’s a lot of work for such a small space, and some of the more minimal gestures (a series called \u003ci>Lead Shields\u003c/i> or the 40 “rulers” of \u003ci>Your Foot Project\u003c/i>) might have been better served with more breathing room, but the artist’s curiosity about local naval history and the legacy of that enterprise is obvious, and ultimately, contagious.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The show’s introduction comes outside the gallery, with the first lead shield: a sheet of the thin, malleable metal “stretched” over plywood, like canvas, and secured around the edges with tacks. A message stamped into the surface reads, “I am abandoning my vessel which has suffered a nuclear accident and is a possible source of radiation danger.” Elliott scaled all the works in this series to the dimensions of various U.S. paper sizes, imbuing even the blank shields with the quality of an official pronouncement.\u003c/p>\n\u003cfigure id=\"attachment_13863433\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/RatesofDisappearance_11_1200.jpg\" alt=\"Marshall Elliott, 'Lead Shields,' 2019.\" width=\"1200\" height=\"908\" class=\"size-full wp-image-13863433\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RatesofDisappearance_11_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RatesofDisappearance_11_1200-160x121.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RatesofDisappearance_11_1200-800x605.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RatesofDisappearance_11_1200-768x581.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RatesofDisappearance_11_1200-1020x772.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Marshall Elliott, ‘Lead Shields,’ 2019. \u003ccite>(Courtesy of the artist and Brittany)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That distress/welcome phrase comes from the \u003ca href=\"https://en.wikipedia.org/wiki/International_Code_of_Signals\" rel=\"noopener\" target=\"_blank\">International Code of Signals\u003c/a>, represented by the flags for “A” and “D,” which Elliott fabricates as a pair of lightboxes inside the garage. And it’s not pulled out of thin air: Between 1957 and 1970, the Mare Island Naval Shipyard built and launched 17 nuclear-powered submarines, including the \u003ca href=\"https://en.wikipedia.org/wiki/USS_Guitarro_(SSN-665)\" rel=\"noopener\" target=\"_blank\">USS Guitarro\u003c/a>, which sank during construction and had to be refloated (at massive cost) three days later.\u003c/p>\n\u003cp>The culprit for that snafu? Two crews working on the submarine were filling its ballast tanks at the same time, trying to achieve different levels of balance and adding tons of water in the process. For Elliott, this story perfectly encapsulates the hazards of different measurement systems, exacerbated by a lack of communication, and the potential for harm in structures (or materials) meant to protect.\u003c/p>\n\u003cfigure id=\"attachment_13863434\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/RatesofDisappearance_20_1200.jpg\" alt=\"Marshall Elliott, 'Your Foot Project,' 2019.\" width=\"1200\" height=\"733\" class=\"size-full wp-image-13863434\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RatesofDisappearance_20_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RatesofDisappearance_20_1200-160x98.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RatesofDisappearance_20_1200-800x489.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RatesofDisappearance_20_1200-768x469.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RatesofDisappearance_20_1200-1020x623.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Marshall Elliott, ‘Your Foot Project,’ 2019. \u003ccite>(Courtesy of the artist and Brittany)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>Your Foot Project\u003c/i>, evenly installed on the garage’s built-in shelves, comprises a series of wooden rulers whose lengths were determined by asking people for their estimation of a foot, then dividing that distance into 12 “inches.” (For those who measure the world in the much more rational metric system, Elliott asked them to identify 30.48 cm and divided the length up accordingly.) Individual understandings of space and distance sometimes vary by several actual inches; no two feet are the same.\u003c/p>\n\u003cp>In the center of the gallery stands \u003ci>Rates of Decay\u003c/i>, a bit of uranium ore (purchased online) inside a lead pig, under a Plexi vitrine, all atop a gangly pedestal Elliott welded together from short segments of steel. That lead, which usually gives me a sensation of unease, blocks the ore’s small amount of radiation. (Elliott has a Geiger counter to confirm this reassuring fact.) \u003c/p>\n\u003cfigure id=\"attachment_13863435\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/RatesofDisappearance_35_1200.jpg\" alt=\"Marshall Elliott, 'Rates of Decay,' 2019.