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"content": "\u003cp>There’s something classically San Francisco about the Market Street storefront currently occupied by the gallery \u003ca href=\"https://www.kqed.org/arts/13966213/call-of-the-void-laura-rokas-erik-bender-1599fdt\">1599fdT\u003c/a>. Narrow and long, with unnecessarily high ceilings, the space is an ad hoc assemblage of inexplicable architectural details.\u003c/p>\n\u003cp>Above the entry, an angular arch of windows is abbreviated six panes into its expected eight. At the back of the gallery, the ceiling suddenly drops to a meager six feet, creating a cave-like zone for owner and director Facundo Argañaraz during his Friday and Saturday open hours.\u003c/p>\n\u003cp>These physical quirks are well met by \u003ci>\u003ca href=\"https://www.1599fdt.com/alexander-wolff\">Dimensions Variable\u003c/a>\u003c/i>, an exhibition of late-2000s work by the Berlin artist Alexander Wolff. Wolff’s painted and dyed pieces on cotton, canvas and linen are endlessly modular. Made up of three to eight separate sections, they fasten together with buttons, Velcro and safety pins.\u003c/p>\n\u003cfigure id=\"attachment_13980684\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/ALEXANDER-WOLFF-1599-FDT64_2000.jpg\" alt=\"red and white striped shaped textile piece and vertical dark gray striped rectangle on wall\" width=\"2000\" height=\"1335\" class=\"size-full wp-image-13980684\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/ALEXANDER-WOLFF-1599-FDT64_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/ALEXANDER-WOLFF-1599-FDT64_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/ALEXANDER-WOLFF-1599-FDT64_2000-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/ALEXANDER-WOLFF-1599-FDT64_2000-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Alexander Wolff, ‘Détournement,’ 2007 (left) and ‘Détournement,’ 2007 (right). \u003ccite>(Courtesy of the artist and 1599fdT)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When the entire show of eight pieces arrived in one small carry-on bag, Argañaraz thought it would be an easy hang. But some of the best things take time. Two days of unfolding and repositioning later, the final presentation of \u003ci>Dimensions Variable\u003c/i> fits within 1599fdT like another layer of paint, gracefully arranging itself along the gallery’s vertical planes.\u003c/p>\n\u003cp>Actually, “final presentation” isn’t quite accurate. These works could change yet again. The dimensions are very variable.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>One of three pieces titled \u003ci>Détournement\u003c/i> is a case in point. The show’s brightest work, it channels Italian beach umbrellas with red-and-white striped sections. It’s displayed at 1599fdT in a splayed shape, almost like an animal skin hanging on the wall. But on the image list, it resembles an open-bottomed rectangle, its striped and solid sections creating their own repeating U-shaped pattern. With just a few moves, this artwork has assumed a different character altogether.\u003c/p>\n\u003cfigure id=\"attachment_13980683\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/ALEXANDER-WOLFF-1599-FDT40_2000.jpg\" alt=\"corner of gallery with horizontal tan and white piece over desk, square striped piece at right\" width=\"2000\" height=\"1335\" class=\"size-full wp-image-13980683\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/ALEXANDER-WOLFF-1599-FDT40_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/ALEXANDER-WOLFF-1599-FDT40_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/ALEXANDER-WOLFF-1599-FDT40_2000-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/ALEXANDER-WOLFF-1599-FDT40_2000-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Alexander Wolff, ‘Safety Pins,’ 2009 (left) and ‘Détournement,’ 2007 (right). \u003ccite>(Courtesy of the artist and 1599fdT)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Imagine changing an outfit completely while wearing the exact same clothes.\u003c/p>\n\u003cp>\u003ci>Safety Pins\u003c/i>, hanging over the gallery desk thanks to that low, low ceiling, becomes horizontal in this staging. Its overlapping sections of siena brown and splotchy gray are arranged in up-down crenelations, forming a kind of abstract landscape. On the image list it contracts into a solid siena box, the gray sections now reading like tire tracks extending outward.\u003c/p>\n\u003cp>In Wolff’s hands, rectilinear, raw-edged pieces of cloth become building blocks, responding to and acting on the odd architecture that surrounds them. And at 1599fdT, rectangles abound: a deep nook by the front window, a slight relief on one wall that meets the ceiling, the thick bump-out of a column that conceals the art that hangs behind it.\u003c/p>\n\u003cp>That semi-hidden piece is revealed as another \u003ci>Détournement\u003c/i>, a showstopper of grayscale stripes arranged around a dark starburst, everything connected with large, costume jewelry–like gold buttons.\u003c/p>\n\u003cfigure id=\"attachment_13980681\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/ALEXANDER-WOLFF-1599-FDT08_2000.jpg\" alt=\"view of corner of gallery with two multi-sectioned textile works in muted grayscale, peek of front window\" width=\"2000\" height=\"1335\" class=\"size-full wp-image-13980681\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/ALEXANDER-WOLFF-1599-FDT08_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/ALEXANDER-WOLFF-1599-FDT08_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/ALEXANDER-WOLFF-1599-FDT08_2000-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/ALEXANDER-WOLFF-1599-FDT08_2000-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Alexander Wolff, ‘Non Commodity,’ 2008 (left) and ‘Détournement,’ 2007 (right). \u003ccite>(Courtesy of the artist and 1599fdT)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Comparing the show’s image list to the works’ current orientation becomes a bit of a game. This one has stretched into a solid vertical. That one has flipped on its axis, fitting perfectly over that slight relief.\u003c/p>\n\u003cp>There are so many ways this show could have been put together, and yet it feels as if it is the perfect show for this particular space. This storefront is itself just one iteration of 1599fdT, which has existed, at different times, at 1599 Tennessee St., 620 Kearny St. and now, 1912 Market St.\u003c/p>\n\u003cp>Some day, 1912 Market St. will become the container for something else, and another tenant will grapple with the puzzle of who cut up this storefront, and why. But I can’t imagine it holding anything quite like this show: a perfect representation of the shape-shifting flexibility that’s required to inhabit — and succeed in — a city.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://www.1599fdt.com/alexander-wolff\">Dimensions Variable\u003c/a>’ is on view through Sept. 20, 2025 at 15599fdT (1912 Market St.).\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There’s something classically San Francisco about the Market Street storefront currently occupied by the gallery \u003ca href=\"https://www.kqed.org/arts/13966213/call-of-the-void-laura-rokas-erik-bender-1599fdt\">1599fdT\u003c/a>. Narrow and long, with unnecessarily high ceilings, the space is an ad hoc assemblage of inexplicable architectural details.\u003c/p>\n\u003cp>Above the entry, an angular arch of windows is abbreviated six panes into its expected eight. At the back of the gallery, the ceiling suddenly drops to a meager six feet, creating a cave-like zone for owner and director Facundo Argañaraz during his Friday and Saturday open hours.\u003c/p>\n\u003cp>These physical quirks are well met by \u003ci>\u003ca href=\"https://www.1599fdt.com/alexander-wolff\">Dimensions Variable\u003c/a>\u003c/i>, an exhibition of late-2000s work by the Berlin artist Alexander Wolff. Wolff’s painted and dyed pieces on cotton, canvas and linen are endlessly modular. Made up of three to eight separate sections, they fasten together with buttons, Velcro and safety pins.\u003c/p>\n\u003cfigure id=\"attachment_13980684\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/ALEXANDER-WOLFF-1599-FDT64_2000.jpg\" alt=\"red and white striped shaped textile piece and vertical dark gray striped rectangle on wall\" width=\"2000\" height=\"1335\" class=\"size-full wp-image-13980684\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/ALEXANDER-WOLFF-1599-FDT64_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/ALEXANDER-WOLFF-1599-FDT64_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/ALEXANDER-WOLFF-1599-FDT64_2000-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/ALEXANDER-WOLFF-1599-FDT64_2000-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Alexander Wolff, ‘Détournement,’ 2007 (left) and ‘Détournement,’ 2007 (right). \u003ccite>(Courtesy of the artist and 1599fdT)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When the entire show of eight pieces arrived in one small carry-on bag, Argañaraz thought it would be an easy hang. But some of the best things take time. Two days of unfolding and repositioning later, the final presentation of \u003ci>Dimensions Variable\u003c/i> fits within 1599fdT like another layer of paint, gracefully arranging itself along the gallery’s vertical planes.\u003c/p>\n\u003cp>Actually, “final presentation” isn’t quite accurate. These works could change yet again. The dimensions are very variable.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>One of three pieces titled \u003ci>Détournement\u003c/i> is a case in point. The show’s brightest work, it channels Italian beach umbrellas with red-and-white striped sections. It’s displayed at 1599fdT in a splayed shape, almost like an animal skin hanging on the wall. But on the image list, it resembles an open-bottomed rectangle, its striped and solid sections creating their own repeating U-shaped pattern. With just a few moves, this artwork has assumed a different character altogether.\u003c/p>\n\u003cfigure id=\"attachment_13980683\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/ALEXANDER-WOLFF-1599-FDT40_2000.jpg\" alt=\"corner of gallery with horizontal tan and white piece over desk, square striped piece at right\" width=\"2000\" height=\"1335\" class=\"size-full wp-image-13980683\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/ALEXANDER-WOLFF-1599-FDT40_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/ALEXANDER-WOLFF-1599-FDT40_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/ALEXANDER-WOLFF-1599-FDT40_2000-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/ALEXANDER-WOLFF-1599-FDT40_2000-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Alexander Wolff, ‘Safety Pins,’ 2009 (left) and ‘Détournement,’ 2007 (right). \u003ccite>(Courtesy of the artist and 1599fdT)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Imagine changing an outfit completely while wearing the exact same clothes.\u003c/p>\n\u003cp>\u003ci>Safety Pins\u003c/i>, hanging over the gallery desk thanks to that low, low ceiling, becomes horizontal in this staging. Its overlapping sections of siena brown and splotchy gray are arranged in up-down crenelations, forming a kind of abstract landscape. On the image list it contracts into a solid siena box, the gray sections now reading like tire tracks extending outward.\u003c/p>\n\u003cp>In Wolff’s hands, rectilinear, raw-edged pieces of cloth become building blocks, responding to and acting on the odd architecture that surrounds them. And at 1599fdT, rectangles abound: a deep nook by the front window, a slight relief on one wall that meets the ceiling, the thick bump-out of a column that conceals the art that hangs behind it.\u003c/p>\n\u003cp>That semi-hidden piece is revealed as another \u003ci>Détournement\u003c/i>, a showstopper of grayscale stripes arranged around a dark starburst, everything connected with large, costume jewelry–like gold buttons.\u003c/p>\n\u003cfigure id=\"attachment_13980681\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/ALEXANDER-WOLFF-1599-FDT08_2000.jpg\" alt=\"view of corner of gallery with two multi-sectioned textile works in muted grayscale, peek of front window\" width=\"2000\" height=\"1335\" class=\"size-full wp-image-13980681\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/ALEXANDER-WOLFF-1599-FDT08_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/ALEXANDER-WOLFF-1599-FDT08_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/ALEXANDER-WOLFF-1599-FDT08_2000-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/ALEXANDER-WOLFF-1599-FDT08_2000-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Alexander Wolff, ‘Non Commodity,’ 2008 (left) and ‘Détournement,’ 2007 (right). \u003ccite>(Courtesy of the artist and 1599fdT)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Comparing the show’s image list to the works’ current orientation becomes a bit of a game. This one has stretched into a solid vertical. That one has flipped on its axis, fitting perfectly over that slight relief.\u003c/p>\n\u003cp>There are so many ways this show could have been put together, and yet it feels as if it is the perfect show for this particular space. This storefront is itself just one iteration of 1599fdT, which has existed, at different times, at 1599 Tennessee St., 620 Kearny St. and now, 1912 Market St.\u003c/p>\n\u003cp>Some day, 1912 Market St. will become the container for something else, and another tenant will grapple with the puzzle of who cut up this storefront, and why. But I can’t imagine it holding anything quite like this show: a perfect representation of the shape-shifting flexibility that’s required to inhabit — and succeed in — a city.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://www.1599fdt.com/alexander-wolff\">Dimensions Variable\u003c/a>’ is on view through Sept. 20, 2025 at 15599fdT (1912 Market St.).\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Foldable, portable art. In practice, it sounds like a great idea. A handle here, a hinge there, a locking mechanism to keep everything in place while you’re on the move. Can’t bear to be parted from a piece of art? Take it with you!\u003c/p>\n\u003cp>That’s conceivably what Carlos Villa was going for when he created the pieces on view in Cushion Works’ \u003ci>\u003ca href=\"https://www.cushionworks.info/exhibitions/carlos-villa\">The Code\u003c/a>\u003c/i>, a show of sculptural paintings made toward the end of the San Francisco artist’s life. These are artworks that come complete with their own crates — or rather, they \u003ci>are\u003c/i> crates.\u003c/p>\n\u003cp>However, this may be the most difficult-to-transport art shown in Cushion Works’ history. Villa’s weighty, large-scale contraptions, slim as suitcases but made out of heavy-duty wood and plywood, hinge open to reveal maps of angled scratches, grids of painted panels and minimalist rectangles in relief.\u003c/p>\n\u003cfigure id=\"attachment_13980129\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/CW-VILLA_11_2000.jpg\" alt=\"two hinged wooden painted sculptures in gallery, one behind column\" width=\"2000\" height=\"1334\" class=\"size-full wp-image-13980129\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/CW-VILLA_11_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/CW-VILLA_11_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/CW-VILLA_11_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/CW-VILLA_11_2000-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Carlos Villa: The Code’ at with ‘The Code’ (2003) at left and ‘All Tony at the Bonton’ (2011) at right. \u003ccite>(Phillip Maisel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>They splay out at angles across the gallery’s two spaces like giant board books. Others hang from the wall on cleats, their “lids” left free. Those familiar with Villa’s career, either from his long time in the Bay Area as an artist and educator — or from the recent \u003ca href=\"https://exhibitions.asianart.org/exhibitions/carlos-villa-worlds-in-collision/\">Asian Art Museum\u003c/a> and \u003ca href=\"https://www.sfartscommission.org/experience-art/exhibitions/carlos-villa-roots-and-reinvention\">San Francisco Arts Commission\u003c/a> retrospectives — may be surprised by this work, which is so minimal, so pared down, it’s difficult to reconcile with the artist’s better-known feathered capes, swirl-covered canvasses and performances.\u003c/p>\n\u003cp>The strange shock of \u003ci>The Code\u003c/i> partly comes from not seeing anything like this en masse before, or at least in a long while. The entire series appeared together in the 2011 Mission Cultural Center show \u003ci>\u003ca href=\"https://carlos-villa.com/press/cement_preview_villa.pdf\">Manongs, Some Doors and a Bouquet of Crates\u003c/a>\u003c/i>, and then never again. Villa died in 2013. \u003c/p>\n\u003cp>What is this “bouquet of crates,” then? The artwork’s titles do little to shed light on their meaning: \u003ci>Gemini-Scream\u003c/i>, \u003ci>All Tony at the Bonton\u003c/i>, \u003ci>Art of the Deal / Title One\u003c/i>. (In this Cushion Works presentation, the 2003 piece \u003ci>The Code\u003c/i> is particularly coy, half-slid behind a gallery column.) \u003c/p>\n\u003cfigure id=\"attachment_13980130\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/CW-VILLA_15_2000.jpg\" alt=\"gallery view with wooden flap at left and large orange-painted hinged sculpture at right\" width=\"2000\" height=\"1334\" class=\"size-full wp-image-13980130\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/CW-VILLA_15_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/CW-VILLA_15_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/CW-VILLA_15_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/CW-VILLA_15_2000-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Carlos Villa: The Code’ with ‘Art of the Deal / Title Two’ (date unknown) at left and ‘Orange-A-Boom’ (2010) on the right. \u003ccite>(Phillip Maisel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The bigger pieces open to become protective screens. But their other state — folded up, clasped shut, lips zipped — is just a swing of a hinge away. \u003ci>Orange-A-Boom\u003c/i>, in particular, could hold a lot of secrets. Standing six feet tall and 60 inches wide (that is, when it’s closed), one side of its interior is covered in scratched striations. The other side is solidly orange, with a postage stamp of white at its center. \u003c/p>\n\u003cp>Closed, \u003ci>Orange-A-Boom\u003c/i>’s electric orange-ness would be nearly completely concealed, save for a matching postage-stamp-sized square of orange on its exterior. Many of the pieces provide a sampler of their interiors on their faces: a black rectangle, a square-edged yellow ring.\u003c/p>\n\u003cp>Hanging near \u003ci>Orange-A-Boom\u003c/i>, \u003ci>Art of the Deal / Title Two\u003c/i> bears its title on metal labels. It opens like an altarpiece, two flaps hinging out two reveal a wide, light-yellow relief that verges on Day-Glo. Rectangular blocks arranged in a four-by-four grid pop out at different depths. These are the depressed buttons of some mysterious businesslike machine, a stretched-out Sol LeWitt.\u003c/p>\n\u003cp>In all their material heft and decorative restraint, these late-in-life works are a reminder that no artist, particularly one as accomplished and omnivorous as Carlos Villa, can be represented by a single body of work.\u003c/p>\n\u003cp>Instead of seeking answers from \u003ci>The Code\u003c/i>, what a delight it is, instead, to surrender to its angles. Here, Villa makes us all performers. Weaving, crouching, peering and puzzling our way through the show, the code remains unbroken.\u003c/p>\n\u003chr>\n\u003cp>\u003ci>‘\u003ca href=\"https://www.cushionworks.info/exhibitions/carlos-villa\">Carlos Villa: The Code\u003c/a>’ is on view through Sept. 6, 2025 at Cushion Works (3320 18th St., San Francisco).\u003c/i> \u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Foldable, portable art. In practice, it sounds like a great idea. A handle here, a hinge there, a locking mechanism to keep everything in place while you’re on the move. Can’t bear to be parted from a piece of art? Take it with you!\u003c/p>\n\u003cp>That’s conceivably what Carlos Villa was going for when he created the pieces on view in Cushion Works’ \u003ci>\u003ca href=\"https://www.cushionworks.info/exhibitions/carlos-villa\">The Code\u003c/a>\u003c/i>, a show of sculptural paintings made toward the end of the San Francisco artist’s life. These are artworks that come complete with their own crates — or rather, they \u003ci>are\u003c/i> crates.\u003c/p>\n\u003cp>However, this may be the most difficult-to-transport art shown in Cushion Works’ history. Villa’s weighty, large-scale contraptions, slim as suitcases but made out of heavy-duty wood and plywood, hinge open to reveal maps of angled scratches, grids of painted panels and minimalist rectangles in relief.\u003c/p>\n\u003cfigure id=\"attachment_13980129\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/CW-VILLA_11_2000.jpg\" alt=\"two hinged wooden painted sculptures in gallery, one behind column\" width=\"2000\" height=\"1334\" class=\"size-full wp-image-13980129\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/CW-VILLA_11_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/CW-VILLA_11_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/CW-VILLA_11_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/CW-VILLA_11_2000-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Carlos Villa: The Code’ at with ‘The Code’ (2003) at left and ‘All Tony at the Bonton’ (2011) at right. \u003ccite>(Phillip Maisel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>They splay out at angles across the gallery’s two spaces like giant board books. Others hang from the wall on cleats, their “lids” left free. Those familiar with Villa’s career, either from his long time in the Bay Area as an artist and educator — or from the recent \u003ca href=\"https://exhibitions.asianart.org/exhibitions/carlos-villa-worlds-in-collision/\">Asian Art Museum\u003c/a> and \u003ca href=\"https://www.sfartscommission.org/experience-art/exhibitions/carlos-villa-roots-and-reinvention\">San Francisco Arts Commission\u003c/a> retrospectives — may be surprised by this work, which is so minimal, so pared down, it’s difficult to reconcile with the artist’s better-known feathered capes, swirl-covered canvasses and performances.\u003c/p>\n\u003cp>The strange shock of \u003ci>The Code\u003c/i> partly comes from not seeing anything like this en masse before, or at least in a long while. The entire series appeared together in the 2011 Mission Cultural Center show \u003ci>\u003ca href=\"https://carlos-villa.com/press/cement_preview_villa.pdf\">Manongs, Some Doors and a Bouquet of Crates\u003c/a>\u003c/i>, and then never again. Villa died in 2013. \u003c/p>\n\u003cp>What is this “bouquet of crates,” then? The artwork’s titles do little to shed light on their meaning: \u003ci>Gemini-Scream\u003c/i>, \u003ci>All Tony at the Bonton\u003c/i>, \u003ci>Art of the Deal / Title One\u003c/i>. (In this Cushion Works presentation, the 2003 piece \u003ci>The Code\u003c/i> is particularly coy, half-slid behind a gallery column.) \u003c/p>\n\u003cfigure id=\"attachment_13980130\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/CW-VILLA_15_2000.jpg\" alt=\"gallery view with wooden flap at left and large orange-painted hinged sculpture at right\" width=\"2000\" height=\"1334\" class=\"size-full wp-image-13980130\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/CW-VILLA_15_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/CW-VILLA_15_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/CW-VILLA_15_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/CW-VILLA_15_2000-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Carlos Villa: The Code’ with ‘Art of the Deal / Title Two’ (date unknown) at left and ‘Orange-A-Boom’ (2010) on the right. \u003ccite>(Phillip Maisel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The bigger pieces open to become protective screens. But their other state — folded up, clasped shut, lips zipped — is just a swing of a hinge away. \u003ci>Orange-A-Boom\u003c/i>, in particular, could hold a lot of secrets. Standing six feet tall and 60 inches wide (that is, when it’s closed), one side of its interior is covered in scratched striations. The other side is solidly orange, with a postage stamp of white at its center. \u003c/p>\n\u003cp>Closed, \u003ci>Orange-A-Boom\u003c/i>’s electric orange-ness would be nearly completely concealed, save for a matching postage-stamp-sized square of orange on its exterior. Many of the pieces provide a sampler of their interiors on their faces: a black rectangle, a square-edged yellow ring.\u003c/p>\n\u003cp>Hanging near \u003ci>Orange-A-Boom\u003c/i>, \u003ci>Art of the Deal / Title Two\u003c/i> bears its title on metal labels. It opens like an altarpiece, two flaps hinging out two reveal a wide, light-yellow relief that verges on Day-Glo. Rectangular blocks arranged in a four-by-four grid pop out at different depths. These are the depressed buttons of some mysterious businesslike machine, a stretched-out Sol LeWitt.\u003c/p>\n\u003cp>In all their material heft and decorative restraint, these late-in-life works are a reminder that no artist, particularly one as accomplished and omnivorous as Carlos Villa, can be represented by a single body of work.\u003c/p>\n\u003cp>Instead of seeking answers from \u003ci>The Code\u003c/i>, what a delight it is, instead, to surrender to its angles. Here, Villa makes us all performers. Weaving, crouching, peering and puzzling our way through the show, the code remains unbroken.\u003c/p>\n\u003chr>\n\u003cp>\u003ci>‘\u003ca href=\"https://www.cushionworks.info/exhibitions/carlos-villa\">Carlos Villa: The Code\u003c/a>’ is on view through Sept. 6, 2025 at Cushion Works (3320 18th St., San Francisco).\u003c/i> \u003c/p>\n\u003c/div>\u003c/p>",
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"slug": "pao-houa-her-imaginative-landscape-san-jose-museum-of-art-review",
"title": "Pao Houa Her’s Images Capture the Impossibly Complex Idea of Home",
