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"content": "\u003cp>“For reasons unknown I saw him running,” says a voiceover in Carrie Mae Weems’ 15-minute video \u003ci>People of a Darker Hue\u003c/i>. The piece poetically and specifically commemorates the unarmed black men, women and children shot and killed by police leading up to the video’s 2016 creation, but that precise bit of dialogue could also subtitle Steffani Jemison’s \u003ci>Escaped Lunatic\u003c/i>. In that piece, staged in empty lots and playgrounds around Houston, four members of a local parkour team run across the static shots, their acrobatic movements offering multiple interpretations. Are they fleeing something, chasing something, or simply—joyfully—running?\u003c/p>\n\u003cp>Both videos featured in the San Jose Museum of Art’s \u003ci>\u003ca href=\"https://sjmusart.org/exhibition/screen-acts-women-film-and-video\" rel=\"noopener\" target=\"_blank\">Screen Acts: Women in Film and Video\u003c/a>\u003c/i>, on view through June 30. Curated by Kathryn Wade and Rory Padeken around ideas of cinematic tropes (such as Jemison’s chase sequences), even more compelling is all five artists’ ability to skillfully depict or describe action without offering explanation. (I know this is happening, but I don’t know why.) The results include dreamlike parables, fragmented documentations or, in Weems’ case, a heartfelt, expansive eulogy. \u003c/p>\n\u003cfigure id=\"attachment_13856271\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/eblast2-03-28-19.jpg\" alt=\"Elena Damiani, video still from 'Intersticio,' 2012.\" width=\"1024\" height=\"576\" class=\"size-full wp-image-13856271\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/eblast2-03-28-19.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/eblast2-03-28-19-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/eblast2-03-28-19-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/eblast2-03-28-19-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/eblast2-03-28-19-1020x574.jpg 1020w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Elena Damiani, video still from ‘Intersticio,’ 2012. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sometimes even two points of view offer no definitive truth. In Jazmín López’s \u003ci>Juego Vivo\u003c/i>, two back-to-back views of the same scene create a harrowing vision of a child’s game made real—and possibly deadly. Sometimes images are at odds with words. Elena Damiani’s \u003ci>Intersticio\u003c/i> muses on non-specific sites, providing enigmatic narration over a slideshow of found images that have the dispassionate, scientific focus of a geologist’s fieldnotes. \u003c/p>\n\u003cp>And sometimes there’s simply no way to encompass everything informing a particular moment. In the Ethnocine Collective’s \u003ci>For My Art\u003c/i>, five female performance artists in Yangon, Myanmar enact their art in the streets, markets, malls and docks, enlisting ordinary people as their collaborators and audiences. Capturing non-art audiences regarding performances with nervousness, laughter, suspicion and nonchalance, \u003ci>For My Art\u003c/i> emphasizes the bravery and vulnerability inherent in taking art out of white-wall settings, while gathering some of the sights, sounds and imagined smells of the life that inspire these artists.\u003c/p>\n\u003cp>Again and again, despite the visual evidence on display, the artists of \u003ci>Screen Acts\u003c/i> prove the impossibility of a single source of truth—which itself is a refreshing reminder of art’s ambiguous and challenging nature, all in just under one hour of looping play.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>The median age in Vietnam is 30.9 years. The great majority of the population was born after the war, and has its eye fixed firmly on the future, yet the past is difficult to evade. With vivid immediacy and palpable empathy, Dinh Q. Lê explores various paths and responses in the aftermath of war through the video and photography installations on view in his solo exhibition \u003ca href=\"https://sjmusart.org/exhibition/dinh-q-le-true-journey-return\" rel=\"noopener\" target=\"_blank\">\u003ci>True Journey is Return\u003c/i>\u003c/a>, at the San Jose Museum of Art through April 14.\u003c/p>\n\u003cp>[aside postID='arts_13841461,arts_13850950' label='Related Coverage']\u003c/p>\n\u003cp>Lê will be at California College of the Arts in San Francisco this Wednesday, March 20 to show and discuss his 2012 film, \u003cem>Light and Belief: Voices and Sketches of Life from the Vietnam War\u003c/em>, which introduces the viewer to a battalion of North Vietnamese artists who joined the cause via their chosen medium. An investigation of idealism, memory and creativity, \u003cem>Light and Belief\u003c/em> leads off \u003ca href=\"https://sjmusart.org/event/stories-farther-shore-southeast-asian-film\" rel=\"noopener\" target=\"_blank\">Stories from the Farther Shore: Southeast Asian Film\u003c/a> (March 20–24), a series assembled by SJMA associate curator Rory Padeken that also includes stops in Laos, Thailand, Cambodia and Indonesia.\u003c/p>\n\u003cp>Unspooling at SJMA, the Asian Art Museum of San Francisco and other venues, “Stories” includes \u003cem>The Tailor\u003c/em> (March 22 at Tully Library), an emotional drama immersed in the áo dài (long dress) fashions of the 1960s and Vietnam’s official submission to this year’s Oscar competition for Best Foreign Language Film. The irresistible 2007 Saigon street-children drama \u003cem>The Owl and the Sparrow\u003c/em> (March 21 at SJMA) plucks heartstrings in a different chord.\u003c/p>\n\u003cfigure id=\"attachment_13853179\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/malila-the-farewell-flower-2017_1200.jpg\" alt=\"Still from 'Malila: The Farewell Flower,' 2017.