\" width=\"1200\" height=\"899\" class=\"size-full wp-image-13863435\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RatesofDisappearance_35_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RatesofDisappearance_35_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RatesofDisappearance_35_1200-800x599.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RatesofDisappearance_35_1200-768x575.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RatesofDisappearance_35_1200-1020x764.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Marshall Elliott, ‘Rates of Decay,’ 2019. \u003ccite>(Courtesy of the artist and Brittany)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This material shift—from toxic metal to protective container—captures some of the trade-offs at play in Vallejo’s contemporary moment, especially when it comes to the \u003ca href=\"https://www.kqed.org/arts/13861897/in-vallejo-bureaucratic-bullying-threatens-a-nature-preserve-and-unlikely-arts-hub\" rel=\"noopener\" target=\"_blank\">ongoing saga of Mare Island\u003c/a>. The shipyard that once employed tens of thousands of Vallejo’s civilians is now the site of \u003ca href=\"https://projects.propublica.org/bombs/installation/CA9170024775001700\" rel=\"noopener\" target=\"_blank\">ongoing military cleanup actions\u003c/a>. What powers a city or a submarine at one point in history (military contracts or radioactive material, respectively) can have dangerously long-lasting consequences generations later. \u003c/p>\n\u003cp>Despite its dismal welcoming message, \u003ci>Rates of Disappearance\u003c/i> isn’t without optimism. The repeated gesture of measurement, the attempts, however garbled, at communication, betray a hope for a future that might take a closer look at the mistakes of the past, and instead of erasing them, put them under a vitrine (and inside lead shielding) for close and continued study.\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>‘Rates of Disappearance’ is on view at Brittany (801 Sacramento Street, Vallejo) through Sep. 21. \u003ca href=\"https://brittany-vallejo-art.tumblr.com/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Sara VanDerBeek’s ‘Roman Women’ Disrupt the Past in Living Color",
"headTitle": "Sara VanDerBeek’s ‘Roman Women’ Disrupt the Past in Living Color | KQED",
"content": "\u003cp>Color has long been contentious—even Plato and Aristotle disagreed as to whether it helped or hindered the aim of art, which was always the imitation of nature. Color was decorative, even false, but gave painting and sculpture life, and truth. The Greeks used the word \u003cem>pharmakon\u003c/em> for paint and artificial color; it also meant drug (both poison and cure), remedy, medicine, charm and spell. Color has often been associated with the marginal, the threatening—that which is not in charge—so also: the foreign, the feminine. Its definitions have included “to hide,” “to conceal,” “a pretense”; it still means to embellish, at the very least to influence. \u003c/p>\n\u003cp>Artist Sara VanDerBeek knows that ancient Greek and Roman marble statues were originally many-colored, vibrantly painted, and that, when antique statuary was rediscovered during the Renaissance, the brilliance had largely worn away. Figures were prized above all for their (colorless) forms. Better yet, she knows that the contemporary impact of such a revelation has less to do with the reapplication of color to the statues—as some art historians are now undertaking via plaster models or projection—than with revealing the decidedly fragmentary nature of the past and its hold on us.\u003c/p>\n\u003cp>In \u003cem>\u003ca href=\"https://altmansiegel.com/exhibitions-l/current/\" rel=\"noopener\" target=\"_blank\">Roman Women\u003c/a>\u003c/em>, on view at San Francisco’s Altman Siegel gallery through Aug. 30, VanDerBeek’s saturated, synthetically colored photographic prints of Roman statues both acknowledge and render foolish our heavily conditioned assumptions about the place and virtue of unadorned white marble—and by extension the chauvinist ideals of Western empire. \u003c/p>\n\u003cp>Her vivid, all-over color images are further manipulated: cropped, duplicated, printed on flat metal plates and wrapped around three-dimensional objects. As such, they accentuate how simultaneously incomplete and pervasive our own understanding of the past can be, and challenge the legacies tied to art and to bodies, particularly women’s, inherited images so often carry.\u003c/p>\n\u003cfigure id=\"attachment_13863253\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/06.SV_RW-XXI.XII_install_1200.jpg\" alt=\"Installation view of 'Roman Women.'\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13863253\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/06.SV_RW-XXI.XII_install_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/06.SV_RW-XXI.XII_install_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/06.SV_RW-XXI.XII_install_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/06.SV_RW-XXI.XII_install_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/06.SV_RW-XXI.XII_install_1200-1020x574.