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"content": "\u003cp>You might encounter the art before you even reach \u003ca href=\"https://www.kqed.org/arts/tag/san-jose-museum-of-art\">the museum\u003c/a>. Wheatpasted images from \u003cem>\u003ca href=\"https://sjmusart.org/exhibition/pao-houa-her-imaginative-landscape\">Pao Houa Her: The Imaginative Landscape\u003c/a>\u003c/em>, Her’s first major survey — and first California show ever — can be found throughout downtown San José. They appear on the plywood covering a parking garage’s wall, on a temporary barrier at a construction site, and on abandoned storefronts. \u003c/p>\n\u003cp>If images dispersed across disused spaces resemble a diaspora, that’s intentional. Diaspora and how we construct homeland from a distance is the heart of \u003cem>The Imaginative Landscape\u003c/em>, co-organized and simultaneously co-presented by the San José Museum of Art and the \u003ca href=\"https://www.jmkac.org/exhibition/pao-houa-her-the-imaginative-landscape/\">John Michael Kohler Arts Center\u003c/a> in Sheboygan, Wisconsin. \u003c/p>\n\u003cp>Shortly after Pao Houa Her was born in 1982 in northern Laos, her parents fled the ongoing violence from “the American War” (aka the Vietnam War) by heading into the jungle with their firstborn silenced with opium for safety and their second child on the way. Prior to immigrating to Minnesota in 1986, Her’s family spent a year in three refugee camps in Thailand, where they decorated the makeshift walls with wheatpasted images. \u003c/p>\n\u003cfigure id=\"attachment_13980098\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/pao-houa-her-the-imaginative-landscape-downtown-san-jos_54691483363_o_2000.jpg\" alt=\"color images on red wall with person pushing stroller by\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13980098\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/pao-houa-her-the-imaginative-landscape-downtown-san-jos_54691483363_o_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/pao-houa-her-the-imaginative-landscape-downtown-san-jos_54691483363_o_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/pao-houa-her-the-imaginative-landscape-downtown-san-jos_54691483363_o_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/pao-houa-her-the-imaginative-landscape-downtown-san-jos_54691483363_o_2000-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Work from ‘Pao Houa Her: The Imaginative Landscape’ wheatpasted in downtown San José. \u003ccite>(SJMA/Frederick Liang)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>The Imaginative Landscape\u003c/em> is a beautiful show, but it’s not a simple one. Her’s photographs of Mount Shasta, Laotian jungles, Hmong elders and her own family play with reality and artifice. The artist tips her hand constantly. Visible grommets on a backdrop confess photos were made in a studio, not on location. Living plants commingle with plastic flowers bearing a telltale reflective sheen. Longing suffuses the exhibition, but it’s a longing that recognizes “the homeland is not a reality,” as Her told KQED. \u003c/p>\n\u003cp>“[Her] draws attention to the constructedness of the image,” explains chief curator and interim co-director Lauren Schell Dickens. They are “an analysis of how the Hmong diaspora is constructing homeland,” she says. It’s a sophisticated distinction. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Obtaining an actual homeland tempted Hmong elders so strongly, 400 of them invested in a swindler’s promise to establish a physical “\u003ca href=\"https://www.mprnews.org/story/2016/03/29/man-charged-fraud-scheme-hmong-homeland\">Hmong Country\u003c/a>” in Southeast Asia from 2014 to 2016. FBI charges didn’t diminish the longing; the elders kept giving the con man money. In a series titled \u003cem>After the Fall of Hmong Teb Chaw\u003c/em>, Her alternates portraits of donors at the Hmong Elders Center in Saint Paul, Minnesota with photos of lush tropical plants taken in the Como Park Conservatory, where Her’s family visited on wintery days for a touch of equatorial warmth. \u003c/p>\n\u003cfigure id=\"attachment_13980095\" class=\"wp-caption aligncenter\" style=\"max-width: 1032px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/pao-houa-her_untitled_mt-shasta-series_2021-22_54253989837_o.jpg\" alt=\"black-and-white image of landscape with path and hose\" width=\"1032\" height=\"825\" class=\"size-full wp-image-13980095\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/pao-houa-her_untitled_mt-shasta-series_2021-22_54253989837_o.jpg 1032w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/pao-houa-her_untitled_mt-shasta-series_2021-22_54253989837_o-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/pao-houa-her_untitled_mt-shasta-series_2021-22_54253989837_o-768x614.jpg 768w\" sizes=\"auto, (max-width: 1032px) 100vw, 1032px\">\u003cfigcaption class=\"wp-caption-text\">Pao Houa Her, untitled from ‘Mt. Shasta’ series, 2021–22; Light box, 52 x 65 inches. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If Her had been with Dorothy as she heel-clicked “there’s no place like home,” she might have told the Kansas farmgirl it’s more complicated than that. \u003c/p>\n\u003cp>Pushed out of China by Qing dynasty reforms in the 18th century, the Hmong dispersed to Southeast Asia. Unwelcome in the cities, the Hmong were given inhospitable land in northern Laos where they flourished by growing opium poppies. Her sees the contemporary Hmong community of marijuana cultivators around Mount Shasta as a “repeated history.” \u003c/p>\n\u003cp>At the museum, three images of Mount Shasta shine on wall-mounted lightboxes. The bright medium of bus stop and mall advertisements modernizes Manifest Destiny imagery that encouraged would-be settlers to move West. Her’s black-and-white photos invoke a past era, though their crispness discloses their modern origins. In their desolation, the arid landscapes promise a future to diasporic communities: these are spaces unwanted by dominant groups. \u003c/p>\n\u003cfigure id=\"attachment_13980096\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/sjma_paohouaher_7-14-25_015_54692349040_o.jpg\" alt=\"three large color photographs of lush forest in gallery\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13980096\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/sjma_paohouaher_7-14-25_015_54692349040_o.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/sjma_paohouaher_7-14-25_015_54692349040_o-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/sjma_paohouaher_7-14-25_015_54692349040_o-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/sjma_paohouaher_7-14-25_015_54692349040_o-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Pao Houa Her: The Imaginative Landscape’ at the San José Museum of Art, with images from the ‘Pictures of Paradise’ series. \u003ccite>(Glen Cheriton)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Three verdant unmarked landscapes from Her’s \u003cem>\u003ca href=\"https://www.thomasstruth32.com/smallsize/photographs/new_pictures_from_paradise/index.html\">Pictures of Paradise\u003c/a>\u003c/em> series, displayed for the first time, commemorate sections of the Laotian jungle where specific life moments occurred while Her’s family hid from violence. The title riffs on Thomas Struth’s \u003cem>\u003ca href=\"https://www.thomasstruth32.com/smallsize/photographs/new_pictures_from_paradise/index.html\">New Pictures from Paradise\u003c/a>\u003c/em>, a series the German photographer described as “ahistorical.” Her’s photographs of where her grandmother got sick and where her cousin was born counter colonial myths of “untouched” lands. The lenticular photography shifts the image as the viewer moves; stable knowledge eludes us. \u003c/p>\n\u003cp>Photography has always given the impression of truth. “Pics or it didn’t happen” is a common refrain, but photography and duplicity have existed in tandem since the beginning of the medium. The exhibition title \u003cem>Imaginative Landscape\u003c/em> is borrowed from \u003ca href=\"https://press.princeton.edu/books/hardcover/9780691629032/the-imaginative-landscape-of-christopher-columbus?srsltid=AfmBOopDDiEtgaI4EOUX-ADsH89D144lRzwKJKxyuA78tGboYiq9vHNM\">Valerie Flint’s research\u003c/a> on Christopher Columbus’ imagined — and highly erroneous — ideas of the West Indies. Her asks us to be aware of contrivance by divulging the artifice of the images she displays. \u003c/p>\n\u003cfigure id=\"attachment_13980099\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/sjma_paohouaher_7-14-25_010_54692237418_o.jpg\" alt=\"large freestanding backdrop with image of California poppies, fake flowers dangling on either side\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13980099\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/sjma_paohouaher_7-14-25_010_54692237418_o.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/sjma_paohouaher_7-14-25_010_54692237418_o-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/sjma_paohouaher_7-14-25_010_54692237418_o-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/sjma_paohouaher_7-14-25_010_54692237418_o-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Pao Houa Her: The Imaginative Landscape’ at the San José Museum of Art. \u003ccite>(Glen Cheriton)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There’s a reason Her begins and ends the exhibit with the apparatus of photographic image-making. Entering the show, you immediately face a vinyl studio backdrop that itself pictures two photographed backdrops, one overlapping the other on its flat printed surface. A metal stand, the sort used for “Please wait here” restaurant signs, is positioned in front, bearing the portrait of a Hmong woman against a brick wall.\u003c/p>\n\u003cp>It gets more meta upon exiting. The reverse of the installation shows a field of orange California poppies growing in the Sierras under a brilliant blue sky. The pictured native California flowers are framed by fake, but three-dimensional, oriental poppies hanging on either side. A bench suggests you sit and pose for your own artificial image of homeland.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://sjmusart.org/exhibition/pao-houa-her-imaginative-landscape\">Pao Houa Her: The Imaginative Landscape\u003c/a>’ is on view through Feb. 22, 2026 at the San José Museum of Art (110 South Market St., San José).\u003c/i>\u003c/p>\n\n",
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"title": "‘The Imaginative Landscape’: Pao Houa Her’s Complex Images | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>You might encounter the art before you even reach \u003ca href=\"https://www.kqed.org/arts/tag/san-jose-museum-of-art\">the museum\u003c/a>. Wheatpasted images from \u003cem>\u003ca href=\"https://sjmusart.org/exhibition/pao-houa-her-imaginative-landscape\">Pao Houa Her: The Imaginative Landscape\u003c/a>\u003c/em>, Her’s first major survey — and first California show ever — can be found throughout downtown San José. They appear on the plywood covering a parking garage’s wall, on a temporary barrier at a construction site, and on abandoned storefronts. \u003c/p>\n\u003cp>If images dispersed across disused spaces resemble a diaspora, that’s intentional. Diaspora and how we construct homeland from a distance is the heart of \u003cem>The Imaginative Landscape\u003c/em>, co-organized and simultaneously co-presented by the San José Museum of Art and the \u003ca href=\"https://www.jmkac.org/exhibition/pao-houa-her-the-imaginative-landscape/\">John Michael Kohler Arts Center\u003c/a> in Sheboygan, Wisconsin. \u003c/p>\n\u003cp>Shortly after Pao Houa Her was born in 1982 in northern Laos, her parents fled the ongoing violence from “the American War” (aka the Vietnam War) by heading into the jungle with their firstborn silenced with opium for safety and their second child on the way. Prior to immigrating to Minnesota in 1986, Her’s family spent a year in three refugee camps in Thailand, where they decorated the makeshift walls with wheatpasted images. \u003c/p>\n\u003cfigure id=\"attachment_13980098\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/pao-houa-her-the-imaginative-landscape-downtown-san-jos_54691483363_o_2000.jpg\" alt=\"color images on red wall with person pushing stroller by\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13980098\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/pao-houa-her-the-imaginative-landscape-downtown-san-jos_54691483363_o_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/pao-houa-her-the-imaginative-landscape-downtown-san-jos_54691483363_o_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/pao-houa-her-the-imaginative-landscape-downtown-san-jos_54691483363_o_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/pao-houa-her-the-imaginative-landscape-downtown-san-jos_54691483363_o_2000-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Work from ‘Pao Houa Her: The Imaginative Landscape’ wheatpasted in downtown San José. \u003ccite>(SJMA/Frederick Liang)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>The Imaginative Landscape\u003c/em> is a beautiful show, but it’s not a simple one. Her’s photographs of Mount Shasta, Laotian jungles, Hmong elders and her own family play with reality and artifice. The artist tips her hand constantly. Visible grommets on a backdrop confess photos were made in a studio, not on location. Living plants commingle with plastic flowers bearing a telltale reflective sheen. Longing suffuses the exhibition, but it’s a longing that recognizes “the homeland is not a reality,” as Her told KQED. \u003c/p>\n\u003cp>“[Her] draws attention to the constructedness of the image,” explains chief curator and interim co-director Lauren Schell Dickens. They are “an analysis of how the Hmong diaspora is constructing homeland,” she says. It’s a sophisticated distinction. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Obtaining an actual homeland tempted Hmong elders so strongly, 400 of them invested in a swindler’s promise to establish a physical “\u003ca href=\"https://www.mprnews.org/story/2016/03/29/man-charged-fraud-scheme-hmong-homeland\">Hmong Country\u003c/a>” in Southeast Asia from 2014 to 2016. FBI charges didn’t diminish the longing; the elders kept giving the con man money. In a series titled \u003cem>After the Fall of Hmong Teb Chaw\u003c/em>, Her alternates portraits of donors at the Hmong Elders Center in Saint Paul, Minnesota with photos of lush tropical plants taken in the Como Park Conservatory, where Her’s family visited on wintery days for a touch of equatorial warmth. \u003c/p>\n\u003cfigure id=\"attachment_13980095\" class=\"wp-caption aligncenter\" style=\"max-width: 1032px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/pao-houa-her_untitled_mt-shasta-series_2021-22_54253989837_o.jpg\" alt=\"black-and-white image of landscape with path and hose\" width=\"1032\" height=\"825\" class=\"size-full wp-image-13980095\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/pao-houa-her_untitled_mt-shasta-series_2021-22_54253989837_o.jpg 1032w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/pao-houa-her_untitled_mt-shasta-series_2021-22_54253989837_o-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/pao-houa-her_untitled_mt-shasta-series_2021-22_54253989837_o-768x614.jpg 768w\" sizes=\"auto, (max-width: 1032px) 100vw, 1032px\">\u003cfigcaption class=\"wp-caption-text\">Pao Houa Her, untitled from ‘Mt. Shasta’ series, 2021–22; Light box, 52 x 65 inches. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If Her had been with Dorothy as she heel-clicked “there’s no place like home,” she might have told the Kansas farmgirl it’s more complicated than that. \u003c/p>\n\u003cp>Pushed out of China by Qing dynasty reforms in the 18th century, the Hmong dispersed to Southeast Asia. Unwelcome in the cities, the Hmong were given inhospitable land in northern Laos where they flourished by growing opium poppies. Her sees the contemporary Hmong community of marijuana cultivators around Mount Shasta as a “repeated history.” \u003c/p>\n\u003cp>At the museum, three images of Mount Shasta shine on wall-mounted lightboxes. The bright medium of bus stop and mall advertisements modernizes Manifest Destiny imagery that encouraged would-be settlers to move West. Her’s black-and-white photos invoke a past era, though their crispness discloses their modern origins. In their desolation, the arid landscapes promise a future to diasporic communities: these are spaces unwanted by dominant groups. \u003c/p>\n\u003cfigure id=\"attachment_13980096\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/sjma_paohouaher_7-14-25_015_54692349040_o.jpg\" alt=\"three large color photographs of lush forest in gallery\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13980096\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/sjma_paohouaher_7-14-25_015_54692349040_o.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/sjma_paohouaher_7-14-25_015_54692349040_o-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/sjma_paohouaher_7-14-25_015_54692349040_o-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/sjma_paohouaher_7-14-25_015_54692349040_o-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Pao Houa Her: The Imaginative Landscape’ at the San José Museum of Art, with images from the ‘Pictures of Paradise’ series. \u003ccite>(Glen Cheriton)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Three verdant unmarked landscapes from Her’s \u003cem>\u003ca href=\"https://www.thomasstruth32.com/smallsize/photographs/new_pictures_from_paradise/index.html\">Pictures of Paradise\u003c/a>\u003c/em> series, displayed for the first time, commemorate sections of the Laotian jungle where specific life moments occurred while Her’s family hid from violence. The title riffs on Thomas Struth’s \u003cem>\u003ca href=\"https://www.thomasstruth32.com/smallsize/photographs/new_pictures_from_paradise/index.html\">New Pictures from Paradise\u003c/a>\u003c/em>, a series the German photographer described as “ahistorical.” Her’s photographs of where her grandmother got sick and where her cousin was born counter colonial myths of “untouched” lands. The lenticular photography shifts the image as the viewer moves; stable knowledge eludes us. \u003c/p>\n\u003cp>Photography has always given the impression of truth. “Pics or it didn’t happen” is a common refrain, but photography and duplicity have existed in tandem since the beginning of the medium. The exhibition title \u003cem>Imaginative Landscape\u003c/em> is borrowed from \u003ca href=\"https://press.princeton.edu/books/hardcover/9780691629032/the-imaginative-landscape-of-christopher-columbus?srsltid=AfmBOopDDiEtgaI4EOUX-ADsH89D144lRzwKJKxyuA78tGboYiq9vHNM\">Valerie Flint’s research\u003c/a> on Christopher Columbus’ imagined — and highly erroneous — ideas of the West Indies. Her asks us to be aware of contrivance by divulging the artifice of the images she displays. \u003c/p>\n\u003cfigure id=\"attachment_13980099\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/sjma_paohouaher_7-14-25_010_54692237418_o.jpg\" alt=\"large freestanding backdrop with image of California poppies, fake flowers dangling on either side\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13980099\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/sjma_paohouaher_7-14-25_010_54692237418_o.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/sjma_paohouaher_7-14-25_010_54692237418_o-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/sjma_paohouaher_7-14-25_010_54692237418_o-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/sjma_paohouaher_7-14-25_010_54692237418_o-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Pao Houa Her: The Imaginative Landscape’ at the San José Museum of Art. \u003ccite>(Glen Cheriton)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There’s a reason Her begins and ends the exhibit with the apparatus of photographic image-making. Entering the show, you immediately face a vinyl studio backdrop that itself pictures two photographed backdrops, one overlapping the other on its flat printed surface. A metal stand, the sort used for “Please wait here” restaurant signs, is positioned in front, bearing the portrait of a Hmong woman against a brick wall.\u003c/p>\n\u003cp>It gets more meta upon exiting. The reverse of the installation shows a field of orange California poppies growing in the Sierras under a brilliant blue sky. The pictured native California flowers are framed by fake, but three-dimensional, oriental poppies hanging on either side. A bench suggests you sit and pose for your own artificial image of homeland.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://sjmusart.org/exhibition/pao-houa-her-imaginative-landscape\">Pao Houa Her: The Imaginative Landscape\u003c/a>’ is on view through Feb. 22, 2026 at the San José Museum of Art (110 South Market St., San José).\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "outside-lands-review-photos-anderson-paak-jorja-smith-hozier-ca7riel-paco-amoroso",
"title": "At Outside Lands, Anderson .Paak Pays Homage to the Bay With E-40",
"publishDate": 1754925061,
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"headTitle": "At Outside Lands, Anderson .Paak Pays Homage to the Bay With E-40 | KQED",
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"content": "\u003cp>It turns out Anderson .Paak is an honorary Baydestrian. “What the fuck is poppin’? I’m finally home,” the Oxnard-raised MC told the Sunday night \u003ca href=\"https://www.kqed.org/arts/tag/outside-lands\">Outside Lands\u003c/a> crowd, as mist set over \u003ca href=\"https://www.kqed.org/arts/tag/golden-gate-park\">Golden Gate Park\u003c/a>. “I never play around in the Bay ‘cause you guys show me so much love.”\u003c/p>\n\u003cp>Rocking a red plaid kilt and a “Fuck ICE” pin on his beanie, Paak took his perch atop his drum kit, presiding over a funky set that was equal parts laid-back house-party feel and instrumental excellence. He and the Free Nationals were locked in, flowing out of Paak’s drum solos into jazzy keyboard crescendos and sunbursts of brass.\u003c/p>\n\u003cp>[aside postID='arts_13979757']While Hozier headlined the main stage, Paak’s legions of fans at the Twin Peaks stage two-stepped to the provocative “Am I Wrong” (“If she can’t dance / then she can’t — ooh”), puffed their chests to to “Come Down” and turned up as Paak brought out surprise guest Cordae for “RNP.” A particularly vibey moment came when the Free Nationals’ keyboardist, Ron Jerome Arvant, delivered a Zapp-esque cover of Sade’s “\u003ca href=\"https://www.youtube.com/watch?v=C0BLKudnyNo\">Paradise\u003c/a>” on the vocoder, making everyone’s lips involuntarily curl into a stank face.\u003c/p>\n\u003cp>In Paak’s ultimate show of love to the Bay, he brought out none other than \u003ca href=\"https://www.kqed.org/arts/tag/e-40\">E-40\u003c/a> to perform “Tell Me When To Go” so his Outside Lands crowd could go dumb together as the festival closed out its final night.\u003c/p>\n\u003cfigure id=\"attachment_13979853\" class=\"wp-caption aligncenter\" style=\"max-width: 1999px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979853\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_084_qed.jpg\" alt=\"\" width=\"1999\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_084_qed.jpg 1999w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_084_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_084_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_084_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1999px) 100vw, 1999px\">\u003cfigcaption class=\"wp-caption-text\">Ca7riel and Paco Amoroso perform at Outside Lands on Sunday, August 10, 2025. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Ca7riel & Paco Amoroso prove they’re on their way to stardom\u003c/h2>\n\u003cp>Ca7riel & Paco Amoroso aren’t household names in the States, but at Outside Lands, their high-wattage star power proved they will be soon. The lovably weird Argentinian rappers took the stage accompanied by a jazz-meets-hip-hop live band with a big brass section, trading verses with a trap cadence while pulling goofy moves like action-figure poses and campy, Mick Jagger-esque hip pops.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Much of their set drew from their EP \u003cem>Papota\u003c/em>, an absurdist parody of their rise to fame since their \u003ca href=\"https://www.youtube.com/watch?v=9kqnsoY94L8\">Tiny Desk concert\u003c/a> blew up earlier this year. “#Tetas,” about a gringo A&R pushing plastic surgery on them to make them marketable, got the audience jumping and rapping along in Spanish. Fans demanded more when their afternoon set was over, and they obliged with an encore, performing “El Único,” their conversational hit about each realizing they’re hooking up with the same girl. As fans held up the Argentinian flag and posters inscribed with lyrics, Ca7riel and Paco shared a smooch and flexed their biceps for an epic finale.\u003c/p>\n\u003cfigure id=\"attachment_13979858\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979858\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_102_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_102_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_102_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_102_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_102_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jorja Smith performs at Outside Lands on Saturday, August 9, 2025. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Jorja Smith’s phenomenal vocals\u003c/h2>\n\u003cp>Jorja Smith transported Outside Lands to a jazz speakeasy with her rich, exquisite voice on Sunday afternoon, opening with a moody take on “Try Me,” whose lyrics are self-protective like a rose’s thorn. During “Feelings,” she sang a duet with one of her angel-voiced backing vocalists. The fresh takes on her discography were a treat for the devoted fans who lined up early for for the British star.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Smith’s performance picked up energy at the end when she sang two of her dance hits, “On My Mind” and “Little Things,” changing the vibe from awestruck appreciation to uninhibited dance party.\u003c/p>\n\u003ch2>More photos and highlights below.\u003c/h2>\n\u003cfigure id=\"attachment_13979861\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979861\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_111_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_111_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_111_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_111_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_111_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Hozier performs at Outside Lands on Saturday, August 9, 2025. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13979854\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979854\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_088_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_088_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_088_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_088_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_088_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Clara Wade, 30, waves an Argentinian flag as Ca7riel and Paco Amoroso perform at Outside Lands on Sunday, August 10, 2025. Wade traveled from Seattle to see the Argentinian duo perform at Outside Lands. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13979857\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979857\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_098_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_098_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_098_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_098_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_098_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Glass Animals performs at Outside Lands on Saturday, August 9, 2025. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13979856\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979856\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_095_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_095_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_095_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_095_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_095_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">David Harness performs on the Dolores’ stage at Outside Lands on Saturday, August 9, 2025. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13979864\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979864\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_115_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_115_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_115_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_115_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_115_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Anderson .Paak performs at Outside Lands on Saturday, August 9, 2025. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13979865\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979865\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_116_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_116_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_116_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_116_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_116_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Carmella Truel, center, and friend Noah Gould dance as Anderson .Paak performs at Outside Lands on Saturday, August 9, 2025. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13979862\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979862\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_112_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_112_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_112_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_112_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_112_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Attendees watch Black Coffee perform at Outside Lands on Sunday, August 10, 2025. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13979855\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979855\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_093_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_093_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_093_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_093_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_093_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">David Harness performs on the Dolores’ stage at Outside Lands on Saturday, August 9, 2025. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13979852\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979852\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_081_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_081_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_081_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_081_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_081_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Ca7riel and Paco Amoroso perform at Outside Lands on Sunday, August 10, 2025. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13979859\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979859\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_109_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_109_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_109_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_109_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_109_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Hozier performs at Outside Lands on Saturday, August 9, 2025. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13979860\" class=\"wp-caption aligncenter\" style=\"max-width: 888px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979860\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_110_qed.jpg\" alt=\"\" width=\"888\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_110_qed.jpg 888w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_110_qed-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_110_qed-768x1153.jpg 768w\" sizes=\"auto, (max-width: 888px) 100vw, 888px\">\u003cfigcaption class=\"wp-caption-text\">Hozier performs at Outside Lands on Saturday, August 9, 2025. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"excerpt": "Other highlights from Outside Lands on Sunday included Ca7riel & Paco Amoroso and Jorja Smith. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It turns out Anderson .Paak is an honorary Baydestrian. “What the fuck is poppin’? I’m finally home,” the Oxnard-raised MC told the Sunday night \u003ca href=\"https://www.kqed.org/arts/tag/outside-lands\">Outside Lands\u003c/a> crowd, as mist set over \u003ca href=\"https://www.kqed.org/arts/tag/golden-gate-park\">Golden Gate Park\u003c/a>. “I never play around in the Bay ‘cause you guys show me so much love.”\u003c/p>\n\u003cp>Rocking a red plaid kilt and a “Fuck ICE” pin on his beanie, Paak took his perch atop his drum kit, presiding over a funky set that was equal parts laid-back house-party feel and instrumental excellence. He and the Free Nationals were locked in, flowing out of Paak’s drum solos into jazzy keyboard crescendos and sunbursts of brass.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>While Hozier headlined the main stage, Paak’s legions of fans at the Twin Peaks stage two-stepped to the provocative “Am I Wrong” (“If she can’t dance / then she can’t — ooh”), puffed their chests to to “Come Down” and turned up as Paak brought out surprise guest Cordae for “RNP.” A particularly vibey moment came when the Free Nationals’ keyboardist, Ron Jerome Arvant, delivered a Zapp-esque cover of Sade’s “\u003ca href=\"https://www.youtube.com/watch?v=C0BLKudnyNo\">Paradise\u003c/a>” on the vocoder, making everyone’s lips involuntarily curl into a stank face.\u003c/p>\n\u003cp>In Paak’s ultimate show of love to the Bay, he brought out none other than \u003ca href=\"https://www.kqed.org/arts/tag/e-40\">E-40\u003c/a> to perform “Tell Me When To Go” so his Outside Lands crowd could go dumb together as the festival closed out its final night.\u003c/p>\n\u003cfigure id=\"attachment_13979853\" class=\"wp-caption aligncenter\" style=\"max-width: 1999px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979853\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_084_qed.jpg\" alt=\"\" width=\"1999\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_084_qed.jpg 1999w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_084_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_084_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_084_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1999px) 100vw, 1999px\">\u003cfigcaption class=\"wp-caption-text\">Ca7riel and Paco Amoroso perform at Outside Lands on Sunday, August 10, 2025. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Ca7riel & Paco Amoroso prove they’re on their way to stardom\u003c/h2>\n\u003cp>Ca7riel & Paco Amoroso aren’t household names in the States, but at Outside Lands, their high-wattage star power proved they will be soon. The lovably weird Argentinian rappers took the stage accompanied by a jazz-meets-hip-hop live band with a big brass section, trading verses with a trap cadence while pulling goofy moves like action-figure poses and campy, Mick Jagger-esque hip pops.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Much of their set drew from their EP \u003cem>Papota\u003c/em>, an absurdist parody of their rise to fame since their \u003ca href=\"https://www.youtube.com/watch?v=9kqnsoY94L8\">Tiny Desk concert\u003c/a> blew up earlier this year. “#Tetas,” about a gringo A&R pushing plastic surgery on them to make them marketable, got the audience jumping and rapping along in Spanish. Fans demanded more when their afternoon set was over, and they obliged with an encore, performing “El Único,” their conversational hit about each realizing they’re hooking up with the same girl. As fans held up the Argentinian flag and posters inscribed with lyrics, Ca7riel and Paco shared a smooch and flexed their biceps for an epic finale.\u003c/p>\n\u003cfigure id=\"attachment_13979858\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979858\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_102_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_102_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_102_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_102_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_102_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jorja Smith performs at Outside Lands on Saturday, August 9, 2025. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Jorja Smith’s phenomenal vocals\u003c/h2>\n\u003cp>Jorja Smith transported Outside Lands to a jazz speakeasy with her rich, exquisite voice on Sunday afternoon, opening with a moody take on “Try Me,” whose lyrics are self-protective like a rose’s thorn. During “Feelings,” she sang a duet with one of her angel-voiced backing vocalists. The fresh takes on her discography were a treat for the devoted fans who lined up early for for the British star.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Smith’s performance picked up energy at the end when she sang two of her dance hits, “On My Mind” and “Little Things,” changing the vibe from awestruck appreciation to uninhibited dance party.\u003c/p>\n\u003ch2>More photos and highlights below.\u003c/h2>\n\u003cfigure id=\"attachment_13979861\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979861\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_111_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_111_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_111_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_111_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_111_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Hozier performs at Outside Lands on Saturday, August 9, 2025. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13979854\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979854\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_088_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_088_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_088_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_088_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_088_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Clara Wade, 30, waves an Argentinian flag as Ca7riel and Paco Amoroso perform at Outside Lands on Sunday, August 10, 2025. Wade traveled from Seattle to see the Argentinian duo perform at Outside Lands. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13979857\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979857\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_098_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_098_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_098_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_098_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_098_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Glass Animals performs at Outside Lands on Saturday, August 9, 2025. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13979856\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979856\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_095_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_095_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_095_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_095_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_095_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">David Harness performs on the Dolores’ stage at Outside Lands on Saturday, August 9, 2025. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13979864\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979864\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_115_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_115_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_115_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_115_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_115_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Anderson .Paak performs at Outside Lands on Saturday, August 9, 2025. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13979865\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979865\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_116_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_116_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_116_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_116_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_116_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Carmella Truel, center, and friend Noah Gould dance as Anderson .Paak performs at Outside Lands on Saturday, August 9, 2025. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13979862\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979862\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_112_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_112_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_112_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_112_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_112_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Attendees watch Black Coffee perform at Outside Lands on Sunday, August 10, 2025. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13979855\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979855\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_093_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_093_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_093_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_093_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_093_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">David Harness performs on the Dolores’ stage at Outside Lands on Saturday, August 9, 2025. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13979852\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979852\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_081_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_081_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_081_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_081_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_081_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Ca7riel and Paco Amoroso perform at Outside Lands on Sunday, August 10, 2025. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13979859\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979859\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_109_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_109_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_109_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_109_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_109_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Hozier performs at Outside Lands on Saturday, August 9, 2025. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13979860\" class=\"wp-caption aligncenter\" style=\"max-width: 888px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979860\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_110_qed.jpg\" alt=\"\" width=\"888\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_110_qed.jpg 888w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_110_qed-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_110_qed-768x1153.jpg 768w\" sizes=\"auto, (max-width: 888px) 100vw, 888px\">\u003cfigcaption class=\"wp-caption-text\">Hozier performs at Outside Lands on Saturday, August 9, 2025. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"slug": "outside-lands-2025-review-recap-photos-doechii-tyler-the-creator",
"title": "So Doechii Pretty Much Killed It at Outside Lands",
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"headTitle": "So Doechii Pretty Much Killed It at Outside Lands | KQED",
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"content": "\u003cp>Friday night at \u003ca href=\"https://www.kqed.org/arts/tag/outside-lands\">Outside Lands\u003c/a>, Doechii called a masterclass into session.\u003c/p>\n\u003cp>[aside postID='arts_13979687']\u003c/p>\n\u003cp>As her dancers dressed in high-fashion school uniforms writhed around student desks, Doechii strutted out to a boom-bap beat with daggers in her eyes, rapping in a pleated micro miniskirt: “Doechii the don / Doechii the dean / Doechii supreme / The swamp ruler.” Just like that, we were officially enrolled in Doechii’s School of Hip-Hop.\u003c/p>\n\u003cp>Perched atop a massive boom box, Doechii exuded poise and determination. Continuing the academic theme, cheeky narration broke the show down into chapters like “good bars and great bars” and “the aspect of flow.” Doechii excelled in every curriculum, demonstrating otherworldly breath control while rapping and dancing with athletic precision. Fans danced and jumped, but their eyes were laser-focused on the stage, afraid to miss a moment.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cfigure id=\"attachment_13979796\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979796\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_14.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_14.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_14-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_14-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_14-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Doechii performs at Outside Lands on Friday, August 8, 2025. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Doechii’s DJ, Miss Milan, interlaced the set with samples that positioned Doechii’s discography as part of a venerable lineage. “Persuasive” bled into Missy Elliott’s “She’s a Bitch”; “Boiled Peanuts” morphed into the beat of “C.R.E.A.M” by Wu-Tang Clan. Throughout the show, we caught snippets of Paul Wall, Doug E. Fresh and Crime Mob’s “Knuck If You Buck.”[aside postid='arts_13979494']After the boom-bap portion of the show, Doechii paid homage to the queer art of ballroom. “Alter Ego,” which she rapped with enough energy to light your hair on fire, was blended with a Crystal Waters sample as her dancers vogued, practically levitating off the stage. Doechii proclaimed, “Where my gays at?” to loud cheers from the main-stage crowd, tens of thousands deep.\u003c/p>\n\u003cp>The 45-minute set went from twerking to head banging during “Catfish,” with Doechii declaring, “Free Palestine, what the fuck is you talkin’ about?” As her cheeky, self-reflective breakout hit “Denial Is a River” closed out the show, she heartily thanked the people in the back, her dancers, her band and production.\u003c/p>\n\u003cfigure id=\"attachment_13979798\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979798\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_16.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_16.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_16-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_16-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_16-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Doechii performs at Outside Lands on Friday, August 8, 2025. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Doechii delivered nothing but excellence, and she wasn’t even the festival headliner at Outside Lands. She returns to San Francisco on \u003ca href=\"https://www.kqed.org/arts/13979484/doechii-presale-tickets-code-bill-graham-civic-san-francisco-live-from-the-swamp-tour\">Friday, Nov. 7 for a show at the Bill Graham Civic Auditorium\u003c/a>; expect tickets to sell out quickly when they go on sale to the general public Monday morning.\u003c/p>\n\u003ch2>More Outside Lands highlights\u003c/h2>\n\u003cfigure id=\"attachment_13979800\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979800\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_18.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_18.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_18-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_18-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_18-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Doja Cat performs at Outside Lands on Friday, August 8, 2025. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Doja Cat, the queen of camp\u003c/h2>\n\u003cp>Doechii was a tough act to follow, and Doja Cat’s ensuing set as Friday’s headliner drew a noticeably sparser crowd. Dressed in ultra-kitschy head-to-toe zebra print with huge, teased-out blond hair, Doja came on stage singing “Woman” in an ’80s hair metal look that glowed in the dark. Throughout her 90-minute set, she teased the crowd with sexy songs like “Juicy” and got people jumping during the rambunctious “Tia Tamara.” With fireworks and pyrotechnics, but without dancers, a costume change or much set design, the performance left me wanting more — especially for one of the most highly anticipated sets of the night.\u003c/p>\n\u003cfigure id=\"attachment_13979799\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979799\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_17.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_17.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_17-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_17-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_17-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Doja Cat performs at Outside Lands on Friday, August 8, 2025. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13979793\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979793\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_11.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_11.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_11-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_11-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_11-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Fcukers perform at Outside Lands on Friday, August 8, 2025. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Fcukers were the breakout act of the evening\u003c/h2>\n\u003cp>Almost every year at Outside Lands, there’s someone who kills it at the smaller Panhandle stage, and this year it was Fcukers. Deadpan valley-girl vocals, punchy drums, dreamy synths and DJ scratching fused into sheerly fun party music that packed in teens and 20-somethings eager for more post-\u003ci>Brat\u003c/i> hedonism. Their Friday afternoon set proved Fcukers will be ready for bigger stages soon.\u003c/p>\n\u003cfigure id=\"attachment_13979792\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979792\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_10.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_10.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_10-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_10-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_10-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Fcukers perform at Outside Lands on Friday, August 8, 2025. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13979794\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979794\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_12.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_12.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_12-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_12-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_12-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Festival goers dance along the Panhandle stage as Fcukers perform at Outside Lands on Friday, August 8, 2025. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13979786\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979786\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_04.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_04.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_04-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_04-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_04-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Still Woozy poses for a portrait at Outside Lands on Friday, August 8, 2025. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13979788\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979788\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_06.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_06.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_06-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_06-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_06-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Thundercat performs at Outside Lands on Friday, August 8, 2025. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13979789\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979789\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_07.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_07.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_07-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_07-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_07-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Jessica Pratt performs at Outside Lands on Friday, August 8, 2025. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13979784\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979784\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_02.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_02.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_02-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_02-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_02-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Baalti performs at Outside Lands on Friday, August 8, 2025. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13979785\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979785\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_03.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_03.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_03-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_03-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_03-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Dylan Dubeau, 27, (right) dances with a handmade sign as Baalti performs at Outside Lands on Friday, August 8, 2025. Dubeau made 15 signs with the faces of the duo and passed them out for other fans to dance with. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13979787\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979787\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_05.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_05.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_05-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_05-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_05-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Baalti poses for a portrait at Outside Lands on Friday, August 8, 2025. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13979790\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979790\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_08.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_08.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_08-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_08-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_08-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Oakland Christie O’ Neill, 35, wears a disco ball helmet at Outside Lands on Friday, August 8, 2025. O’ Neill bought the helmet during a trip to Massachusetts and liked it so much she wore it on the plane ride back to California when it didn’t fit in her luggage. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13979801\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979801\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_19.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_19.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_19-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_19-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_19-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Beck performs at Outside Lands on Friday, August 8, 2025. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13979802\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979802\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_20.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_20.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_20-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_20-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_20-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Fans watch Beck perform at Outside Lands on Friday, August 8, 2025. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13979803\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979803\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_21.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_21.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_21-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_21-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_21-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Thousands of people gather as Beck closes out the Sutro Stage at Outside Lands on Friday, August 8, 2025. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n",