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Roman Women.’ \u003ccite>(Courtesy of the artist and Altman Siegel, San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In \u003cem>Roman Woman XI\u003c/em>, at the gallery’s entrance, a bright and piercing lapis offsets a crouching, life-size woman entirely cast in deep and ethereal violet. She’s missing a portion of her head and both arms; she casts a shadow on her own thighs and gentle belly rolls. A thin purple strip along the left edge of the print hints at the meticulous coloring process. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Like all the 2D works, it is a dye sublimation print on aluminum, meaning the ink and image are essentially fused into the metal, making the print color-fast and UV-resistant. It’s mounted on a thin plate of colored plexiglass and frameless, hovering slightly off the gallery wall.\u003c/p>\n\u003cp>VanDerBeek ups her transformative techniques in \u003cem>Roman Woman XVIII\u003c/em>. She’s big (48 by 66 inches), shown from the shoulders up. On a pale peach background, her skin is the color of glowing silver gelatin, her face awash in warm magenta. She’s a little blown out, contrast-wise, so that a highlight erases, a lowlight blotches. VanDerBeek shoots with film before scanning the negatives for digital editing, and the texture of the emulsion is often present in the print.\u003c/p>\n\u003cp>Her images work best by building depth of color, not depth of space. The layers of color are inextricable yet beg to be plied apart—you feel their additive weight without quite comprehending which is laid over what. You see the composite colors, the deep indigo, the magenta, like colored gels along the edges, and witness how at one stage VanDerBeek turned this woman blue, gray or purple.\u003c/p>\n\u003cp>While photographing the statues in collections and museums across Europe and the United States, VanDerBeek used only existing light, shooting from every angle. In an \u003ca href=\"https://aperture.org/blog/interview-with-sara-vanderbeek/\" rel=\"noopener\" target=\"_blank\">\u003cem>Aperture\u003c/em> interview\u003c/a>, she describes being mesmerized. \u003c/p>\n\u003cp>Her now-extensive image archive of classical and neoclassical figures began with a residency at the Fondazione Memmo in Rome in 2012. Her final prints, of inky blue torsos and enlarged silhouettes, have been shown in New York and, earlier this summer, in Minneapolis. The distortions of color and perspective are greater, however, in the work at Altman Siegel.\u003c/p>\n\u003cfigure id=\"attachment_13863252\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/04.SV_RW-X.IX_install_floor_1200.jpg\" alt=\"Sara VanDerBeek, 'Roman Woman IX' and 'Roman Woman X,' 2019.\" width=\"1200\" height=\"1600\" class=\"size-full wp-image-13863252\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/04.SV_RW-X.IX_install_floor_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/04.SV_RW-X.IX_install_floor_1200-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/04.SV_RW-X.IX_install_floor_1200-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/04.SV_RW-X.IX_install_floor_1200-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/04.SV_RW-X.IX_install_floor_1200-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/04.SV_RW-X.IX_install_floor_1200-900x1200.jpg 900w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Sara VanDerBeek, ‘Roman Woman IX’ and ‘Roman Woman X,’ 2019. \u003ccite>(Courtesy of the artist and Altman Siegel, San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Two six-foot-tall prints feature the same woman, partially effaced in the posterization, the images identical but for their inverted colors—silver and crepuscular, cloudy purple. There’s another bust in quadruplicate, and in the next room, a face cut off by the angled slant of the print. Obfuscation and repetition highlight the paucity of certainties we possess about the way our readings of images and objects come to be, about the values we receive yet treat as full and absolute. \u003c/p>\n\u003cp>VanDerBeek wraps prints around a wooden pillar and foam rollers, rendering those women visible only fractionally. She turns images into objects and objects into images, a feedback loop of references and referents, of symbols and meanings. \u003c/p>\n\u003cp>I’ve never seen an ancient statue in all its polychromatic glory (I missed \u003cem>\u003ca href=\"https://legionofhonor.famsf.org/exhibitions/gods-color-polychromy-ancient-world\" rel=\"noopener\" target=\"_blank\">Gods in Color\u003c/a>\u003c/em> at the Legion of Honor in 2017), but, by looking at \u003cem>Roman Women\u003c/em>, it’s possible to understand what it is we’re often missing in our encounters with antiquity, and other eras. \u003c/p>\n\u003cp>“This is the \u003cem>pharmakon\u003c/em>,” writes poet Lisa Roberston in her essay, “How to Colour,” “an indiscrete threshold where our bodies exchange information with an environment.” VanDerBeek’s Roman women are not just in color but in conversation with their place in the cultural imagination and historical reality; they are materially critical of their inherited significations. \u003c/p>\n\u003cp>As a photographer interested in the properties of photography—its production, reproduction and circulation—more so than its mimetic knack, VanDerBeek reminds us that the scale of space as well as time is ever fungible, that context is crucial, that viewpoint is always limited. Might an imitation of life look different than we once thought? As we reconsider the ways in which we see ourselves, we must assert that there are no givens, not anymore.\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>‘Roman Women’ is on view at Altman Siegel in San Francisco through Aug. 30. \u003ca href=\"https://altmansiegel.com/exhibitions-l/current/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Color has long been contentious—even Plato and Aristotle disagreed as to whether it helped or hindered the aim of art, which was always the imitation of nature. Color was decorative, even false, but gave painting and sculpture life, and truth. The Greeks used the word \u003cem>pharmakon\u003c/em> for paint and artificial color; it also meant drug (both poison and cure), remedy, medicine, charm and spell. Color has often been associated with the marginal, the threatening—that which is not in charge—so also: the foreign, the feminine. Its definitions have included “to hide,” “to conceal,” “a pretense”; it still means to embellish, at the very least to influence. \u003c/p>\n\u003cp>Artist Sara VanDerBeek knows that ancient Greek and Roman marble statues were originally many-colored, vibrantly painted, and that, when antique statuary was rediscovered during the Renaissance, the brilliance had largely worn away. Figures were prized above all for their (colorless) forms. Better yet, she knows that the contemporary impact of such a revelation has less to do with the reapplication of color to the statues—as some art historians are now undertaking via plaster models or projection—than with revealing the decidedly fragmentary nature of the past and its hold on us.\u003c/p>\n\u003cp>In \u003cem>\u003ca href=\"https://altmansiegel.com/exhibitions-l/current/\" rel=\"noopener\" target=\"_blank\">Roman Women\u003c/a>\u003c/em>, on view at San Francisco’s Altman Siegel gallery through Aug. 30, VanDerBeek’s saturated, synthetically colored photographic prints of Roman statues both acknowledge and render foolish our heavily conditioned assumptions about the place and virtue of unadorned white marble—and by extension the chauvinist ideals of Western empire. \u003c/p>\n\u003cp>Her vivid, all-over color images are further manipulated: cropped, duplicated, printed on flat metal plates and wrapped around three-dimensional objects. As such, they accentuate how simultaneously incomplete and pervasive our own understanding of the past can be, and challenge the legacies tied to art and to bodies, particularly women’s, inherited images so often carry.\u003c/p>\n\u003cfigure id=\"attachment_13863253\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/06.SV_RW-XXI.XII_install_1200.jpg\" alt=\"Installation view of 'Roman Women.'\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13863253\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/06.SV_RW-XXI.XII_install_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/06.SV_RW-XXI.XII_install_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/06.SV_RW-XXI.XII_install_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/06.SV_RW-XXI.XII_install_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/06.SV_RW-XXI.XII_install_1200-1020x574.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Roman Women.’ \u003ccite>(Courtesy of the artist and Altman Siegel, San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In \u003cem>Roman Woman XI\u003c/em>, at the gallery’s entrance, a bright and piercing lapis offsets a crouching, life-size woman entirely cast in deep and ethereal violet. She’s missing a portion of her head and both arms; she casts a shadow on her own thighs and gentle belly rolls. A thin purple strip along the left edge of the print hints at the meticulous coloring process. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Like all the 2D works, it is a dye sublimation print on aluminum, meaning the ink and image are essentially fused into the metal, making the print color-fast and UV-resistant. It’s mounted on a thin plate of colored plexiglass and frameless, hovering slightly off the gallery wall.\u003c/p>\n\u003cp>VanDerBeek ups her transformative techniques in \u003cem>Roman Woman XVIII\u003c/em>. She’s big (48 by 66 inches), shown from the shoulders up. On a pale peach background, her skin is the color of glowing silver gelatin, her face awash in warm magenta. She’s a little blown out, contrast-wise, so that a highlight erases, a lowlight blotches. VanDerBeek shoots with film before scanning the negatives for digital editing, and the texture of the emulsion is often present in the print.