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"excerpt": "Doechii’s school of hip-hop was in session at Outside Lands during an electrifying and dominant set.",
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"title": "Review: Doechii’s Hip-Hop Masterclass at Outside Lands | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Friday night at \u003ca href=\"https://www.kqed.org/arts/tag/outside-lands\">Outside Lands\u003c/a>, Doechii called a masterclass into session.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As her dancers dressed in high-fashion school uniforms writhed around student desks, Doechii strutted out to a boom-bap beat with daggers in her eyes, rapping in a pleated micro miniskirt: “Doechii the don / Doechii the dean / Doechii supreme / The swamp ruler.” Just like that, we were officially enrolled in Doechii’s School of Hip-Hop.\u003c/p>\n\u003cp>Perched atop a massive boom box, Doechii exuded poise and determination. Continuing the academic theme, cheeky narration broke the show down into chapters like “good bars and great bars” and “the aspect of flow.” Doechii excelled in every curriculum, demonstrating otherworldly breath control while rapping and dancing with athletic precision. Fans danced and jumped, but their eyes were laser-focused on the stage, afraid to miss a moment.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cfigure id=\"attachment_13979796\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979796\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_14.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_14.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_14-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_14-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_14-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Doechii performs at Outside Lands on Friday, August 8, 2025. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Doechii’s DJ, Miss Milan, interlaced the set with samples that positioned Doechii’s discography as part of a venerable lineage. “Persuasive” bled into Missy Elliott’s “She’s a Bitch”; “Boiled Peanuts” morphed into the beat of “C.R.E.A.M” by Wu-Tang Clan. Throughout the show, we caught snippets of Paul Wall, Doug E. Fresh and Crime Mob’s “Knuck If You Buck.”\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>After the boom-bap portion of the show, Doechii paid homage to the queer art of ballroom. “Alter Ego,” which she rapped with enough energy to light your hair on fire, was blended with a Crystal Waters sample as her dancers vogued, practically levitating off the stage. Doechii proclaimed, “Where my gays at?” to loud cheers from the main-stage crowd, tens of thousands deep.\u003c/p>\n\u003cp>The 45-minute set went from twerking to head banging during “Catfish,” with Doechii declaring, “Free Palestine, what the fuck is you talkin’ about?” As her cheeky, self-reflective breakout hit “Denial Is a River” closed out the show, she heartily thanked the people in the back, her dancers, her band and production.\u003c/p>\n\u003cfigure id=\"attachment_13979798\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979798\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_16.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_16.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_16-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_16-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_16-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Doechii performs at Outside Lands on Friday, August 8, 2025. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Doechii delivered nothing but excellence, and she wasn’t even the festival headliner at Outside Lands. She returns to San Francisco on \u003ca href=\"https://www.kqed.org/arts/13979484/doechii-presale-tickets-code-bill-graham-civic-san-francisco-live-from-the-swamp-tour\">Friday, Nov. 7 for a show at the Bill Graham Civic Auditorium\u003c/a>; expect tickets to sell out quickly when they go on sale to the general public Monday morning.\u003c/p>\n\u003ch2>More Outside Lands highlights\u003c/h2>\n\u003cfigure id=\"attachment_13979800\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979800\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_18.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_18.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_18-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_18-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_18-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Doja Cat performs at Outside Lands on Friday, August 8, 2025. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Doja Cat, the queen of camp\u003c/h2>\n\u003cp>Doechii was a tough act to follow, and Doja Cat’s ensuing set as Friday’s headliner drew a noticeably sparser crowd. Dressed in ultra-kitschy head-to-toe zebra print with huge, teased-out blond hair, Doja came on stage singing “Woman” in an ’80s hair metal look that glowed in the dark. Throughout her 90-minute set, she teased the crowd with sexy songs like “Juicy” and got people jumping during the rambunctious “Tia Tamara.” With fireworks and pyrotechnics, but without dancers, a costume change or much set design, the performance left me wanting more — especially for one of the most highly anticipated sets of the night.\u003c/p>\n\u003cfigure id=\"attachment_13979799\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979799\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_17.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_17.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_17-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_17-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_17-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Doja Cat performs at Outside Lands on Friday, August 8, 2025. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13979793\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979793\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_11.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_11.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_11-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_11-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_11-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Fcukers perform at Outside Lands on Friday, August 8, 2025. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Fcukers were the breakout act of the evening\u003c/h2>\n\u003cp>Almost every year at Outside Lands, there’s someone who kills it at the smaller Panhandle stage, and this year it was Fcukers. Deadpan valley-girl vocals, punchy drums, dreamy synths and DJ scratching fused into sheerly fun party music that packed in teens and 20-somethings eager for more post-\u003ci>Brat\u003c/i> hedonism. Their Friday afternoon set proved Fcukers will be ready for bigger stages soon.\u003c/p>\n\u003cfigure id=\"attachment_13979792\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979792\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_10.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_10.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_10-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_10-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_10-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Fcukers perform at Outside Lands on Friday, August 8, 2025. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13979794\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979794\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_12.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_12.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_12-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_12-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_12-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Festival goers dance along the Panhandle stage as Fcukers perform at Outside Lands on Friday, August 8, 2025. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13979786\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979786\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_04.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_04.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_04-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_04-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_04-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Still Woozy poses for a portrait at Outside Lands on Friday, August 8, 2025. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13979788\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979788\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_06.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_06.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_06-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_06-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_06-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Thundercat performs at Outside Lands on Friday, August 8, 2025. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13979789\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979789\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_07.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_07.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_07-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_07-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_07-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Jessica Pratt performs at Outside Lands on Friday, August 8, 2025. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13979784\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979784\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_02.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_02.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_02-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_02-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_02-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Baalti performs at Outside Lands on Friday, August 8, 2025. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13979785\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979785\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_03.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_03.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_03-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_03-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_03-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Dylan Dubeau, 27, (right) dances with a handmade sign as Baalti performs at Outside Lands on Friday, August 8, 2025. Dubeau made 15 signs with the faces of the duo and passed them out for other fans to dance with. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13979787\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979787\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_05.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_05.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_05-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_05-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_05-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Baalti poses for a portrait at Outside Lands on Friday, August 8, 2025. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13979790\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979790\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_08.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_08.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_08-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_08-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_08-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Oakland Christie O’ Neill, 35, wears a disco ball helmet at Outside Lands on Friday, August 8, 2025. O’ Neill bought the helmet during a trip to Massachusetts and liked it so much she wore it on the plane ride back to California when it didn’t fit in her luggage. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13979801\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979801\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_19.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_19.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_19-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_19-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_19-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Beck performs at Outside Lands on Friday, August 8, 2025. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13979802\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979802\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_20.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_20.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_20-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_20-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_20-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Fans watch Beck perform at Outside Lands on Friday, August 8, 2025. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13979803\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979803\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_21.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_21.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_21-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_21-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_21-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Thousands of people gather as Beck closes out the Sutro Stage at Outside Lands on Friday, August 8, 2025. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"content": "\u003cp>There’s no easy way to summarize the genius of \u003ca href=\"https://www.juniorscienceclub.com/bio.html\">Logan Whitehurst\u003c/a>, the musician, songwriter, illustrator and madcap thinker whose art continues to delight and inspire those lucky enough to stumble upon it.\u003c/p>\n\u003cp>It \u003cem>is\u003c/em> easy, however, to appreciate Whitehurst, who died of brain cancer in 2006. One need only marinate in \u003ca href=\"https://www.juniorscienceclub.com/loganarchive/\">his brilliant and prodigious musical output\u003c/a>, modestly but expertly recorded from his Sonoma County home on a 4-track cassette recorder. Or, perhaps, read \u003ca href=\"http://www.loganwhitehurst.com/vanilla/index.html\">the blog of his inanimate sidekick, Vanilla the Plastic Snowman\u003c/a>, who claimed to write all of Whitehurst’s songs.\u003c/p>\n\u003cp>Or, better yet, hear firsthand stories from the many people whose lives were made better by Whitehurst, who routinely signed his emails — even to complete strangers — “Your Friend, Logan.”\u003c/p>\n\u003cfigure id=\"attachment_13979743\" class=\"wp-caption aligncenter\" style=\"max-width: 2042px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979743\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/125826335_2386980714781039_5821872292550339028_n.jpg\" alt=\"\" width=\"2042\" height=\"1494\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/125826335_2386980714781039_5821872292550339028_n.jpg 2042w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/125826335_2386980714781039_5821872292550339028_n-2000x1463.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/125826335_2386980714781039_5821872292550339028_n-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/125826335_2386980714781039_5821872292550339028_n-768x562.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/125826335_2386980714781039_5821872292550339028_n-1536x1124.jpg 1536w\" sizes=\"auto, (max-width: 2042px) 100vw, 2042px\">\u003cfigcaption class=\"wp-caption-text\">Logan Whitehurst. \u003ccite>(Sara Sanger)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That’s where a new 103-minute documentary, premiering this Saturday in Petaluma, comes in. \u003cem>Your Friend Logan\u003c/em> overflows with anecdotes about Whitehurst’s creative output, sense of humor, generosity and spirit, and makes a case for his inauguration into a proudly nerdy and witty hall of fame that includes Tom Lehrer, They Might Be Giants and “Weird” Al Yankovic.\u003c/p>\n\u003cp>Dr. Demento, among the dozens of people interviewed for the documentary, recalls the glee of first hearing Whitehurst’s landmark album \u003cem>\u003ca href=\"https://needlejuicerecords.com/products/goodbye-my-4-track-cd\">Goodbye My 4-Track\u003c/a>\u003c/em>, which he calls “the \u003cem>Sgt. Pepper’s\u003c/em> of comedy music.” Illustrations accompanying Whitehurst’s songs are scattered throughout the film, and will surely help convert the uninitiated: “\u003ca href=\"https://www.youtube.com/watch?v=7QGB7x3dZE4\">Your Brain Fell Out\u003c/a>,” “\u003ca href=\"https://www.youtube.com/watch?v=AKL4KnJDpJQ\">Happy Noodle vs. Sad Noodle\u003c/a>,” “\u003ca href=\"https://www.youtube.com/watch?v=GP_yqj4nQjo\">Monkeys Are Bad People\u003c/a>,” the absolutely insane and glorious “\u003ca href=\"https://www.youtube.com/watch?v=eCd9z4PV9So\">Schweepies\u003c/a>.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For longtime fans — the D&D geeks and gutter punks alike who’d sing along at his solo shows, or those who knew him as the drummer for \u003ca href=\"https://en.wikipedia.org/wiki/The_Velvet_Teen\">The Velvet Teen\u003c/a> and Little Tin Frog — it’s the personal stories in \u003cem>Your Friend Logan\u003c/em> that best illuminate Whitehurst’s work. Bandmates recall his many pranks (a particularly brazen one involves the roof of the Capitol Records building in Hollywood), as well as his ability to talk about the ocean or the moon for hours on end. His family fills in the childhood years, full of wonder and learning; at one point, his brother Elliott puts it succinctly: “Logan’s defining feature was his brain.”\u003c/p>\n\u003cfigure id=\"attachment_13979755\" class=\"wp-caption aligncenter\" style=\"max-width: 1716px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/LoganWhitehurst.albums.jpg\" alt=\"\" width=\"1716\" height=\"544\" class=\"size-full wp-image-13979755\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/LoganWhitehurst.albums.jpg 1716w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/LoganWhitehurst.albums-160x51.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/LoganWhitehurst.albums-768x243.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/LoganWhitehurst.albums-1536x487.jpg 1536w\" sizes=\"auto, (max-width: 1716px) 100vw, 1716px\">\u003cfigcaption class=\"wp-caption-text\">As an illustrator, Logan Whitehurst drew and designed the cover artwork for his albums, including ‘Earth Is Big,’ ‘Goodbye, My 4-Track’ and ‘Very Tiny Songs.’ \u003ccite>(Pandacide Records / Needlejuice Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That his brain and its cancer would ultimately be the reason for Whitehurst’s death is the worst kind of irony. The documentary’s late chapters are a rough watch, as grief consumes the joy of Whitehurst’s memory. In his final months, Whitehurst works on an album of 81 short compositions, \u003cem>Very Tiny Songs\u003c/em>, based on fan submissions; he also fulfills a life dream of talking to “Weird” Al. And then, at just 29 years old, he’s gone.\u003c/p>\n\u003cp>Or is he? Directed by Conner Nyberg, \u003cem>Your Friend Logan\u003c/em> ensures that Whitehurst will always be with us — those who knew him in Sonoma County, fellow musicians he met on tour, early message-board participants who discovered him on mp3.com, and fans all over the globe. All friends of Logan. For all time.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.facebook.com/yourfriendlogan/\">Your Friend Logan\u003c/a>’ premieres on Saturday, Aug. 9, at the Phoenix Theater (201 E. Washington St., Petaluma), where Whitehurst often performed. The film will be \u003ca href=\"https://vimeo.com/ondemand/yourfriendlogan\">available to watch on Vimeo\u003c/a> starting Aug. 10.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There’s no easy way to summarize the genius of \u003ca href=\"https://www.juniorscienceclub.com/bio.html\">Logan Whitehurst\u003c/a>, the musician, songwriter, illustrator and madcap thinker whose art continues to delight and inspire those lucky enough to stumble upon it.\u003c/p>\n\u003cp>It \u003cem>is\u003c/em> easy, however, to appreciate Whitehurst, who died of brain cancer in 2006. One need only marinate in \u003ca href=\"https://www.juniorscienceclub.com/loganarchive/\">his brilliant and prodigious musical output\u003c/a>, modestly but expertly recorded from his Sonoma County home on a 4-track cassette recorder. Or, perhaps, read \u003ca href=\"http://www.loganwhitehurst.com/vanilla/index.html\">the blog of his inanimate sidekick, Vanilla the Plastic Snowman\u003c/a>, who claimed to write all of Whitehurst’s songs.\u003c/p>\n\u003cp>Or, better yet, hear firsthand stories from the many people whose lives were made better by Whitehurst, who routinely signed his emails — even to complete strangers — “Your Friend, Logan.”\u003c/p>\n\u003cfigure id=\"attachment_13979743\" class=\"wp-caption aligncenter\" style=\"max-width: 2042px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979743\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/125826335_2386980714781039_5821872292550339028_n.jpg\" alt=\"\" width=\"2042\" height=\"1494\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/125826335_2386980714781039_5821872292550339028_n.jpg 2042w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/125826335_2386980714781039_5821872292550339028_n-2000x1463.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/125826335_2386980714781039_5821872292550339028_n-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/125826335_2386980714781039_5821872292550339028_n-768x562.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/125826335_2386980714781039_5821872292550339028_n-1536x1124.jpg 1536w\" sizes=\"auto, (max-width: 2042px) 100vw, 2042px\">\u003cfigcaption class=\"wp-caption-text\">Logan Whitehurst. \u003ccite>(Sara Sanger)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That’s where a new 103-minute documentary, premiering this Saturday in Petaluma, comes in. \u003cem>Your Friend Logan\u003c/em> overflows with anecdotes about Whitehurst’s creative output, sense of humor, generosity and spirit, and makes a case for his inauguration into a proudly nerdy and witty hall of fame that includes Tom Lehrer, They Might Be Giants and “Weird” Al Yankovic.\u003c/p>\n\u003cp>Dr. Demento, among the dozens of people interviewed for the documentary, recalls the glee of first hearing Whitehurst’s landmark album \u003cem>\u003ca href=\"https://needlejuicerecords.com/products/goodbye-my-4-track-cd\">Goodbye My 4-Track\u003c/a>\u003c/em>, which he calls “the \u003cem>Sgt. Pepper’s\u003c/em> of comedy music.” Illustrations accompanying Whitehurst’s songs are scattered throughout the film, and will surely help convert the uninitiated: “\u003ca href=\"https://www.youtube.com/watch?v=7QGB7x3dZE4\">Your Brain Fell Out\u003c/a>,” “\u003ca href=\"https://www.youtube.com/watch?v=AKL4KnJDpJQ\">Happy Noodle vs. Sad Noodle\u003c/a>,” “\u003ca href=\"https://www.youtube.com/watch?v=GP_yqj4nQjo\">Monkeys Are Bad People\u003c/a>,” the absolutely insane and glorious “\u003ca href=\"https://www.youtube.com/watch?v=eCd9z4PV9So\">Schweepies\u003c/a>.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For longtime fans — the D&D geeks and gutter punks alike who’d sing along at his solo shows, or those who knew him as the drummer for \u003ca href=\"https://en.wikipedia.org/wiki/The_Velvet_Teen\">The Velvet Teen\u003c/a> and Little Tin Frog — it’s the personal stories in \u003cem>Your Friend Logan\u003c/em> that best illuminate Whitehurst’s work. Bandmates recall his many pranks (a particularly brazen one involves the roof of the Capitol Records building in Hollywood), as well as his ability to talk about the ocean or the moon for hours on end. His family fills in the childhood years, full of wonder and learning; at one point, his brother Elliott puts it succinctly: “Logan’s defining feature was his brain.”\u003c/p>\n\u003cfigure id=\"attachment_13979755\" class=\"wp-caption aligncenter\" style=\"max-width: 1716px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/LoganWhitehurst.albums.jpg\" alt=\"\" width=\"1716\" height=\"544\" class=\"size-full wp-image-13979755\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/LoganWhitehurst.albums.jpg 1716w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/LoganWhitehurst.albums-160x51.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/LoganWhitehurst.albums-768x243.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/LoganWhitehurst.albums-1536x487.jpg 1536w\" sizes=\"auto, (max-width: 1716px) 100vw, 1716px\">\u003cfigcaption class=\"wp-caption-text\">As an illustrator, Logan Whitehurst drew and designed the cover artwork for his albums, including ‘Earth Is Big,’ ‘Goodbye, My 4-Track’ and ‘Very Tiny Songs.’ \u003ccite>(Pandacide Records / Needlejuice Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That his brain and its cancer would ultimately be the reason for Whitehurst’s death is the worst kind of irony. The documentary’s late chapters are a rough watch, as grief consumes the joy of Whitehurst’s memory. In his final months, Whitehurst works on an album of 81 short compositions, \u003cem>Very Tiny Songs\u003c/em>, based on fan submissions; he also fulfills a life dream of talking to “Weird” Al. And then, at just 29 years old, he’s gone.\u003c/p>\n\u003cp>Or is he? Directed by Conner Nyberg, \u003cem>Your Friend Logan\u003c/em> ensures that Whitehurst will always be with us — those who knew him in Sonoma County, fellow musicians he met on tour, early message-board participants who discovered him on mp3.com, and fans all over the globe. All friends of Logan. For all time.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.facebook.com/yourfriendlogan/\">Your Friend Logan\u003c/a>’ premieres on Saturday, Aug. 9, at the Phoenix Theater (201 E. Washington St., Petaluma), where Whitehurst often performed. The film will be \u003ca href=\"https://vimeo.com/ondemand/yourfriendlogan\">available to watch on Vimeo\u003c/a> starting Aug. 10.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cfigure id=\"attachment_13979732\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/X8cOfMeB.jpg\" alt=\"four people stand in front of a mural depicting scenes from Gaza and San Francisco, including Palestinians using bullhorns, self-driving cars, journalists being trampled and a tall red and white tower\" width=\"2000\" height=\"1323\" class=\"size-full wp-image-13979732\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/X8cOfMeB.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/X8cOfMeB-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/X8cOfMeB-768x508.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/X8cOfMeB-1536x1016.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Rigo 23’s ‘Terra Nullius,’ which connects San Francisco’s tech industry to the destruction of Gaza, is a powerful highlight of ‘Bay Area Then,’ on view through Jan. 25, 2026 at YBCA. \u003ccite>(Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/ybca\">Yerba Buena Center for the Arts\u003c/a>’ new exhibition \u003ca href=\"https://ybca.org/event/bay-area-then/\">\u003ci>Bay Area Then\u003c/i> \u003c/a>offers a glimpse of San Francisco in the ’90s, before tech and its hyper-driven version of capitalism overtook the city, and when rents were low enough for artists to thrive. Working-class young people could not only afford to live here — they also had the time and energy to run weird, experimental galleries and participate in revolutionary organizing.\u003c/p>\n\u003cp>Smartly curated by Eungie Joo, \u003cem>Bay Area Then\u003c/em> surveys the vibrant cultures that emerged from the AIDS crisis, the LAPD beating of Rodney King and the first Gulf War, connecting the dots from each to today’s political struggles.\u003c/p>\n\u003cp>The show opens with clusters of ephemera: amateur film photos, graffiti zines and photocopied flyers. Whether protesting art censorship or advocating for squatting in abandoned properties, the flyers point to a hopeful radicalism that thrived in an age before ubiquitous AI and mass surveillance. These informal pieces — whose creators probably never thought they’d end up in a museum — lend \u003ci>Bay Area Then\u003c/i> a grassroots feel that’s rare for a white-walled, capital-A art institution.\u003c/p>\n\u003cfigure id=\"attachment_13979708\" class=\"wp-caption aligncenter\" style=\"max-width: 1976px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979708\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/IMG_0540-scaled.jpg\" alt=\"\" width=\"1976\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/IMG_0540-scaled.jpg 1976w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/IMG_0540-160x207.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/IMG_0540-768x995.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/IMG_0540-1186x1536.jpg 1186w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/IMG_0540-1581x2048.jpg 1581w\" sizes=\"auto, (max-width: 1976px) 100vw, 1976px\">\u003cfigcaption class=\"wp-caption-text\">Flyers, photos and other ephemera from the ’90s in ‘Bay Area Then’ at YBCA document artist-run spaces and grassroots political movements. \u003ccite>(Nastia Voynovskaya for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Museums often examine protest movements of the past from a safe distance; rarely do they dare engage with what’s transgressive today. Refreshingly, \u003ci>Bay Area Then\u003c/i> features contemporary works from artists active since the ’90s, including Rigo 23, whose jaw-dropping \u003ci>Terra Nullius\u003c/i> is a centerpiece of the show. The mural depicts Palestinian civilians shouting through bullhorns while drones hover overhead. Juxtaposing San Francisco’s Sutro Tower with the West Bank wall — and self-driving cars with tanks — the piece forces the viewer to confront the reality of \u003ca href=\"https://www.kqed.org/news/11986136/demonstrators-rally-outside-google-conference-call-for-end-to-israel-contracts\">Bay Area tech giants’ military contracts\u003c/a>, which have helped create the infrastructure for Israel’s destruction of Gaza.\u003c/p>\n\u003cp>The inclusion of this piece and others marks a departure for YBCA, which changed leadership this year. In 2024, when \u003ca href=\"https://www.kqed.org/arts/13952460/artists-deface-work-ybca-pro-palestine-protest\">artists from an exhibition titled \u003ci>Bay Area Now\u003c/i> modified their own pieces\u003c/a> with messages like “Ceasefire Now,” the show closed down entirely for a month, prompting accusations of censorship. When the exhibition reopened, it contained tepid disclaimers stating that the work represented the opinions of the artists and not YBCA.\u003c/p>\n\u003cfigure id=\"attachment_13979706\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979706\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Margaret-Kilgallen-Main-Drag-2001-photo-by-Robbie-Sweeny-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1475\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Margaret-Kilgallen-Main-Drag-2001-photo-by-Robbie-Sweeny-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Margaret-Kilgallen-Main-Drag-2001-photo-by-Robbie-Sweeny-2000x1152.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Margaret-Kilgallen-Main-Drag-2001-photo-by-Robbie-Sweeny-160x92.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Margaret-Kilgallen-Main-Drag-2001-photo-by-Robbie-Sweeny-768x442.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Margaret-Kilgallen-Main-Drag-2001-photo-by-Robbie-Sweeny-1536x885.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Margaret-Kilgallen-Main-Drag-2001-photo-by-Robbie-Sweeny-2048x1180.jpg 2048w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Margaret Kilgallen, ‘Main Drag’ (2001). \u003ccite>(Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In \u003ci>Bay Area Then\u003c/i>, the artists are given space to say things with their chests. A large-scale 2023 aerosol piece by graffiti artist \u003ca href=\"https://www.kqed.org/arts/13926619/spie-one-tdk-bay-area-graffiti-history-hip-hop\">Spie One\u003c/a> depicts seeds blossoming into raised fists of resistance on Palestinian soil; it hangs next to a 1997 work by the late graffiti legend \u003ca href=\"https://www.kqed.org/arts/10141391/dream-but-dont-sleep-remembering-mike-dream-francisco\">Mike “Dream” Francisco\u003c/a> that criticizes U.S. colonialism in the Philippines.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Not all the art in the show is explicitly political. A gem of \u003ci>Bay Area Then\u003c/i> is \u003ci>Main Drag\u003c/i>, the last major installation by Mission School icon Margaret Kilgallen, who passed away in 2001. Across two walls, Kilgallen remixes sign-painting techniques with stylized illustrations of working-class people going about their everyday lives.\u003c/p>\n\u003cp>It’s a loving approach, and one that’s felt throughout \u003ci>Bay Area Then\u003c/i>, as artists honor the extraordinary potential of everyday people to create a better world.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://ybca.org/event/bay-area-then/\">Bay Area Then\u003c/a>’ is on view through Jan. 25, 2026, at Yerba Buena Center for the Arts (701 Mission St., San Francisco). The exhibition features Nao Bustamante, Carolyn Castaño, Bill Daniel, Sergio De La Torre and Chris Treggiari, Beatrix Fowler, Mike “Dream” Francisco, Johanna Jackson, Chris Johanson and Ajax Oakford, Arnold Kemp, Margaret Kilgallen, Josh Lazcano, Alicia McCarthy, Barry McGee, Ruby Neri, Manuel Ocampo, Eamon Ore-Giron, Gina Osterloh, Rigo 23, Spie One and others. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13979732\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/X8cOfMeB.jpg\" alt=\"four people stand in front of a mural depicting scenes from Gaza and San Francisco, including Palestinians using bullhorns, self-driving cars, journalists being trampled and a tall red and white tower\" width=\"2000\" height=\"1323\" class=\"size-full wp-image-13979732\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/X8cOfMeB.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/X8cOfMeB-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/X8cOfMeB-768x508.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/X8cOfMeB-1536x1016.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Rigo 23’s ‘Terra Nullius,’ which connects San Francisco’s tech industry to the destruction of Gaza, is a powerful highlight of ‘Bay Area Then,’ on view through Jan. 25, 2026 at YBCA. \u003ccite>(Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/ybca\">Yerba Buena Center for the Arts\u003c/a>’ new exhibition \u003ca href=\"https://ybca.org/event/bay-area-then/\">\u003ci>Bay Area Then\u003c/i> \u003c/a>offers a glimpse of San Francisco in the ’90s, before tech and its hyper-driven version of capitalism overtook the city, and when rents were low enough for artists to thrive. Working-class young people could not only afford to live here — they also had the time and energy to run weird, experimental galleries and participate in revolutionary organizing.\u003c/p>\n\u003cp>Smartly curated by Eungie Joo, \u003cem>Bay Area Then\u003c/em> surveys the vibrant cultures that emerged from the AIDS crisis, the LAPD beating of Rodney King and the first Gulf War, connecting the dots from each to today’s political struggles.\u003c/p>\n\u003cp>The show opens with clusters of ephemera: amateur film photos, graffiti zines and photocopied flyers. Whether protesting art censorship or advocating for squatting in abandoned properties, the flyers point to a hopeful radicalism that thrived in an age before ubiquitous AI and mass surveillance. These informal pieces — whose creators probably never thought they’d end up in a museum — lend \u003ci>Bay Area Then\u003c/i> a grassroots feel that’s rare for a white-walled, capital-A art institution.\u003c/p>\n\u003cfigure id=\"attachment_13979708\" class=\"wp-caption aligncenter\" style=\"max-width: 1976px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979708\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/IMG_0540-scaled.jpg\" alt=\"\" width=\"1976\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/IMG_0540-scaled.jpg 1976w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/IMG_0540-160x207.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/IMG_0540-768x995.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/IMG_0540-1186x1536.jpg 1186w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/IMG_0540-1581x2048.jpg 1581w\" sizes=\"auto, (max-width: 1976px) 100vw, 1976px\">\u003cfigcaption class=\"wp-caption-text\">Flyers, photos and other ephemera from the ’90s in ‘Bay Area Then’ at YBCA document artist-run spaces and grassroots political movements. \u003ccite>(Nastia Voynovskaya for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Museums often examine protest movements of the past from a safe distance; rarely do they dare engage with what’s transgressive today. Refreshingly, \u003ci>Bay Area Then\u003c/i> features contemporary works from artists active since the ’90s, including Rigo 23, whose jaw-dropping \u003ci>Terra Nullius\u003c/i> is a centerpiece of the show. The mural depicts Palestinian civilians shouting through bullhorns while drones hover overhead. Juxtaposing San Francisco’s Sutro Tower with the West Bank wall — and self-driving cars with tanks — the piece forces the viewer to confront the reality of \u003ca href=\"https://www.kqed.org/news/11986136/demonstrators-rally-outside-google-conference-call-for-end-to-israel-contracts\">Bay Area tech giants’ military contracts\u003c/a>, which have helped create the infrastructure for Israel’s destruction of Gaza.\u003c/p>\n\u003cp>The inclusion of this piece and others marks a departure for YBCA, which changed leadership this year. In 2024, when \u003ca href=\"https://www.kqed.org/arts/13952460/artists-deface-work-ybca-pro-palestine-protest\">artists from an exhibition titled \u003ci>Bay Area Now\u003c/i> modified their own pieces\u003c/a> with messages like “Ceasefire Now,” the show closed down entirely for a month, prompting accusations of censorship. When the exhibition reopened, it contained tepid disclaimers stating that the work represented the opinions of the artists and not YBCA.\u003c/p>\n\u003cfigure id=\"attachment_13979706\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979706\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Margaret-Kilgallen-Main-Drag-2001-photo-by-Robbie-Sweeny-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1475\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Margaret-Kilgallen-Main-Drag-2001-photo-by-Robbie-Sweeny-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Margaret-Kilgallen-Main-Drag-2001-photo-by-Robbie-Sweeny-2000x1152.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Margaret-Kilgallen-Main-Drag-2001-photo-by-Robbie-Sweeny-160x92.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Margaret-Kilgallen-Main-Drag-2001-photo-by-Robbie-Sweeny-768x442.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Margaret-Kilgallen-Main-Drag-2001-photo-by-Robbie-Sweeny-1536x885.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Margaret-Kilgallen-Main-Drag-2001-photo-by-Robbie-Sweeny-2048x1180.jpg 2048w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Margaret Kilgallen, ‘Main Drag’ (2001). \u003ccite>(Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In \u003ci>Bay Area Then\u003c/i>, the artists are given space to say things with their chests. A large-scale 2023 aerosol piece by graffiti artist \u003ca href=\"https://www.kqed.org/arts/13926619/spie-one-tdk-bay-area-graffiti-history-hip-hop\">Spie One\u003c/a> depicts seeds blossoming into raised fists of resistance on Palestinian soil; it hangs next to a 1997 work by the late graffiti legend \u003ca href=\"https://www.kqed.org/arts/10141391/dream-but-dont-sleep-remembering-mike-dream-francisco\">Mike “Dream” Francisco\u003c/a> that criticizes U.S. colonialism in the Philippines.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Not all the art in the show is explicitly political. A gem of \u003ci>Bay Area Then\u003c/i> is \u003ci>Main Drag\u003c/i>, the last major installation by Mission School icon Margaret Kilgallen, who passed away in 2001. Across two walls, Kilgallen remixes sign-painting techniques with stylized illustrations of working-class people going about their everyday lives.\u003c/p>\n\u003cp>It’s a loving approach, and one that’s felt throughout \u003ci>Bay Area Then\u003c/i>, as artists honor the extraordinary potential of everyday people to create a better world.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://ybca.org/event/bay-area-then/\">Bay Area Then\u003c/a>’ is on view through Jan. 25, 2026, at Yerba Buena Center for the Arts (701 Mission St., San Francisco). The exhibition features Nao Bustamante, Carolyn Castaño, Bill Daniel, Sergio De La Torre and Chris Treggiari, Beatrix Fowler, Mike “Dream” Francisco, Johanna Jackson, Chris Johanson and Ajax Oakford, Arnold Kemp, Margaret Kilgallen, Josh Lazcano, Alicia McCarthy, Barry McGee, Ruby Neri, Manuel Ocampo, Eamon Ore-Giron, Gina Osterloh, Rigo 23, Spie One and others. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Torn Between Identities, an Israeli-Raised Palestinian Actress Searches for ‘Home’",
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"content": "\u003cp>One of the most heartbreaking scenes in Hend Ayoub’s solo show \u003cem>Home? A Palestinian Woman’s Pursuit of Life, Liberty and Happiness\u003c/em> comes early, when young Hend giddily attends a party to celebrate Purim. The holiday, commemorating the defeat of the plot to massacre the Jews at the hands of Haman, is expressed by Hend as “the best holiday in Israel” as the Israeli children at the party enjoy costumes, crowns and snacks.\u003c/p>\n\u003cp>There’s one major problem. Hend, who lives as a citizen of Israel, is still an outsider as a Palestinian — or, in more dismissive terms used by those around her, an Arab. At the celebration, she tries to recoup the joy she possessed just moments prior by reminding other attendees that she too has a crown, and a wand, but gives up as tears explode from her young eyes. She makes a heart-wrenching request: “I want my mama.”\u003c/p>\n\u003cp>[aside postID='arts_13978734']It’s a painful moment, and a critical piece of writing by Ayoub that sets in motion the story’s plot. \u003cem>Home\u003c/em>, a one-woman autobiographical show about trying to make it as an actress split between Israeli citizenship and Palestinian identity, is a co-production between Z Space and San Francisco Playhouse that already has people talking ahead of its \u003ca href=\"https://playbill.com/production/home-a-palestinian-womans-pursuit-of-life-liberty-happiness-off-broadway-59e59-theater-c-2025\">New York opening off Broadway in September\u003c/a>. \u003c/p>\n\u003cp>Veteran director Carey Perloff lends a smooth hand to the play’s staging, moving the action with controlled freneticism. While some of Ayoub’s characterizations lean into tropes (the old woman with the hand on her back is a tired cliché), her story of a young girl who becomes a woman while searching for a home is poignant and timely. As added weight, it’s impossible to ignore the context that surrounds the play: devastating images of war and starvation that continue to pour out of Ayoub’s native region. \u003c/p>\n\u003cfigure id=\"attachment_13979638\" class=\"wp-caption aligncenter\" style=\"max-width: 2450px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/SF-Playhouse_Home_048A2806_Photo-Credit_Jessica_Palopoli.jpg\" alt=\"\" width=\"2450\" height=\"1633\" class=\"size-full wp-image-13979638\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/SF-Playhouse_Home_048A2806_Photo-Credit_Jessica_Palopoli.jpg 2450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/SF-Playhouse_Home_048A2806_Photo-Credit_Jessica_Palopoli-2000x1333.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/SF-Playhouse_Home_048A2806_Photo-Credit_Jessica_Palopoli-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/SF-Playhouse_Home_048A2806_Photo-Credit_Jessica_Palopoli-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/SF-Playhouse_Home_048A2806_Photo-Credit_Jessica_Palopoli-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/SF-Playhouse_Home_048A2806_Photo-Credit_Jessica_Palopoli-2048x1365.jpg 2048w\" sizes=\"auto, (max-width: 2450px) 100vw, 2450px\">\u003cfigcaption class=\"wp-caption-text\">Hend Ayoub reenacts a childhood party in ‘Home? A Palestinian Woman’s Pursuit of Life, Liberty & Happiness.’ \u003ccite>(Jessica Palopoli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ayoub’s words spend most of their capital making the case for humanity, and her script does a stellar job of avoiding pitfalls that might have strayed from the story’s core. There’s an American-dream quality to the narrative, right down to striving for a glamorous Carrie Bradshaw existence in New York. But Carrie is white with a nice American accent, and casting directors aren’t necessarily smitten with Hend’s Hebrew mastery of Strindberg’s Miss Julie or Shakespeare’s Feste the Fool. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>There are more immediate characters that need to be cast, anyway: Hend has her pick of Middle Eastern terrorists if she wants, with some random Iranians thrown in. A repetition of the word “next” from various casting directors invites her to strip down her dignity for each audition. For Hend, being typecast is simply another indignity along the way to fulfilling her passions.\u003c/p>\n\u003cp>[aside postID='arts_13979142']What may be Ayoub’s most powerful attribute is how she lives and plays her truth. One-person shows depend so much on characters the audience can’t see, which is where much of Ayoub’s affect resides. Her emotions are extremely rich, be they tragic, funny or charming, and ride the coattails of honesty. \u003c/p>\n\u003cp>Hend looks to Egypt, which offers new opportunities for acting. But in many ways, the same demeaning roles come calling; not untypical for a woman of color trying to move past society’s preconceived images. (This time, Hend quips that to really show her acting skills, maybe it’s time to play a prostitute.) \u003c/p>\n\u003cfigure id=\"attachment_13979637\" class=\"wp-caption aligncenter\" style=\"max-width: 2450px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/SF-Playhouse_Home_7407_Photo-Credit_Jessica_Palopoli.jpg\" alt=\"\" width=\"2450\" height=\"1630\" class=\"size-full wp-image-13979637\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/SF-Playhouse_Home_7407_Photo-Credit_Jessica_Palopoli.jpg 2450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/SF-Playhouse_Home_7407_Photo-Credit_Jessica_Palopoli-2000x1331.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/SF-Playhouse_Home_7407_Photo-Credit_Jessica_Palopoli-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/SF-Playhouse_Home_7407_Photo-Credit_Jessica_Palopoli-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/SF-Playhouse_Home_7407_Photo-Credit_Jessica_Palopoli-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/SF-Playhouse_Home_7407_Photo-Credit_Jessica_Palopoli-2048x1363.jpg 2048w\" sizes=\"auto, (max-width: 2450px) 100vw, 2450px\">\u003cfigcaption class=\"wp-caption-text\">Hend Ayoub in the one-woman show ‘Home? A Palestinian Woman’s Pursuit of Life, Liberty & Happiness.’ \u003ccite>(Jessica Palopoli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The power that Hend begins to unearth comes in what she’s truly striving for. Hend’s family were medical professionals and pharmacists — why can’t she play those truths? Who might be willing to see her whole self? The answer comes in the form of her own words. Ayoub is an Israeli, a Palestinian, an actor, a daughter, and a friend.\u003c/p>\n\u003cp>Nowadays, Ayoub’s childhood wand and crown manifest in the words she chooses as a playwright. They present themselves in honest Arabic and Israeli accents, and in fabricated American accents, too. \u003c/p>\n\u003cp>While Ayoub spends the 90-minute play searching and exploring the concept of home, what she may come to realize is the stage that rests beneath her nimble feet might be the best kind of home anyone could ask for — the one that was hers all along. \u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.sfplayhouse.org/sfph/home-hend-ayoub/\">Home? A Palestinian Woman’s Pursuit of Life, Liberty and Happiness\u003c/a>’ runs through Aug. 16 at Z Below (470 Florida St., San Francisco).\u003c/em>\u003c/p>\n\n",