\u003c/p>\n\u003cp>Her images work best by building depth of color, not depth of space. The layers of color are inextricable yet beg to be plied apart—you feel their additive weight without quite comprehending which is laid over what. You see the composite colors, the deep indigo, the magenta, like colored gels along the edges, and witness how at one stage VanDerBeek turned this woman blue, gray or purple.\u003c/p>\n\u003cp>While photographing the statues in collections and museums across Europe and the United States, VanDerBeek used only existing light, shooting from every angle. In an \u003ca href=\"https://aperture.org/blog/interview-with-sara-vanderbeek/\" rel=\"noopener\" target=\"_blank\">\u003cem>Aperture\u003c/em> interview\u003c/a>, she describes being mesmerized. \u003c/p>\n\u003cp>Her now-extensive image archive of classical and neoclassical figures began with a residency at the Fondazione Memmo in Rome in 2012. Her final prints, of inky blue torsos and enlarged silhouettes, have been shown in New York and, earlier this summer, in Minneapolis. The distortions of color and perspective are greater, however, in the work at Altman Siegel.\u003c/p>\n\u003cfigure id=\"attachment_13863252\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/04.SV_RW-X.IX_install_floor_1200.jpg\" alt=\"Sara VanDerBeek, 'Roman Woman IX' and 'Roman Woman X,' 2019.\" width=\"1200\" height=\"1600\" class=\"size-full wp-image-13863252\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/04.SV_RW-X.IX_install_floor_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/04.SV_RW-X.IX_install_floor_1200-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/04.SV_RW-X.IX_install_floor_1200-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/04.SV_RW-X.IX_install_floor_1200-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/04.SV_RW-X.IX_install_floor_1200-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/04.SV_RW-X.IX_install_floor_1200-900x1200.jpg 900w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Sara VanDerBeek, ‘Roman Woman IX’ and ‘Roman Woman X,’ 2019. \u003ccite>(Courtesy of the artist and Altman Siegel, San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Two six-foot-tall prints feature the same woman, partially effaced in the posterization, the images identical but for their inverted colors—silver and crepuscular, cloudy purple. There’s another bust in quadruplicate, and in the next room, a face cut off by the angled slant of the print. Obfuscation and repetition highlight the paucity of certainties we possess about the way our readings of images and objects come to be, about the values we receive yet treat as full and absolute. \u003c/p>\n\u003cp>VanDerBeek wraps prints around a wooden pillar and foam rollers, rendering those women visible only fractionally. She turns images into objects and objects into images, a feedback loop of references and referents, of symbols and meanings. \u003c/p>\n\u003cp>I’ve never seen an ancient statue in all its polychromatic glory (I missed \u003cem>\u003ca href=\"https://legionofhonor.famsf.org/exhibitions/gods-color-polychromy-ancient-world\" rel=\"noopener\" target=\"_blank\">Gods in Color\u003c/a>\u003c/em> at the Legion of Honor in 2017), but, by looking at \u003cem>Roman Women\u003c/em>, it’s possible to understand what it is we’re often missing in our encounters with antiquity, and other eras. \u003c/p>\n\u003cp>“This is the \u003cem>pharmakon\u003c/em>,” writes poet Lisa Roberston in her essay, “How to Colour,” “an indiscrete threshold where our bodies exchange information with an environment.” VanDerBeek’s Roman women are not just in color but in conversation with their place in the cultural imagination and historical reality; they are materially critical of their inherited significations. \u003c/p>\n\u003cp>As a photographer interested in the properties of photography—its production, reproduction and circulation—more so than its mimetic knack, VanDerBeek reminds us that the scale of space as well as time is ever fungible, that context is crucial, that viewpoint is always limited. Might an imitation of life look different than we once thought? As we reconsider the ways in which we see ourselves, we must assert that there are no givens, not anymore.\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>‘Roman Women’ is on view at Altman Siegel in San Francisco through Aug. 30. \u003ca href=\"https://altmansiegel.com/exhibitions-l/current/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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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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},
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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"link": "/radio/program/reveal",
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"rss": "http://feeds.revealradio.org/revealpodcast"
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
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