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"title": "Torn Between Identities, an Israeli-Raised Palestinian Actress Searches for ‘Home’ | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>One of the most heartbreaking scenes in Hend Ayoub’s solo show \u003cem>Home? A Palestinian Woman’s Pursuit of Life, Liberty and Happiness\u003c/em> comes early, when young Hend giddily attends a party to celebrate Purim. The holiday, commemorating the defeat of the plot to massacre the Jews at the hands of Haman, is expressed by Hend as “the best holiday in Israel” as the Israeli children at the party enjoy costumes, crowns and snacks.\u003c/p>\n\u003cp>There’s one major problem. Hend, who lives as a citizen of Israel, is still an outsider as a Palestinian — or, in more dismissive terms used by those around her, an Arab. At the celebration, she tries to recoup the joy she possessed just moments prior by reminding other attendees that she too has a crown, and a wand, but gives up as tears explode from her young eyes. She makes a heart-wrenching request: “I want my mama.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It’s a painful moment, and a critical piece of writing by Ayoub that sets in motion the story’s plot. \u003cem>Home\u003c/em>, a one-woman autobiographical show about trying to make it as an actress split between Israeli citizenship and Palestinian identity, is a co-production between Z Space and San Francisco Playhouse that already has people talking ahead of its \u003ca href=\"https://playbill.com/production/home-a-palestinian-womans-pursuit-of-life-liberty-happiness-off-broadway-59e59-theater-c-2025\">New York opening off Broadway in September\u003c/a>. \u003c/p>\n\u003cp>Veteran director Carey Perloff lends a smooth hand to the play’s staging, moving the action with controlled freneticism. While some of Ayoub’s characterizations lean into tropes (the old woman with the hand on her back is a tired cliché), her story of a young girl who becomes a woman while searching for a home is poignant and timely. As added weight, it’s impossible to ignore the context that surrounds the play: devastating images of war and starvation that continue to pour out of Ayoub’s native region. \u003c/p>\n\u003cfigure id=\"attachment_13979638\" class=\"wp-caption aligncenter\" style=\"max-width: 2450px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/SF-Playhouse_Home_048A2806_Photo-Credit_Jessica_Palopoli.jpg\" alt=\"\" width=\"2450\" height=\"1633\" class=\"size-full wp-image-13979638\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/SF-Playhouse_Home_048A2806_Photo-Credit_Jessica_Palopoli.jpg 2450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/SF-Playhouse_Home_048A2806_Photo-Credit_Jessica_Palopoli-2000x1333.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/SF-Playhouse_Home_048A2806_Photo-Credit_Jessica_Palopoli-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/SF-Playhouse_Home_048A2806_Photo-Credit_Jessica_Palopoli-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/SF-Playhouse_Home_048A2806_Photo-Credit_Jessica_Palopoli-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/SF-Playhouse_Home_048A2806_Photo-Credit_Jessica_Palopoli-2048x1365.jpg 2048w\" sizes=\"auto, (max-width: 2450px) 100vw, 2450px\">\u003cfigcaption class=\"wp-caption-text\">Hend Ayoub reenacts a childhood party in ‘Home? A Palestinian Woman’s Pursuit of Life, Liberty & Happiness.’ \u003ccite>(Jessica Palopoli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ayoub’s words spend most of their capital making the case for humanity, and her script does a stellar job of avoiding pitfalls that might have strayed from the story’s core. There’s an American-dream quality to the narrative, right down to striving for a glamorous Carrie Bradshaw existence in New York. But Carrie is white with a nice American accent, and casting directors aren’t necessarily smitten with Hend’s Hebrew mastery of Strindberg’s Miss Julie or Shakespeare’s Feste the Fool. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>There are more immediate characters that need to be cast, anyway: Hend has her pick of Middle Eastern terrorists if she wants, with some random Iranians thrown in. A repetition of the word “next” from various casting directors invites her to strip down her dignity for each audition. For Hend, being typecast is simply another indignity along the way to fulfilling her passions.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>What may be Ayoub’s most powerful attribute is how she lives and plays her truth. One-person shows depend so much on characters the audience can’t see, which is where much of Ayoub’s affect resides. Her emotions are extremely rich, be they tragic, funny or charming, and ride the coattails of honesty. \u003c/p>\n\u003cp>Hend looks to Egypt, which offers new opportunities for acting. But in many ways, the same demeaning roles come calling; not untypical for a woman of color trying to move past society’s preconceived images. (This time, Hend quips that to really show her acting skills, maybe it’s time to play a prostitute.) \u003c/p>\n\u003cfigure id=\"attachment_13979637\" class=\"wp-caption aligncenter\" style=\"max-width: 2450px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/SF-Playhouse_Home_7407_Photo-Credit_Jessica_Palopoli.jpg\" alt=\"\" width=\"2450\" height=\"1630\" class=\"size-full wp-image-13979637\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/SF-Playhouse_Home_7407_Photo-Credit_Jessica_Palopoli.jpg 2450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/SF-Playhouse_Home_7407_Photo-Credit_Jessica_Palopoli-2000x1331.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/SF-Playhouse_Home_7407_Photo-Credit_Jessica_Palopoli-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/SF-Playhouse_Home_7407_Photo-Credit_Jessica_Palopoli-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/SF-Playhouse_Home_7407_Photo-Credit_Jessica_Palopoli-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/SF-Playhouse_Home_7407_Photo-Credit_Jessica_Palopoli-2048x1363.jpg 2048w\" sizes=\"auto, (max-width: 2450px) 100vw, 2450px\">\u003cfigcaption class=\"wp-caption-text\">Hend Ayoub in the one-woman show ‘Home? A Palestinian Woman’s Pursuit of Life, Liberty & Happiness.’ \u003ccite>(Jessica Palopoli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The power that Hend begins to unearth comes in what she’s truly striving for. Hend’s family were medical professionals and pharmacists — why can’t she play those truths? Who might be willing to see her whole self? The answer comes in the form of her own words. Ayoub is an Israeli, a Palestinian, an actor, a daughter, and a friend.\u003c/p>\n\u003cp>Nowadays, Ayoub’s childhood wand and crown manifest in the words she chooses as a playwright. They present themselves in honest Arabic and Israeli accents, and in fabricated American accents, too. \u003c/p>\n\u003cp>While Ayoub spends the 90-minute play searching and exploring the concept of home, what she may come to realize is the stage that rests beneath her nimble feet might be the best kind of home anyone could ask for — the one that was hers all along. \u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.sfplayhouse.org/sfph/home-hend-ayoub/\">Home? A Palestinian Woman’s Pursuit of Life, Liberty and Happiness\u003c/a>’ runs through Aug. 16 at Z Below (470 Florida St., San Francisco).\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "marin-museum-contemporary-art-the-sky-below-sci-fi",
"title": "In ‘The Sky Below,’ Artists Depict Futures Worth Sticking Around For",
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"headTitle": "In ‘The Sky Below,’ Artists Depict Futures Worth Sticking Around For | KQED",
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"content": "\u003cp>If some of the world’s richest men had their way, we’d think \u003ca href=\"https://www.kqed.org/arts/13969865/future-hunters-movie-sci-fi-predictions-2025\">the future\u003c/a> was all shiny silver surfaces and rockets blasting off to space. It’s a difficult vision to buck, especially when so much media bolsters it: movies keep putting ordinary men into space suits and tasking them with saving our dying planet. (Starring Ryan Gosling, \u003ca href=\"https://youtu.be/m08TxIsFTRI?feature=shared\">out next March\u003c/a>!)\u003c/p>\n\u003cp>[aside postID='arts_13951772']But there’s another mode of science fiction, one that has distinctly West Coast roots. This strain of speculation looks inward and down — to the earth — for a more promising future. It’s this approach, put forth by sci-fi authors like Ursula K. Le Guin and Octavia Butler, that ties together the works in \u003ci>\u003ca href=\"https://www.marinmoca.org/see-and-experience\">The Sky Below\u003c/a>\u003c/i>, a group show curated by Heidi Rabben for the Marin Museum of Contemporary Art.\u003c/p>\n\u003cp>In a former office building on San Rafael’s Fifth Avenue, the museum occupies one high-ceilinged main space and four former offices, two of which are turned over to single-artist displays for this show. Walls are painted lavender and royal blue, and a pedestal supporting a small \u003ca href=\"https://www.kqed.org/arts/13954510/sf-ballet-dos-mujeres-maria-guzman-capron-scenic-artists\">Maria A. Guzmán Capron\u003c/a> sculpture is a glowing goldenrod. \u003c/p>\n\u003cfigure id=\"attachment_13979114\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/01-Detail-from-Finite-Horizon-Astria-Suparak-Installation-32%E2%80%B2-x-11%E2%80%B2-2023.-To-Your-Eternity-Biennial-Today-Art-Museum-Beijing.-Photo-credit_-Today-Art-Museum_2000.jpg\" alt=\"video screen against wall with two cityscapes against orange sky\" width=\"2000\" height=\"1334\" class=\"size-full wp-image-13979114\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/01-Detail-from-Finite-Horizon-Astria-Suparak-Installation-32′-x-11′-2023.-To-Your-Eternity-Biennial-Today-Art-Museum-Beijing.-Photo-credit_-Today-Art-Museum_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/01-Detail-from-Finite-Horizon-Astria-Suparak-Installation-32′-x-11′-2023.-To-Your-Eternity-Biennial-Today-Art-Museum-Beijing.-Photo-credit_-Today-Art-Museum_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/01-Detail-from-Finite-Horizon-Astria-Suparak-Installation-32′-x-11′-2023.-To-Your-Eternity-Biennial-Today-Art-Museum-Beijing.-Photo-credit_-Today-Art-Museum_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/01-Detail-from-Finite-Horizon-Astria-Suparak-Installation-32′-x-11′-2023.-To-Your-Eternity-Biennial-Today-Art-Museum-Beijing.-Photo-credit_-Today-Art-Museum_2000-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Astria Suparak, ‘Finite Horizon’ (detail), 2023 at the Today Art Museum in Beijing, China. \u003ccite>(Today Art Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The speculative futures depicted here are colorful, in more ways than one. \u003ca href=\"https://www.kqed.org/arts/13893493/astria-suparaks-virtually-asian-analyzes-sci-fi-to-argue-for-less-racist-futures\">Astria Suparak\u003c/a>’s video \u003ci>On the Neon Horizon\u003c/i> continues the artist’s investigation into mainstream white filmmakers’ depictions of “Asian futures, without Asians.” Here, we get an eight-minute supercut of Asian languages and cultures flattened into dangerous, crowded and miasmic backgrounds, again and again. Clips from the 1930s to the 2010s show this is neither a new, nor a diminishing trend.\u003c/p>\n\u003cp>Other artists invent their own narratives, whole cloth. Actually, cloth is a recurring material in \u003ci>The Sky Below\u003c/i>. Capron’s two other pieces in the show are hand-dyed and screen-printed textile works, hanging like declaratory banners on either side of the museum’s entrance. Multi-faced and multi-limbed bodies entwine in colorful patchworks of tie-dye. Whatever future they’re ushering in, it looks uncontainably optimistic. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Opposite these works, \u003ca href=\"https://www.soleedarrell.com/\">Soleé Darrell\u003c/a>’s \u003ci>Portal\u003c/i> is a looser, draped arrangement of sumptuously painted velvet, rope and trims, splayed across that lavender wall like a rainbow-hued pelt. \u003c/p>\n\u003cfigure id=\"attachment_13979115\" class=\"wp-caption aligncenter\" style=\"max-width: 1819px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/relrobinson_juliagoodman_combo.jpg\" alt=\"vertical quilted textile with image of black hole; two suspended paper relief works in gradients of blue to black\" width=\"1819\" height=\"1278\" class=\"size-full wp-image-13979115\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/relrobinson_juliagoodman_combo.jpg 1819w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/relrobinson_juliagoodman_combo-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/relrobinson_juliagoodman_combo-768x540.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/relrobinson_juliagoodman_combo-1536x1079.jpg 1536w\" sizes=\"auto, (max-width: 1819px) 100vw, 1819px\">\u003cfigcaption class=\"wp-caption-text\">L: rel robinson, ‘Black Hole,’ 2024; R: Julia Goodman, ‘Two (Promise),’ 2021. \u003ccite>(Courtesy the artists; photo on right by Henrik Kam )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In a former office, \u003ca href=\"https://relrobinson.info/\">rel robinson\u003c/a>’s installation is a bit more muted, palette-wise; curtains of found fabrics in white, light pink and cream hang over the walls. Their soft folds form the background for two quilted textile pieces, each containing even more layering — of photographs, AI renderings, language and stitching — that speak to the complex web of images and influences that shape contemporary femininity. \u003c/p>\n\u003cp>Even a work that doesn’t initially read as a textile is, in fact, made from repurposed bedsheets, T-shirts and other fabric remnants. \u003ca href=\"https://www.jagoodman.com/\">Julia Goodman\u003c/a>’s two handmade paper reliefs show the pattern of the brick wall they were formed against. Bits of brick and dirt still cling to their surfaces. Hanging side by side like door-shaped portals, they cast green and orange glows against the wall behind.\u003c/p>\n\u003cp>The exhibition’s three other artists look both forward and back to craft their work. On the museum’s largest wall (the blue one), six large-scale paintings by \u003ca href=\"https://www.kqed.org/arts/13969590/sf-ballet-curtain-artist-ranu-mukherjee-cool-britannia\">Ranu Mukherjee\u003c/a> depict disorienting scenes of humans, animals and plant life. In their confusion, these are lush, vibrant versions of the surrealist artist René Magritte’s 1965 painting \u003ci>\u003ca href=\"https://www.nga.gov/artworks/66422-blank-signature\">The Blank Signature\u003c/a>\u003c/i>.\u003c/p>\n\u003cfigure id=\"attachment_13979116\" class=\"wp-caption aligncenter\" style=\"max-width: 1962px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/06_Ranu_a-place-to-find-the-light_2000.jpg\" alt=\"painting with tree trunks, rugs and animals on brown background\" width=\"1962\" height=\"1318\" class=\"size-full wp-image-13979116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/06_Ranu_a-place-to-find-the-light_2000.jpg 1962w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/06_Ranu_a-place-to-find-the-light_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/06_Ranu_a-place-to-find-the-light_2000-768x516.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/06_Ranu_a-place-to-find-the-light_2000-1536x1032.jpg 1536w\" sizes=\"auto, (max-width: 1962px) 100vw, 1962px\">\u003cfigcaption class=\"wp-caption-text\">Ranu Mukherjee, ‘a place to find the light,’ 2023. \u003ccite>(Courtesy the artist and Gallery Wendi Norris)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>The Sky Below\u003c/i>, unlike so many future-minded shows, only has three video pieces in it. \u003ca href=\"https://www.kqed.org/arts/13808739/at-city-limits-sofia-cordova-imagines-life-after-humanity\">Sofía Córdova\u003c/a> uses the medium to mine the Indigenous and 20th-century cultural history of San José. \u003ci>If No Clouds, Then Stars, and Then the Cosmos\u003c/i> combines references to Lick Observatory, the organizing of the \u003ca href=\"https://hightechgays.com/\">High Tech Gays\u003c/a>, the Delano grape strike and the 1985 killing of a Black teenager, \u003ca href=\"https://www.queersiliconvalley.org/melvin-truss-story/\">Melvin Truss\u003c/a>, by a San José police officer. The video essay, which is an ongoing project, looks at the history of the land, the technology that has shaped it, and the people who have been touched, often violently, by that technology.\u003c/p>\n\u003cp>[aside postID='news_11941785']Possibly the most far-out (and spacey) of all the works in the show is \u003ca href=\"https://genevievequick.com/home.html\">Genevieve Quick\u003c/a>’s video \u003ci>Cel Bell\u003c/i>, which imagines a telecom network that connects ancestors to an increasingly intergalactic Asian diaspora. “Your ancestors would like to know what your life is like,” the video proclaims, linking the history of San Francisco’s \u003ca href=\"https://www.kqed.org/arts/13960573/chinese-telephone-exchange-san-francisco-chinatown-history\">Chinese Telephone Exchange\u003c/a> to Quick’s imagined “Celadonians” — futuristic beings from Planet Celadon.\u003c/p>\n\u003cp>In addition to swirls of color, satisfying textures and deeply researched narrative threads, \u003ci>The Sky Below\u003c/i> boasts a reading room, complete with a vending machine from the Oakland bookstore \u003ca href=\"https://sistahscifi.com/\">Sistah Scifi\u003c/a>. Each artist has recommended at least one work of science or speculative fiction, and Rabben and Mukherjee will both lead reading group meetings in August. \u003c/p>\n\u003cp>The futures imagined in this show — rooted in beauty, craft, handmade materials, care for land and people — are far more appealing (to me, at least) than the sterile, space-bound one I grew up believing in. It may take longer to see such visions enter our mainstream media, but until then, there’s a heck of a reading list to start with. \u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://www.marinmoca.org/see-and-experience\">The Sky Below\u003c/a>’ is on view at the Marin Museum of Contemporary Art (1210 Fifth Ave., San Rafael) is on view through Sept. 21, 2025.\u003c/i>\u003c/p>\n\n",
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"title": "MarinMOCA ‘The Sky Below’ Review: The Future Is Bright | KQED",
"description": "A group show at MarinMOCA gathers speculative artistic visions rooted in critique, craft and care. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If some of the world’s richest men had their way, we’d think \u003ca href=\"https://www.kqed.org/arts/13969865/future-hunters-movie-sci-fi-predictions-2025\">the future\u003c/a> was all shiny silver surfaces and rockets blasting off to space. It’s a difficult vision to buck, especially when so much media bolsters it: movies keep putting ordinary men into space suits and tasking them with saving our dying planet. (Starring Ryan Gosling, \u003ca href=\"https://youtu.be/m08TxIsFTRI?feature=shared\">out next March\u003c/a>!)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But there’s another mode of science fiction, one that has distinctly West Coast roots. This strain of speculation looks inward and down — to the earth — for a more promising future. It’s this approach, put forth by sci-fi authors like Ursula K. Le Guin and Octavia Butler, that ties together the works in \u003ci>\u003ca href=\"https://www.marinmoca.org/see-and-experience\">The Sky Below\u003c/a>\u003c/i>, a group show curated by Heidi Rabben for the Marin Museum of Contemporary Art.\u003c/p>\n\u003cp>In a former office building on San Rafael’s Fifth Avenue, the museum occupies one high-ceilinged main space and four former offices, two of which are turned over to single-artist displays for this show. Walls are painted lavender and royal blue, and a pedestal supporting a small \u003ca href=\"https://www.kqed.org/arts/13954510/sf-ballet-dos-mujeres-maria-guzman-capron-scenic-artists\">Maria A. Guzmán Capron\u003c/a> sculpture is a glowing goldenrod. \u003c/p>\n\u003cfigure id=\"attachment_13979114\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/01-Detail-from-Finite-Horizon-Astria-Suparak-Installation-32%E2%80%B2-x-11%E2%80%B2-2023.-To-Your-Eternity-Biennial-Today-Art-Museum-Beijing.-Photo-credit_-Today-Art-Museum_2000.jpg\" alt=\"video screen against wall with two cityscapes against orange sky\" width=\"2000\" height=\"1334\" class=\"size-full wp-image-13979114\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/01-Detail-from-Finite-Horizon-Astria-Suparak-Installation-32′-x-11′-2023.-To-Your-Eternity-Biennial-Today-Art-Museum-Beijing.-Photo-credit_-Today-Art-Museum_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/01-Detail-from-Finite-Horizon-Astria-Suparak-Installation-32′-x-11′-2023.-To-Your-Eternity-Biennial-Today-Art-Museum-Beijing.-Photo-credit_-Today-Art-Museum_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/01-Detail-from-Finite-Horizon-Astria-Suparak-Installation-32′-x-11′-2023.-To-Your-Eternity-Biennial-Today-Art-Museum-Beijing.-Photo-credit_-Today-Art-Museum_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/01-Detail-from-Finite-Horizon-Astria-Suparak-Installation-32′-x-11′-2023.-To-Your-Eternity-Biennial-Today-Art-Museum-Beijing.-Photo-credit_-Today-Art-Museum_2000-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Astria Suparak, ‘Finite Horizon’ (detail), 2023 at the Today Art Museum in Beijing, China. \u003ccite>(Today Art Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The speculative futures depicted here are colorful, in more ways than one. \u003ca href=\"https://www.kqed.org/arts/13893493/astria-suparaks-virtually-asian-analyzes-sci-fi-to-argue-for-less-racist-futures\">Astria Suparak\u003c/a>’s video \u003ci>On the Neon Horizon\u003c/i> continues the artist’s investigation into mainstream white filmmakers’ depictions of “Asian futures, without Asians.” Here, we get an eight-minute supercut of Asian languages and cultures flattened into dangerous, crowded and miasmic backgrounds, again and again. Clips from the 1930s to the 2010s show this is neither a new, nor a diminishing trend.\u003c/p>\n\u003cp>Other artists invent their own narratives, whole cloth. Actually, cloth is a recurring material in \u003ci>The Sky Below\u003c/i>. Capron’s two other pieces in the show are hand-dyed and screen-printed textile works, hanging like declaratory banners on either side of the museum’s entrance. Multi-faced and multi-limbed bodies entwine in colorful patchworks of tie-dye. Whatever future they’re ushering in, it looks uncontainably optimistic. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Opposite these works, \u003ca href=\"https://www.soleedarrell.com/\">Soleé Darrell\u003c/a>’s \u003ci>Portal\u003c/i> is a looser, draped arrangement of sumptuously painted velvet, rope and trims, splayed across that lavender wall like a rainbow-hued pelt. \u003c/p>\n\u003cfigure id=\"attachment_13979115\" class=\"wp-caption aligncenter\" style=\"max-width: 1819px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/relrobinson_juliagoodman_combo.jpg\" alt=\"vertical quilted textile with image of black hole; two suspended paper relief works in gradients of blue to black\" width=\"1819\" height=\"1278\" class=\"size-full wp-image-13979115\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/relrobinson_juliagoodman_combo.jpg 1819w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/relrobinson_juliagoodman_combo-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/relrobinson_juliagoodman_combo-768x540.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/relrobinson_juliagoodman_combo-1536x1079.jpg 1536w\" sizes=\"auto, (max-width: 1819px) 100vw, 1819px\">\u003cfigcaption class=\"wp-caption-text\">L: rel robinson, ‘Black Hole,’ 2024; R: Julia Goodman, ‘Two (Promise),’ 2021. \u003ccite>(Courtesy the artists; photo on right by Henrik Kam )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In a former office, \u003ca href=\"https://relrobinson.info/\">rel robinson\u003c/a>’s installation is a bit more muted, palette-wise; curtains of found fabrics in white, light pink and cream hang over the walls. Their soft folds form the background for two quilted textile pieces, each containing even more layering — of photographs, AI renderings, language and stitching — that speak to the complex web of images and influences that shape contemporary femininity. \u003c/p>\n\u003cp>Even a work that doesn’t initially read as a textile is, in fact, made from repurposed bedsheets, T-shirts and other fabric remnants. \u003ca href=\"https://www.jagoodman.com/\">Julia Goodman\u003c/a>’s two handmade paper reliefs show the pattern of the brick wall they were formed against. Bits of brick and dirt still cling to their surfaces. Hanging side by side like door-shaped portals, they cast green and orange glows against the wall behind.\u003c/p>\n\u003cp>The exhibition’s three other artists look both forward and back to craft their work. On the museum’s largest wall (the blue one), six large-scale paintings by \u003ca href=\"https://www.kqed.org/arts/13969590/sf-ballet-curtain-artist-ranu-mukherjee-cool-britannia\">Ranu Mukherjee\u003c/a> depict disorienting scenes of humans, animals and plant life. In their confusion, these are lush, vibrant versions of the surrealist artist René Magritte’s 1965 painting \u003ci>\u003ca href=\"https://www.nga.gov/artworks/66422-blank-signature\">The Blank Signature\u003c/a>\u003c/i>.\u003c/p>\n\u003cfigure id=\"attachment_13979116\" class=\"wp-caption aligncenter\" style=\"max-width: 1962px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/06_Ranu_a-place-to-find-the-light_2000.jpg\" alt=\"painting with tree trunks, rugs and animals on brown background\" width=\"1962\" height=\"1318\" class=\"size-full wp-image-13979116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/06_Ranu_a-place-to-find-the-light_2000.jpg 1962w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/06_Ranu_a-place-to-find-the-light_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/06_Ranu_a-place-to-find-the-light_2000-768x516.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/06_Ranu_a-place-to-find-the-light_2000-1536x1032.jpg 1536w\" sizes=\"auto, (max-width: 1962px) 100vw, 1962px\">\u003cfigcaption class=\"wp-caption-text\">Ranu Mukherjee, ‘a place to find the light,’ 2023. \u003ccite>(Courtesy the artist and Gallery Wendi Norris)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>The Sky Below\u003c/i>, unlike so many future-minded shows, only has three video pieces in it. \u003ca href=\"https://www.kqed.org/arts/13808739/at-city-limits-sofia-cordova-imagines-life-after-humanity\">Sofía Córdova\u003c/a> uses the medium to mine the Indigenous and 20th-century cultural history of San José. \u003ci>If No Clouds, Then Stars, and Then the Cosmos\u003c/i> combines references to Lick Observatory, the organizing of the \u003ca href=\"https://hightechgays.com/\">High Tech Gays\u003c/a>, the Delano grape strike and the 1985 killing of a Black teenager, \u003ca href=\"https://www.queersiliconvalley.org/melvin-truss-story/\">Melvin Truss\u003c/a>, by a San José police officer. The video essay, which is an ongoing project, looks at the history of the land, the technology that has shaped it, and the people who have been touched, often violently, by that technology.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Possibly the most far-out (and spacey) of all the works in the show is \u003ca href=\"https://genevievequick.com/home.html\">Genevieve Quick\u003c/a>’s video \u003ci>Cel Bell\u003c/i>, which imagines a telecom network that connects ancestors to an increasingly intergalactic Asian diaspora. “Your ancestors would like to know what your life is like,” the video proclaims, linking the history of San Francisco’s \u003ca href=\"https://www.kqed.org/arts/13960573/chinese-telephone-exchange-san-francisco-chinatown-history\">Chinese Telephone Exchange\u003c/a> to Quick’s imagined “Celadonians” — futuristic beings from Planet Celadon.\u003c/p>\n\u003cp>In addition to swirls of color, satisfying textures and deeply researched narrative threads, \u003ci>The Sky Below\u003c/i> boasts a reading room, complete with a vending machine from the Oakland bookstore \u003ca href=\"https://sistahscifi.com/\">Sistah Scifi\u003c/a>. Each artist has recommended at least one work of science or speculative fiction, and Rabben and Mukherjee will both lead reading group meetings in August. \u003c/p>\n\u003cp>The futures imagined in this show — rooted in beauty, craft, handmade materials, care for land and people — are far more appealing (to me, at least) than the sterile, space-bound one I grew up believing in. It may take longer to see such visions enter our mainstream media, but until then, there’s a heck of a reading list to start with. \u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://www.marinmoca.org/see-and-experience\">The Sky Below\u003c/a>’ is on view at the Marin Museum of Contemporary Art (1210 Fifth Ave., San Rafael) is on view through Sept. 21, 2025.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘Black Spaces’ at the Oakland Museum Meditates on Displacement and Reclamation",
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"content": "\u003cfigure id=\"attachment_13978945\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/10_Michelle-Vignes_Kenny-Playing-Sax-at-the-De-Luxe-Inn-in-Oakland_1983_Collection-of-the-Oakland-Museum-of-California-Dorothea-Lange-Award-Purchase.jpg\" alt=\"A Black man with his eyes closed plays a saxophone in a dark nightclub while another man sits in a booth nearby, smiling\" width=\"2000\" height=\"1506\" class=\"size-full wp-image-13978945\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/10_Michelle-Vignes_Kenny-Playing-Sax-at-the-De-Luxe-Inn-in-Oakland_1983_Collection-of-the-Oakland-Museum-of-California-Dorothea-Lange-Award-Purchase.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/10_Michelle-Vignes_Kenny-Playing-Sax-at-the-De-Luxe-Inn-in-Oakland_1983_Collection-of-the-Oakland-Museum-of-California-Dorothea-Lange-Award-Purchase-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/10_Michelle-Vignes_Kenny-Playing-Sax-at-the-De-Luxe-Inn-in-Oakland_1983_Collection-of-the-Oakland-Museum-of-California-Dorothea-Lange-Award-Purchase-768x578.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/10_Michelle-Vignes_Kenny-Playing-Sax-at-the-De-Luxe-Inn-in-Oakland_1983_Collection-of-the-Oakland-Museum-of-California-Dorothea-Lange-Award-Purchase-1536x1157.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Michelle Vignes, ‘Kenny Playing Sax at the De Luxe Inn in Oakland,’ 1983. \u003ccite>(Michelle Vignes / Bancroft Library, UC Berkeley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>You don’t have to dig deep to find a story of Black \u003ca href=\"https://www.kqed.org/news/tag/displacement\">displacement\u003c/a> in the Bay Area.\u003c/p>\n\u003cp>Walking through the Lower Haight, I’m reminded of my grandparents being denied an apartment in the 1950s when the landlord flatly stated, “We don’t rent to Blacks.” Meeting a friend recently outside Oracle Park for a Giants game, I couldn’t help but think about how even Willie Mays — a Hall of Fame outfielder and one of the greatest baseball players of all time — was \u003ca href=\"https://www.sfchronicle.com/chronicle_vault/article/Chronicle-Covers-When-Willie-Mays-was-denied-10518685.php\">nearly blocked from buying a home\u003c/a> in San Francisco’s exclusive Sherwood Forest neighborhood in the late 1950s. (Neighbors objected, forcing the mayor to intervene so Mays could close the deal — at $5,000 above the price quoted to white buyers.) \u003c/p>\n\u003cp>Today, Mays has a statue anchoring a plaza named in his honor. Yet the contradiction lingers: celebrated in bronze while the system that excluded him remains largely intact.\u003c/p>\n\u003cp>My family’s story and Willie Mays’ struggle aren’t isolated incidents. They’re threads in a pattern of exclusion stretching back decades in the Bay Area, determining which communities were able to plant roots and which would be systematically uprooted.\u003c/p>\n\u003cfigure id=\"attachment_13978946\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/4_Marion-Coleman_Country-Club-Nights_Circa-2015_Courtesy-Hayward-Area-Historical-Society-scaled.jpg\" alt=\"\" width=\"2560\" height=\"2327\" class=\"size-full wp-image-13978946\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/4_Marion-Coleman_Country-Club-Nights_Circa-2015_Courtesy-Hayward-Area-Historical-Society-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/4_Marion-Coleman_Country-Club-Nights_Circa-2015_Courtesy-Hayward-Area-Historical-Society-2000x1818.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/4_Marion-Coleman_Country-Club-Nights_Circa-2015_Courtesy-Hayward-Area-Historical-Society-160x145.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/4_Marion-Coleman_Country-Club-Nights_Circa-2015_Courtesy-Hayward-Area-Historical-Society-768x698.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/4_Marion-Coleman_Country-Club-Nights_Circa-2015_Courtesy-Hayward-Area-Historical-Society-1536x1396.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/4_Marion-Coleman_Country-Club-Nights_Circa-2015_Courtesy-Hayward-Area-Historical-Society-2048x1861.jpg 2048w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Marion Coleman, ‘Country Club Nights,’ 2014. \u003ccite>(Courtesy of the Hayward Area Historical Society)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That tension — between visibility and erasure, celebration and systemic harm — is what makes \u003ca href=\"https://museumca.org/on-view/black-spaces-reclaim-remain/\">\u003ci>Black Spaces: Reclaim & Remain\u003c/i>\u003c/a> so vital. On view at the \u003ca href=\"https://museumca.org\">Oakland Museum of California \u003c/a>through March 2026, the exhibition does more than document Black displacement; it honors the spaces we built anyway, and the ones we’re still reclaiming.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Curated by OMCA Associate Curator Dania Talley, the exhibit centers on two East Bay communities: West Oakland and the lesser-known \u003ca href=\"https://www.kqed.org/news/11922175/remembering-russell-city-a-thriving-east-bay-town-razed-by-racist-government\">Russell City\u003c/a>, once a vibrant Black and Latino farming town.\u003c/p>\n\u003cp>Museum Director Lori Fogarty first learned about Russell City in 2021, while receiving a national award in Washington, D.C. She’d brought along Carolyn “C.J.” Johnson, CEO of the Black Cultural Zone, as part of OMCA’s delegation. Over dinner, Johnson shared how her family had migrated from Oklahoma and Louisiana to West Oakland, before being displaced to Russell City — one of many families who made a home there before the town was ultimately \u003ca href=\"https://www.kqed.org/news/11897843/decades-after-cultural-genocide-residents-of-a-bulldozed-community-get-apology-from-hayward\">bulldozed in the 1960s to make way for an industrial park\u003c/a>. Fogarty had worked at OMCA for nearly two decades without ever hearing the story. “That had to change,” she said.\u003c/p>\n\u003cfigure id=\"attachment_13978948\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/8_Keith-Dennison_Untitled-A-tank-prepares-to-attack-first-house-in-new-post-office-site-clearance-plan_1960_Collection-of-the-Oakland-Museum-of-California-The-Oakland-Tribune-Collection-scaled.jpg\" alt=\"\" width=\"2560\" height=\"2082\" class=\"size-full wp-image-13978948\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/8_Keith-Dennison_Untitled-A-tank-prepares-to-attack-first-house-in-new-post-office-site-clearance-plan_1960_Collection-of-the-Oakland-Museum-of-California-The-Oakland-Tribune-Collection-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/8_Keith-Dennison_Untitled-A-tank-prepares-to-attack-first-house-in-new-post-office-site-clearance-plan_1960_Collection-of-the-Oakland-Museum-of-California-The-Oakland-Tribune-Collection-2000x1627.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/8_Keith-Dennison_Untitled-A-tank-prepares-to-attack-first-house-in-new-post-office-site-clearance-plan_1960_Collection-of-the-Oakland-Museum-of-California-The-Oakland-Tribune-Collection-160x130.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/8_Keith-Dennison_Untitled-A-tank-prepares-to-attack-first-house-in-new-post-office-site-clearance-plan_1960_Collection-of-the-Oakland-Museum-of-California-The-Oakland-Tribune-Collection-768x625.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/8_Keith-Dennison_Untitled-A-tank-prepares-to-attack-first-house-in-new-post-office-site-clearance-plan_1960_Collection-of-the-Oakland-Museum-of-California-The-Oakland-Tribune-Collection-1536x1249.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/8_Keith-Dennison_Untitled-A-tank-prepares-to-attack-first-house-in-new-post-office-site-clearance-plan_1960_Collection-of-the-Oakland-Museum-of-California-The-Oakland-Tribune-Collection-2048x1666.jpg 2048w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Keith Dennison, ‘Untitled [Sherman tank prepares to destroy homes for post office site],’ 1960. \u003ccite>(Oakland Museum of California / Oakland Tribune Collection)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The exhibit unfolds in three thematic zones: \u003ci>Homeplace\u003c/i>, which explores domestic life under discrimination; \u003ci>Social Fabric\u003c/i>, which celebrates community institutions; and \u003ci>Dispossession and Repair\u003c/i>, which confronts destructive policies and lifts up grassroots resistance.\u003c/p>\n\u003cp>In \u003ci>Homeplace\u003c/i>, artifacts like church fans, diplomas, and a suitcase belonging to Otis Williams, who moved from Louisiana to work in the Marin City shipyards, illustrate personal narratives of migration and “the individual carving out space under systems of exclusion,” as Talley explained at a press preview for the exhibit.\u003c/p>\n\u003cp>[aside postID='news_11897843']In \u003cem>Social Fabric\u003c/em>, visitors encounter churches, jazz venues, and Black-owned businesses that sustained thriving communities. A special highlight is the Oak Center Neighborhood Association, formed in 1963 to fight the city’s redevelopment plans targeting West Oakland. The group ultimately saved over 300 historic Victorian homes from demolition in the mid-1960s, persuading officials to invest in rehabilitation instead. The Oak Center neighborhood remains a symbol of grassroots resistance and \u003ca href=\"https://www.oakcenter.org/\">the power of residents to protect\u003c/a> what they’ve built.\u003c/p>\n\u003cp>\u003ci>Dispossession and Repair\u003c/i> examines the impact of the Housing Act of 1949 and redlining, while spotlighting resistance through maps, oral histories, and community records.\u003c/p>\n\u003cfigure id=\"attachment_13978949\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/12_Adrian-Burrell_film-still-from-Electric-Slide_2025_Courtesy-of-the-artist-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1433\" class=\"size-full wp-image-13978949\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/12_Adrian-Burrell_film-still-from-Electric-Slide_2025_Courtesy-of-the-artist-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/12_Adrian-Burrell_film-still-from-Electric-Slide_2025_Courtesy-of-the-artist-2000x1119.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/12_Adrian-Burrell_film-still-from-Electric-Slide_2025_Courtesy-of-the-artist-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/12_Adrian-Burrell_film-still-from-Electric-Slide_2025_Courtesy-of-the-artist-768x430.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/12_Adrian-Burrell_film-still-from-Electric-Slide_2025_Courtesy-of-the-artist-1536x860.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/12_Adrian-Burrell_film-still-from-Electric-Slide_2025_Courtesy-of-the-artist-2048x1146.jpg 2048w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Adrian Burrell, still from ‘Electric Slide,’ 2025. \u003ccite>(Adrian Burrell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Three commissioned installations deepen the exhibit’s impact. One of the most arresting is by Adrian Burrell, a third-generation Oaklander, who created a towering bottle tree sculpture anchored by a steel base and adorned with glass bottles — an African American folk tradition meant to ward off evil spirits. Tucked within the branches are small video monitors playing intimate home footage: his grandmother’s block parties in Ghost Town, the somber ritual of her funeral, and tender scenes of family life that pulse with joy, grief, and resilience.\u003c/p>\n\u003cp>“This is about rehearsal,” Burrell explained. “Black folks have always practiced for catastrophe. What we’re doing now is just the latest act.”\u003c/p>\n\u003cp>At the Archive of Urban Futures, created by Dr. Brandi T. Summers, visitors can browse zines, maps, and multimedia documents tracing the erasure, commodification and reclamation of Black history in Oakland. “We still call Oakland home, even if we can’t afford to live here anymore,” Summers said. “This space is about holding on to that memory and building from it.”\u003c/p>\n\u003cfigure id=\"attachment_13978947\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/3_Map-of-West-Oakland-1968_Courtesy-of-Segregation-by-Design-scaled.jpg\" alt=\"\" width=\"2560\" height=\"2048\" class=\"size-full wp-image-13978947\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/3_Map-of-West-Oakland-1968_Courtesy-of-Segregation-by-Design-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/3_Map-of-West-Oakland-1968_Courtesy-of-Segregation-by-Design-2000x1600.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/3_Map-of-West-Oakland-1968_Courtesy-of-Segregation-by-Design-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/3_Map-of-West-Oakland-1968_Courtesy-of-Segregation-by-Design-768x614.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/3_Map-of-West-Oakland-1968_Courtesy-of-Segregation-by-Design-1536x1229.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/3_Map-of-West-Oakland-1968_Courtesy-of-Segregation-by-Design-2048x1639.jpg 2048w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Adam P. Susaneck, ‘Oakland: Freeways and Urban Renewal,’ 1968. \u003ccite>(Adam P. Susaneck / Segregation by Design)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A full-scale replica of 2928 Magnolia St. — occupied by \u003ca href=\"https://www.kqed.org/news/11842392/how-moms-4-housing-changed-laws-and-inspired-a-movement\">Moms 4 Housing\u003c/a> in 2019 — serves as both memorial and model for housing justice. Moms 4 Housing co-founder Dominique Walker shared that her son took his first steps in the house, underscoring the importance of having a place to stay. Councilmember Carroll Fife added, “The system that created homelessness is the same one that made Russell City disappear. We have to keep resisting and telling these stories.”\u003c/p>\n\u003cp>During the preview, gallery owner \u003ca href=\"https://www.kqed.org/arts/13955879/jonathan-carver-moore-gallery-residency-market-street\">Jonathan Carver Moore\u003c/a>, who moved to the Bay from D.C. nine years ago, said the exhibit reshaped how he sees these cities. “I never realized how Black San Francisco and Oakland once were. Seeing those photos, the bulldozers, the kids on top of them — it reminded me this was ours.”\u003c/p>\n\u003cp>Comedian and TV host \u003ca href=\"https://www.kqed.org/arts/tag/w-kamau-bell\">W. Kamau Bell\u003c/a> called the exhibition a necessary mirror. “This is exactly what the Oakland Museum of California does best — centering the voices, aesthetics, and needs of Oakland,” he said. “If there was ever a time to focus on reclaiming Black spaces, it’s now. And not just Black spaces, American spaces. This exhibit reminds us how.”\u003c/p>\n\u003cfigure id=\"attachment_13978950\" class=\"wp-caption aligncenter\" style=\"max-width: 1656px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/14.Krista-Pearl-McAtee-Recipes-for-Remembrance-2025.-Digital-collage.-Courtesy-of-the-artist-and-Archive-of-Urban-Futures-scaled.jpg\" alt=\"\" width=\"1656\" height=\"2560\" class=\"size-full wp-image-13978950\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/14.Krista-Pearl-McAtee-Recipes-for-Remembrance-2025.-Digital-collage.-Courtesy-of-the-artist-and-Archive-of-Urban-Futures-scaled.jpg 1656w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/14.Krista-Pearl-McAtee-Recipes-for-Remembrance-2025.-Digital-collage.-Courtesy-of-the-artist-and-Archive-of-Urban-Futures-2000x3092.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/14.Krista-Pearl-McAtee-Recipes-for-Remembrance-2025.-Digital-collage.-Courtesy-of-the-artist-and-Archive-of-Urban-Futures-160x247.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/14.Krista-Pearl-McAtee-Recipes-for-Remembrance-2025.-Digital-collage.-Courtesy-of-the-artist-and-Archive-of-Urban-Futures-768x1187.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/14.Krista-Pearl-McAtee-Recipes-for-Remembrance-2025.-Digital-collage.-Courtesy-of-the-artist-and-Archive-of-Urban-Futures-994x1536.jpg 994w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/14.Krista-Pearl-McAtee-Recipes-for-Remembrance-2025.-Digital-collage.-Courtesy-of-the-artist-and-Archive-of-Urban-Futures-1325x2048.jpg 1325w\" sizes=\"auto, (max-width: 1656px) 100vw, 1656px\">\u003cfigcaption class=\"wp-caption-text\">Krista Pearl McAtee, ‘Recipes for Remembrance,’ 2025. \u003ccite>(Krista Pearl McAtee / Archive of Urban Futures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A statement painted on the gallery wall sums up its emotional core: “Black does not ask permission; it seeps, stretches, and stains. Black is the architecture of the uncontainable.”\u003c/p>\n\u003cp>This is not just a history exhibition. It’s a living memory project, a communal vision board, a space to mourn what was lost and to celebrate what still pulses beneath city streets. If you’ve ever walked past an empty lot and felt a story rise up in your chest—or wondered where the jazz clubs went, or why that corner store became a boutique—this show is for you. And if you haven’t, then it’s definitely for you.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"http://museumca.org/on-view/black-spaces-reclaim-remain\">Black Spaces: Reclaim & Remain\u003c/a>’ is on view through March 1, 2026, at the Oakland Museum of California (\u003ci>1000 Oak Street, Oakland). \u003ca href=\"https://museumca.org/on-view/black-spaces-reclaim-remain/\">Details here\u003c/a>.\u003c/i>\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13978945\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/10_Michelle-Vignes_Kenny-Playing-Sax-at-the-De-Luxe-Inn-in-Oakland_1983_Collection-of-the-Oakland-Museum-of-California-Dorothea-Lange-Award-Purchase.jpg\" alt=\"A Black man with his eyes closed plays a saxophone in a dark nightclub while another man sits in a booth nearby, smiling\" width=\"2000\" height=\"1506\" class=\"size-full wp-image-13978945\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/10_Michelle-Vignes_Kenny-Playing-Sax-at-the-De-Luxe-Inn-in-Oakland_1983_Collection-of-the-Oakland-Museum-of-California-Dorothea-Lange-Award-Purchase.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/10_Michelle-Vignes_Kenny-Playing-Sax-at-the-De-Luxe-Inn-in-Oakland_1983_Collection-of-the-Oakland-Museum-of-California-Dorothea-Lange-Award-Purchase-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/10_Michelle-Vignes_Kenny-Playing-Sax-at-the-De-Luxe-Inn-in-Oakland_1983_Collection-of-the-Oakland-Museum-of-California-Dorothea-Lange-Award-Purchase-768x578.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/10_Michelle-Vignes_Kenny-Playing-Sax-at-the-De-Luxe-Inn-in-Oakland_1983_Collection-of-the-Oakland-Museum-of-California-Dorothea-Lange-Award-Purchase-1536x1157.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Michelle Vignes, ‘Kenny Playing Sax at the De Luxe Inn in Oakland,’ 1983. \u003ccite>(Michelle Vignes / Bancroft Library, UC Berkeley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>You don’t have to dig deep to find a story of Black \u003ca href=\"https://www.kqed.org/news/tag/displacement\">displacement\u003c/a> in the Bay Area.\u003c/p>\n\u003cp>Walking through the Lower Haight, I’m reminded of my grandparents being denied an apartment in the 1950s when the landlord flatly stated, “We don’t rent to Blacks.” Meeting a friend recently outside Oracle Park for a Giants game, I couldn’t help but think about how even Willie Mays — a Hall of Fame outfielder and one of the greatest baseball players of all time — was \u003ca href=\"https://www.sfchronicle.com/chronicle_vault/article/Chronicle-Covers-When-Willie-Mays-was-denied-10518685.php\">nearly blocked from buying a home\u003c/a> in San Francisco’s exclusive Sherwood Forest neighborhood in the late 1950s. (Neighbors objected, forcing the mayor to intervene so Mays could close the deal — at $5,000 above the price quoted to white buyers.) \u003c/p>\n\u003cp>Today, Mays has a statue anchoring a plaza named in his honor. Yet the contradiction lingers: celebrated in bronze while the system that excluded him remains largely intact.\u003c/p>\n\u003cp>My family’s story and Willie Mays’ struggle aren’t isolated incidents. They’re threads in a pattern of exclusion stretching back decades in the Bay Area, determining which communities were able to plant roots and which would be systematically uprooted.\u003c/p>\n\u003cfigure id=\"attachment_13978946\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/4_Marion-Coleman_Country-Club-Nights_Circa-2015_Courtesy-Hayward-Area-Historical-Society-scaled.jpg\" alt=\"\" width=\"2560\" height=\"2327\" class=\"size-full wp-image-13978946\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/4_Marion-Coleman_Country-Club-Nights_Circa-2015_Courtesy-Hayward-Area-Historical-Society-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/4_Marion-Coleman_Country-Club-Nights_Circa-2015_Courtesy-Hayward-Area-Historical-Society-2000x1818.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/4_Marion-Coleman_Country-Club-Nights_Circa-2015_Courtesy-Hayward-Area-Historical-Society-160x145.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/4_Marion-Coleman_Country-Club-Nights_Circa-2015_Courtesy-Hayward-Area-Historical-Society-768x698.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/4_Marion-Coleman_Country-Club-Nights_Circa-2015_Courtesy-Hayward-Area-Historical-Society-1536x1396.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/4_Marion-Coleman_Country-Club-Nights_Circa-2015_Courtesy-Hayward-Area-Historical-Society-2048x1861.jpg 2048w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Marion Coleman, ‘Country Club Nights,’ 2014. \u003ccite>(Courtesy of the Hayward Area Historical Society)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That tension — between visibility and erasure, celebration and systemic harm — is what makes \u003ca href=\"https://museumca.org/on-view/black-spaces-reclaim-remain/\">\u003ci>Black Spaces: Reclaim & Remain\u003c/i>\u003c/a> so vital. On view at the \u003ca href=\"https://museumca.org\">Oakland Museum of California \u003c/a>through March 2026, the exhibition does more than document Black displacement; it honors the spaces we built anyway, and the ones we’re still reclaiming.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Curated by OMCA Associate Curator Dania Talley, the exhibit centers on two East Bay communities: West Oakland and the lesser-known \u003ca href=\"https://www.kqed.org/news/11922175/remembering-russell-city-a-thriving-east-bay-town-razed-by-racist-government\">Russell City\u003c/a>, once a vibrant Black and Latino farming town.\u003c/p>\n\u003cp>Museum Director Lori Fogarty first learned about Russell City in 2021, while receiving a national award in Washington, D.C. She’d brought along Carolyn “C.J.” Johnson, CEO of the Black Cultural Zone, as part of OMCA’s delegation. Over dinner, Johnson shared how her family had migrated from Oklahoma and Louisiana to West Oakland, before being displaced to Russell City — one of many families who made a home there before the town was ultimately \u003ca href=\"https://www.kqed.org/news/11897843/decades-after-cultural-genocide-residents-of-a-bulldozed-community-get-apology-from-hayward\">bulldozed in the 1960s to make way for an industrial park\u003c/a>. Fogarty had worked at OMCA for nearly two decades without ever hearing the story. “That had to change,” she said.\u003c/p>\n\u003cfigure id=\"attachment_13978948\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/8_Keith-Dennison_Untitled-A-tank-prepares-to-attack-first-house-in-new-post-office-site-clearance-plan_1960_Collection-of-the-Oakland-Museum-of-California-The-Oakland-Tribune-Collection-scaled.jpg\" alt=\"\" width=\"2560\" height=\"2082\" class=\"size-full wp-image-13978948\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/8_Keith-Dennison_Untitled-A-tank-prepares-to-attack-first-house-in-new-post-office-site-clearance-plan_1960_Collection-of-the-Oakland-Museum-of-California-The-Oakland-Tribune-Collection-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/8_Keith-Dennison_Untitled-A-tank-prepares-to-attack-first-house-in-new-post-office-site-clearance-plan_1960_Collection-of-the-Oakland-Museum-of-California-The-Oakland-Tribune-Collection-2000x1627.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/8_Keith-Dennison_Untitled-A-tank-prepares-to-attack-first-house-in-new-post-office-site-clearance-plan_1960_Collection-of-the-Oakland-Museum-of-California-The-Oakland-Tribune-Collection-160x130.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/8_Keith-Dennison_Untitled-A-tank-prepares-to-attack-first-house-in-new-post-office-site-clearance-plan_1960_Collection-of-the-Oakland-Museum-of-California-The-Oakland-Tribune-Collection-768x625.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/8_Keith-Dennison_Untitled-A-tank-prepares-to-attack-first-house-in-new-post-office-site-clearance-plan_1960_Collection-of-the-Oakland-Museum-of-California-The-Oakland-Tribune-Collection-1536x1249.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/8_Keith-Dennison_Untitled-A-tank-prepares-to-attack-first-house-in-new-post-office-site-clearance-plan_1960_Collection-of-the-Oakland-Museum-of-California-The-Oakland-Tribune-Collection-2048x1666.jpg 2048w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Keith Dennison, ‘Untitled [Sherman tank prepares to destroy homes for post office site],’ 1960. \u003ccite>(Oakland Museum of California / Oakland Tribune Collection)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The exhibit unfolds in three thematic zones: \u003ci>Homeplace\u003c/i>, which explores domestic life under discrimination; \u003ci>Social Fabric\u003c/i>, which celebrates community institutions; and \u003ci>Dispossession and Repair\u003c/i>, which confronts destructive policies and lifts up grassroots resistance.\u003c/p>\n\u003cp>In \u003ci>Homeplace\u003c/i>, artifacts like church fans, diplomas, and a suitcase belonging to Otis Williams, who moved from Louisiana to work in the Marin City shipyards, illustrate personal narratives of migration and “the individual carving out space under systems of exclusion,” as Talley explained at a press preview for the exhibit.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In \u003cem>Social Fabric\u003c/em>, visitors encounter churches, jazz venues, and Black-owned businesses that sustained thriving communities. A special highlight is the Oak Center Neighborhood Association, formed in 1963 to fight the city’s redevelopment plans targeting West Oakland. The group ultimately saved over 300 historic Victorian homes from demolition in the mid-1960s, persuading officials to invest in rehabilitation instead. The Oak Center neighborhood remains a symbol of grassroots resistance and \u003ca href=\"https://www.oakcenter.org/\">the power of residents to protect\u003c/a> what they’ve built.\u003c/p>\n\u003cp>\u003ci>Dispossession and Repair\u003c/i> examines the impact of the Housing Act of 1949 and redlining, while spotlighting resistance through maps, oral histories, and community records.\u003c/p>\n\u003cfigure id=\"attachment_13978949\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/12_Adrian-Burrell_film-still-from-Electric-Slide_2025_Courtesy-of-the-artist-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1433\" class=\"size-full wp-image-13978949\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/12_Adrian-Burrell_film-still-from-Electric-Slide_2025_Courtesy-of-the-artist-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/12_Adrian-Burrell_film-still-from-Electric-Slide_2025_Courtesy-of-the-artist-2000x1119.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/12_Adrian-Burrell_film-still-from-Electric-Slide_2025_Courtesy-of-the-artist-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/12_Adrian-Burrell_film-still-from-Electric-Slide_2025_Courtesy-of-the-artist-768x430.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/12_Adrian-Burrell_film-still-from-Electric-Slide_2025_Courtesy-of-the-artist-1536x860.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/12_Adrian-Burrell_film-still-from-Electric-Slide_2025_Courtesy-of-the-artist-2048x1146.jpg 2048w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Adrian Burrell, still from ‘Electric Slide,’ 2025. \u003ccite>(Adrian Burrell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Three commissioned installations deepen the exhibit’s impact. One of the most arresting is by Adrian Burrell, a third-generation Oaklander, who created a towering bottle tree sculpture anchored by a steel base and adorned with glass bottles — an African American folk tradition meant to ward off evil spirits. Tucked within the branches are small video monitors playing intimate home footage: his grandmother’s block parties in Ghost Town, the somber ritual of her funeral, and tender scenes of family life that pulse with joy, grief, and resilience.\u003c/p>\n\u003cp>“This is about rehearsal,” Burrell explained. “Black folks have always practiced for catastrophe. What we’re doing now is just the latest act.”\u003c/p>\n\u003cp>At the Archive of Urban Futures, created by Dr. Brandi T. Summers, visitors can browse zines, maps, and multimedia documents tracing the erasure, commodification and reclamation of Black history in Oakland. “We still call Oakland home, even if we can’t afford to live here anymore,” Summers said. “This space is about holding on to that memory and building from it.”\u003c/p>\n\u003cfigure id=\"attachment_13978947\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/3_Map-of-West-Oakland-1968_Courtesy-of-Segregation-by-Design-scaled.jpg\" alt=\"\" width=\"2560\" height=\"2048\" class=\"size-full wp-image-13978947\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/3_Map-of-West-Oakland-1968_Courtesy-of-Segregation-by-Design-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/3_Map-of-West-Oakland-1968_Courtesy-of-Segregation-by-Design-2000x1600.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/3_Map-of-West-Oakland-1968_Courtesy-of-Segregation-by-Design-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/3_Map-of-West-Oakland-1968_Courtesy-of-Segregation-by-Design-768x614.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/3_Map-of-West-Oakland-1968_Courtesy-of-Segregation-by-Design-1536x1229.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/3_Map-of-West-Oakland-1968_Courtesy-of-Segregation-by-Design-2048x1639.jpg 2048w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Adam P. Susaneck, ‘Oakland: Freeways and Urban Renewal,’ 1968. \u003ccite>(Adam P. Susaneck / Segregation by Design)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A full-scale replica of 2928 Magnolia St. — occupied by \u003ca href=\"https://www.kqed.org/news/11842392/how-moms-4-housing-changed-laws-and-inspired-a-movement\">Moms 4 Housing\u003c/a> in 2019 — serves as both memorial and model for housing justice. Moms 4 Housing co-founder Dominique Walker shared that her son took his first steps in the house, underscoring the importance of having a place to stay. Councilmember Carroll Fife added, “The system that created homelessness is the same one that made Russell City disappear. We have to keep resisting and telling these stories.”\u003c/p>\n\u003cp>During the preview, gallery owner \u003ca href=\"https://www.kqed.org/arts/13955879/jonathan-carver-moore-gallery-residency-market-street\">Jonathan Carver Moore\u003c/a>, who moved to the Bay from D.C. nine years ago, said the exhibit reshaped how he sees these cities. “I never realized how Black San Francisco and Oakland once were. Seeing those photos, the bulldozers, the kids on top of them — it reminded me this was ours.”\u003c/p>\n\u003cp>Comedian and TV host \u003ca href=\"https://www.kqed.org/arts/tag/w-kamau-bell\">W. Kamau Bell\u003c/a> called the exhibition a necessary mirror. “This is exactly what the Oakland Museum of California does best — centering the voices, aesthetics, and needs of Oakland,” he said. “If there was ever a time to focus on reclaiming Black spaces, it’s now. And not just Black spaces, American spaces. This exhibit reminds us how.”\u003c/p>\n\u003cfigure id=\"attachment_13978950\" class=\"wp-caption aligncenter\" style=\"max-width: 1656px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/14.Krista-Pearl-McAtee-Recipes-for-Remembrance-2025.-Digital-collage.-Courtesy-of-the-artist-and-Archive-of-Urban-Futures-scaled.jpg\" alt=\"\" width=\"1656\" height=\"2560\" class=\"size-full wp-image-13978950\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/14.Krista-Pearl-McAtee-Recipes-for-Remembrance-2025.-Digital-collage.-Courtesy-of-the-artist-and-Archive-of-Urban-Futures-scaled.jpg 1656w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/14.Krista-Pearl-McAtee-Recipes-for-Remembrance-2025.-Digital-collage.-Courtesy-of-the-artist-and-Archive-of-Urban-Futures-2000x3092.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/14.Krista-Pearl-McAtee-Recipes-for-Remembrance-2025.-Digital-collage.-Courtesy-of-the-artist-and-Archive-of-Urban-Futures-160x247.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/14.Krista-Pearl-McAtee-Recipes-for-Remembrance-2025.-Digital-collage.-Courtesy-of-the-artist-and-Archive-of-Urban-Futures-768x1187.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/14.Krista-Pearl-McAtee-Recipes-for-Remembrance-2025.-Digital-collage.-Courtesy-of-the-artist-and-Archive-of-Urban-Futures-994x1536.jpg 994w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/14.Krista-Pearl-McAtee-Recipes-for-Remembrance-2025.-Digital-collage.-Courtesy-of-the-artist-and-Archive-of-Urban-Futures-1325x2048.jpg 1325w\" sizes=\"auto, (max-width: 1656px) 100vw, 1656px\">\u003cfigcaption class=\"wp-caption-text\">Krista Pearl McAtee, ‘Recipes for Remembrance,’ 2025. \u003ccite>(Krista Pearl McAtee / Archive of Urban Futures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A statement painted on the gallery wall sums up its emotional core: “Black does not ask permission; it seeps, stretches, and stains. Black is the architecture of the uncontainable.”\u003c/p>\n\u003cp>This is not just a history exhibition. It’s a living memory project, a communal vision board, a space to mourn what was lost and to celebrate what still pulses beneath city streets. If you’ve ever walked past an empty lot and felt a story rise up in your chest—or wondered where the jazz clubs went, or why that corner store became a boutique—this show is for you. And if you haven’t, then it’s definitely for you.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"http://museumca.org/on-view/black-spaces-reclaim-remain\">Black Spaces: Reclaim & Remain\u003c/a>’ is on view through March 1, 2026, at the Oakland Museum of California (\u003ci>1000 Oak Street, Oakland). \u003ca href=\"https://museumca.org/on-view/black-spaces-reclaim-remain/\">Details here\u003c/a>.\u003c/i>\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "milo-moyer-battick-specific-saw-horse-pacific-saw-works-review",
"title": "At Pacific Saw Works, Puzzling Paintings Make Surreal Sense",
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"headTitle": "At Pacific Saw Works, Puzzling Paintings Make Surreal Sense | KQED",
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"content": "\u003cp>When I first got a glimpse of \u003ca href=\"https://www.milomoyer-battick.com/\">Milo Moyer-Battick\u003c/a>’s paintings in person last year, the show was a small one, arranged on the wood-paneled walls of \u003ca href=\"https://laststrawsf.com/exhibitions\">The Last Straw\u003c/a>, an enigmatic artist-run gallery and gift shop in San Francisco’s Outer Sunset neighborhood.\u003c/p>\n\u003cp>At The Last Straw, Moyer-Battick showed dark, muted paintings overlaid with his own brand of pointillism, a diffuse smattering of dots that blur (especially if you take your glasses off) into a cohesive whole. But it was tricky in those close quarters to get the distance necessary to truly take in the effect — or confidently decipher a signal from the noise. \u003c/p>\n\u003cp>Now through July 19 at \u003ca href=\"https://www.pacificsawworks.com/\">Pacific Saw Works\u003c/a>, another artist-run space, this one in a former Oakland hardware store, we get an evolution of that visual scramble. In Moyer-Battick’s solo show \u003ci>\u003ca href=\"https://www.pacificsawworks.com/specific-saw-horse\">Specific Saw Horse\u003c/a>\u003c/i>, clearly identifiable images borrowed from logos, diagrams and bygone recipes rub up against non sequiturs and punny wordplay.\u003c/p>\n\u003cp>“Ringo Starr bound and gagged,” reads the bottom of \u003ci>The Opposite of Snow\u003c/i>, a painting that combines the Bic pen logo, Dance Dance Revolution arrows, Felix the Cat, \u003ci>Goodnight Moon\u003c/i> and a chevron arrangement of ticks. \u003c/p>\n\u003cfigure id=\"attachment_13978341\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/TheOppositeOfRhyming_Hires_2000.jpg\" alt=\"yellow painting with various images and brands in combination\" width=\"2000\" height=\"2540\" class=\"size-full wp-image-13978341\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/TheOppositeOfRhyming_Hires_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/TheOppositeOfRhyming_Hires_2000-160x203.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/TheOppositeOfRhyming_Hires_2000-768x975.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/TheOppositeOfRhyming_Hires_2000-1209x1536.jpg 1209w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/TheOppositeOfRhyming_Hires_2000-1613x2048.jpg 1613w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Milo Moyer-Battick, ‘The Opposite of Rhyming,’ 2025. \u003ccite>(Courtesy Pacific Saw Works)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In \u003ci>The Opposite of Rhyming\u003c/i>, illustrations of feet, the Pink Panther, the Raisin Bran logo and clam chowder packaging mingle in a zingy red, pink and yellow composition. This is just a cursory list; prepare for a delightfully zany version of “I spy.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Not all of Moyer-Battick’s work is so eclectic. Several sign paintings punctuate the show with the sans-serif elegance of On Kawara’s \u003ca href=\"https://www.davidzwirner.com/artists/on-kawara\">date paintings\u003c/a>, only to proclaim “Spinach,” “Cumulus cloud” and “OPSTAY” (the last one, fittingly, on a red hexagon of unprimed canvas).\u003c/p>\n\u003cp>But other pieces are so dense they attain a kind of Magic Eye quality. With a confident hand, Moyer-Battick layers thinly painted text and found imagery directly on top of one another. It takes selective, sustained focus to decipher these disparate parts. In \u003ci>Orange Ham and Eggs\u003c/i>, we find a fish in a bowl, an old-timey violinist and cooking instructions (à l’orange, of course). \u003c/p>\n\u003cfigure id=\"attachment_13978345\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/LoremIpsum_Hires_cloud_2000.jpg\" alt=\"tie-dye like painting with words painted around edges; and wide white text on dark brown\" width=\"2000\" height=\"860\" class=\"size-full wp-image-13978345\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/LoremIpsum_Hires_cloud_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/LoremIpsum_Hires_cloud_2000-160x69.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/LoremIpsum_Hires_cloud_2000-768x330.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/LoremIpsum_Hires_cloud_2000-1536x660.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Milo Moyer-Battick, ‘Lorem Ipsum,’ 2025 and ‘Cumulus cloud,’ 2025. \u003ccite>(Courtesy Pacific Saw Works)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Throughout the show, Moyer-Battick encodes visual information into a personal, free-associative cypher. What are we to make of Elvis + \u003ci>Grease\u003c/i> + “cook in hot, deep fat”? It’s a rebus that doesn’t quite parse, an equation that will never add up. \u003c/p>\n\u003cp>Thankfully, the work is well balanced between perplexing visual puzzles and straightforward — if meat-heavy — messaging. (\u003ci>Liver\u003c/i> is one of the sign paintings, \u003ci>Half a pound of turkey Ninety pounds of pork\u003c/i> is another.) Tucked into one corner, the showstopper \u003ci>Lorem Ipsum\u003c/i> is the equivalent of a contemplative sunset, the word salad running around its edges a comforting babble. \u003c/p>\n\u003cp>\u003ci>Specific Saw Horse\u003c/i> is a reminder that surrealism is just a few juxtapositions away from our seemingly ordered reality. When the real world feels increasingly uncanny, it’s practices like these — that dig deep into commonplace things and render them altogether strange — that really make sense.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Specific Saw Horse’ is on view at Pacific Saw Works through July 19, 2025. Email \u003ca href=\"mailto:pacificsawworks@gmail.com\">pacificsawworks@gmail.com\u003c/a> to make an appointment, or visit the gallery \u003ca href=\"https://www.instagram.com/pacificsawworks/\">Instagram\u003c/a> for weekly open hours.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When I first got a glimpse of \u003ca href=\"https://www.milomoyer-battick.com/\">Milo Moyer-Battick\u003c/a>’s paintings in person last year, the show was a small one, arranged on the wood-paneled walls of \u003ca href=\"https://laststrawsf.com/exhibitions\">The Last Straw\u003c/a>, an enigmatic artist-run gallery and gift shop in San Francisco’s Outer Sunset neighborhood.\u003c/p>\n\u003cp>At The Last Straw, Moyer-Battick showed dark, muted paintings overlaid with his own brand of pointillism, a diffuse smattering of dots that blur (especially if you take your glasses off) into a cohesive whole. But it was tricky in those close quarters to get the distance necessary to truly take in the effect — or confidently decipher a signal from the noise. \u003c/p>\n\u003cp>Now through July 19 at \u003ca href=\"https://www.pacificsawworks.com/\">Pacific Saw Works\u003c/a>, another artist-run space, this one in a former Oakland hardware store, we get an evolution of that visual scramble. In Moyer-Battick’s solo show \u003ci>\u003ca href=\"https://www.pacificsawworks.com/specific-saw-horse\">Specific Saw Horse\u003c/a>\u003c/i>, clearly identifiable images borrowed from logos, diagrams and bygone recipes rub up against non sequiturs and punny wordplay.\u003c/p>\n\u003cp>“Ringo Starr bound and gagged,” reads the bottom of \u003ci>The Opposite of Snow\u003c/i>, a painting that combines the Bic pen logo, Dance Dance Revolution arrows, Felix the Cat, \u003ci>Goodnight Moon\u003c/i> and a chevron arrangement of ticks. \u003c/p>\n\u003cfigure id=\"attachment_13978341\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/TheOppositeOfRhyming_Hires_2000.jpg\" alt=\"yellow painting with various images and brands in combination\" width=\"2000\" height=\"2540\" class=\"size-full wp-image-13978341\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/TheOppositeOfRhyming_Hires_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/TheOppositeOfRhyming_Hires_2000-160x203.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/TheOppositeOfRhyming_Hires_2000-768x975.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/TheOppositeOfRhyming_Hires_2000-1209x1536.jpg 1209w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/TheOppositeOfRhyming_Hires_2000-1613x2048.jpg 1613w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Milo Moyer-Battick, ‘The Opposite of Rhyming,’ 2025. \u003ccite>(Courtesy Pacific Saw Works)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In \u003ci>The Opposite of Rhyming\u003c/i>, illustrations of feet, the Pink Panther, the Raisin Bran logo and clam chowder packaging mingle in a zingy red, pink and yellow composition. This is just a cursory list; prepare for a delightfully zany version of “I spy.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Not all of Moyer-Battick’s work is so eclectic. Several sign paintings punctuate the show with the sans-serif elegance of On Kawara’s \u003ca href=\"https://www.davidzwirner.com/artists/on-kawara\">date paintings\u003c/a>, only to proclaim “Spinach,” “Cumulus cloud” and “OPSTAY” (the last one, fittingly, on a red hexagon of unprimed canvas).\u003c/p>\n\u003cp>But other pieces are so dense they attain a kind of Magic Eye quality. With a confident hand, Moyer-Battick layers thinly painted text and found imagery directly on top of one another. It takes selective, sustained focus to decipher these disparate parts. In \u003ci>Orange Ham and Eggs\u003c/i>, we find a fish in a bowl, an old-timey violinist and cooking instructions (à l’orange, of course). \u003c/p>\n\u003cfigure id=\"attachment_13978345\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/LoremIpsum_Hires_cloud_2000.jpg\" alt=\"tie-dye like painting with words painted around edges; and wide white text on dark brown\" width=\"2000\" height=\"860\" class=\"size-full wp-image-13978345\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/LoremIpsum_Hires_cloud_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/LoremIpsum_Hires_cloud_2000-160x69.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/LoremIpsum_Hires_cloud_2000-768x330.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/LoremIpsum_Hires_cloud_2000-1536x660.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Milo Moyer-Battick, ‘Lorem Ipsum,’ 2025 and ‘Cumulus cloud,’ 2025. \u003ccite>(Courtesy Pacific Saw Works)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Throughout the show, Moyer-Battick encodes visual information into a personal, free-associative cypher. What are we to make of Elvis + \u003ci>Grease\u003c/i> + “cook in hot, deep fat”? It’s a rebus that doesn’t quite parse, an equation that will never add up. \u003c/p>\n\u003cp>Thankfully, the work is well balanced between perplexing visual puzzles and straightforward — if meat-heavy — messaging. (\u003ci>Liver\u003c/i> is one of the sign paintings, \u003ci>Half a pound of turkey Ninety pounds of pork\u003c/i> is another.) Tucked into one corner, the showstopper \u003ci>Lorem Ipsum\u003c/i> is the equivalent of a contemplative sunset, the word salad running around its edges a comforting babble. \u003c/p>\n\u003cp>\u003ci>Specific Saw Horse\u003c/i> is a reminder that surrealism is just a few juxtapositions away from our seemingly ordered reality. When the real world feels increasingly uncanny, it’s practices like these — that dig deep into commonplace things and render them altogether strange — that really make sense.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Specific Saw Horse’ is on view at Pacific Saw Works through July 19, 2025. Email \u003ca href=\"mailto:pacificsawworks@gmail.com\">pacificsawworks@gmail.com\u003c/a> to make an appointment, or visit the gallery \u003ca href=\"https://www.instagram.com/pacificsawworks/\">Instagram\u003c/a> for weekly open hours.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>If there is an overarching theme in \u003cem>Sorry, Baby\u003c/em> — the debut feature by San Francisco-raised director, writer and actor \u003ca href=\"https://www.instagram.com/evavictor/?hl=en\">Eva Victor\u003c/a> — it’s about the ordinariness of terrible things.\u003c/p>\n\u003cp>[aside postid='arts_13978179']Traditionally, most movies like to insist on telling audiences that disasters crash into our lives with lightning strikes and people screaming, soundtracked by heart-wrenching music. The truth is that most of the worst things that happen to humans just roll quietly — and randomly — into lives and chip, chip, chip away. \u003cem>Sorry, Baby\u003c/em> is extremely good at capturing the slow, insidious and muted nature of such events.\u003c/p>\n\u003cp>Set in a rural Massachusetts college town, \u003cem>Sorry, Baby\u003c/em> revolves around Agnes (played by Victor), her best friend Lydie (the always delightful \u003ca href=\"https://www.kqed.org/arts/13962666/blink-twice-movie-review-zoe-kravitz-channing-tatum-naomi-ackie-alia-shawkat\">Naomi Ackie\u003c/a>), a socially awkward neighbor named Gavin (\u003ca href=\"https://www.imdb.com/name/nm2348627/\">Lucas Hedges\u003c/a>), and a cast of mostly unpleasant characters from the local university. (Special shoutout to \u003ca href=\"https://www.imdb.com/name/nm3080168/?ref_=ttfc_fcr_cst_4\">Kelly McCormack\u003c/a> here, who uses her extremely expressive face to turn Agnes’ nemesis Natasha into a figure of comedic gold.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Rc0jgWoZo9w\u003c/p>\n\u003cp>\u003cem>Sorry, Baby\u003c/em> is a movie about sexual violence, power imbalances, dealing with trauma, and the emotional relationships and bonds that carry us through. But its tone never shifts from an everyday beat, in part because of Agnes’ pragmatic nature. The routine of daily activities sits alongside the pain of The Very Bad Thing at the center of her story. Friendships and sexual relationships are rendered naturalistically and believably. Interactions with strangers are consistently, humanly awkward and provide dry humor to proceedings.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>What is less obvious about \u003cem>Sorry, Baby\u003c/em> is that it’s also a late-stage coming of age story. Rendered through non-linear time jumps, the movie shows Agnes and Lydie limping to the end of grad school and emerging into post-collegiate adulthood in search of their own paths. These women are undoubtedly grown-ups, albeit ones who haven’t quite figured out themselves or the world yet. In the end, their personal road maps emerge simply because they manage to keep putting one foot in front of the other, regardless of the challenges at hand.\u003c/p>\n\u003cp>[aside postid='arts_13978018']For anyone who has already stumbled through and survived their 20s, \u003cem>Sorry, Baby\u003c/em> has few revelations to offer beyond smart writing and a very promising new director. Where the film will resonate most and find its most passionate audience is with young people still figuring out the challenges and injustices of adulthood. \u003cem>Sorry, Baby\u003c/em> is a realistically commonplace depiction of both; delicate and lovely, relatable and terrible.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Sorry, Baby’ is released nationwide on July 18, 2025. It is currently playing in limited theaters.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Traditionally, most movies like to insist on telling audiences that disasters crash into our lives with lightning strikes and people screaming, soundtracked by heart-wrenching music. The truth is that most of the worst things that happen to humans just roll quietly — and randomly — into lives and chip, chip, chip away. \u003cem>Sorry, Baby\u003c/em> is extremely good at capturing the slow, insidious and muted nature of such events.\u003c/p>\n\u003cp>Set in a rural Massachusetts college town, \u003cem>Sorry, Baby\u003c/em> revolves around Agnes (played by Victor), her best friend Lydie (the always delightful \u003ca href=\"https://www.kqed.org/arts/13962666/blink-twice-movie-review-zoe-kravitz-channing-tatum-naomi-ackie-alia-shawkat\">Naomi Ackie\u003c/a>), a socially awkward neighbor named Gavin (\u003ca href=\"https://www.imdb.com/name/nm2348627/\">Lucas Hedges\u003c/a>), and a cast of mostly unpleasant characters from the local university. (Special shoutout to \u003ca href=\"https://www.imdb.com/name/nm3080168/?ref_=ttfc_fcr_cst_4\">Kelly McCormack\u003c/a> here, who uses her extremely expressive face to turn Agnes’ nemesis Natasha into a figure of comedic gold.)\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/Rc0jgWoZo9w'\n title='//www.youtube.com/embed/Rc0jgWoZo9w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Sorry, Baby\u003c/em> is a movie about sexual violence, power imbalances, dealing with trauma, and the emotional relationships and bonds that carry us through. But its tone never shifts from an everyday beat, in part because of Agnes’ pragmatic nature. The routine of daily activities sits alongside the pain of The Very Bad Thing at the center of her story. Friendships and sexual relationships are rendered naturalistically and believably. Interactions with strangers are consistently, humanly awkward and provide dry humor to proceedings.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>What is less obvious about \u003cem>Sorry, Baby\u003c/em> is that it’s also a late-stage coming of age story. Rendered through non-linear time jumps, the movie shows Agnes and Lydie limping to the end of grad school and emerging into post-collegiate adulthood in search of their own paths. These women are undoubtedly grown-ups, albeit ones who haven’t quite figured out themselves or the world yet. In the end, their personal road maps emerge simply because they manage to keep putting one foot in front of the other, regardless of the challenges at hand.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"soldout": {
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