\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13853179\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/malila-the-farewell-flower-2017_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/malila-the-farewell-flower-2017_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/malila-the-farewell-flower-2017_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/malila-the-farewell-flower-2017_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/malila-the-farewell-flower-2017_1200-1020x574.jpg 1020w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Malila: The Farewell Flower,’ 2017. \u003ccite>(Courtesy of Reel Suspects)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The “Farther Shore,” per Padeken’s piercing survey, encompasses transgender transformation in Vietnam (the intimate 2015 documentary \u003cem>Finding Phong\u003c/em>, March 22 at SJMA) and profound gay love in Thailand (\u003cem>Malila: The Farewell Flower\u003c/em>, March 23). The thread that binds the series is a heart-on-its-sleeve endorsement of individuality, identification and self-assertion.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Lê will be at California College of the Arts in San Francisco this Wednesday, March 20 to show and discuss his 2012 film, \u003cem>Light and Belief: Voices and Sketches of Life from the Vietnam War\u003c/em>, which introduces the viewer to a battalion of North Vietnamese artists who joined the cause via their chosen medium. An investigation of idealism, memory and creativity, \u003cem>Light and Belief\u003c/em> leads off \u003ca href=\"https://sjmusart.org/event/stories-farther-shore-southeast-asian-film\" rel=\"noopener\" target=\"_blank\">Stories from the Farther Shore: Southeast Asian Film\u003c/a> (March 20–24), a series assembled by SJMA associate curator Rory Padeken that also includes stops in Laos, Thailand, Cambodia and Indonesia.\u003c/p>\n\u003cp>Unspooling at SJMA, the Asian Art Museum of San Francisco and other venues, “Stories” includes \u003cem>The Tailor\u003c/em> (March 22 at Tully Library), an emotional drama immersed in the áo dài (long dress) fashions of the 1960s and Vietnam’s official submission to this year’s Oscar competition for Best Foreign Language Film. The irresistible 2007 Saigon street-children drama \u003cem>The Owl and the Sparrow\u003c/em> (March 21 at SJMA) plucks heartstrings in a different chord.\u003c/p>\n\u003cfigure id=\"attachment_13853179\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/malila-the-farewell-flower-2017_1200.jpg\" alt=\"Still from 'Malila: The Farewell Flower,' 2017.\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13853179\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/malila-the-farewell-flower-2017_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/malila-the-farewell-flower-2017_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/malila-the-farewell-flower-2017_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/malila-the-farewell-flower-2017_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/malila-the-farewell-flower-2017_1200-1020x574.jpg 1020w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Malila: The Farewell Flower,’ 2017. \u003ccite>(Courtesy of Reel Suspects)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The “Farther Shore,” per Padeken’s piercing survey, encompasses transgender transformation in Vietnam (the intimate 2015 documentary \u003cem>Finding Phong\u003c/em>, March 22 at SJMA) and profound gay love in Thailand (\u003cem>Malila: The Farewell Flower\u003c/em>, March 23). The thread that binds the series is a heart-on-its-sleeve endorsement of individuality, identification and self-assertion.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "There Was So Much More to Jay DeFeo Than ‘The Rose’",
"headTitle": "There Was So Much More to Jay DeFeo Than ‘The Rose’ | KQED",
"content": "\u003cp>For those with a bit of Bay Area art history under their belts, any mention of Jay DeFeo’s name invariably conjures looming visions of \u003ci>\u003ca href=\"https://whitney.org/collection/works/10075\" target=\"_blank\" rel=\"noopener noreferrer\">The Rose\u003c/a>\u003c/i>, a painting of such monumental and mythic proportions it’s often misunderstood as the artist’s entire life’s work.\u003c/p>\n\u003cp>Granted, \u003ci>The Rose\u003c/i> is a very big deal, and not just because of the amount of physical space the thing takes up. (Layered with almost 2,000 pounds of paint, the geometric starburst design is nearly 11 feet tall, 8 feet wide and 11 inches deep.) DeFeo spent eight years working on \u003ci>The Rose\u003c/i> (1958–1966), building up the surface with oil paint, wooden dowels and mica flakes. To see it in person is to stand in awe.\u003c/p>\n\u003cp>And yes, \u003ci>The Rose\u003c/i> temporarily wrecked DeFeo—physically, emotionally and creatively. But her story—and her art—didn’t stop there.\u003c/p>\n\u003cfigure id=\"attachment_13852640\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13852640\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/01_JDF_SJMA_FLiang_1200.jpg\" alt=\"Installation view of 'Undersoul: Jay DeFeo' on view at San Jose Museum of Art, March 8-July 7, 2019.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/01_JDF_SJMA_FLiang_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/01_JDF_SJMA_FLiang_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/01_JDF_SJMA_FLiang_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/01_JDF_SJMA_FLiang_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/01_JDF_SJMA_FLiang_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Undersoul: Jay DeFeo’ on view at San Jose Museum of Art, March 8-July 7, 2019. \u003ccite>(Photo by Frederick Liang)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>\u003ca href=\"https://sjmusart.org/exhibition/undersoul-jay-defeo\" target=\"_blank\" rel=\"noopener noreferrer\">Undersoul\u003c/a>\u003c/i>, a new exhibition at the San Jose Museum of Art, co-curated by Lauren Schell Dickens and Kathryn Wade, picks up after \u003ci>The Rose\u003c/i> was walled into a conference room at the San Francisco Art Institute (not to be seen again for 16 years, when the Whitney Museum of Art organized its excavation, conservation and exhibition in 1995).\u003c/p>\n\u003cp>“What do you do with yourself—as an artist, as a person—after an undertaking like \u003ci>The Rose\u003c/i>?” the exhibition asks. The answer comes in the form of DeFeo’s previously unseen photographic works.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>After a three-year break from art-making, photography was DeFeo’s way back in. And instead of large-scale time-consuming projects, we see her taking photographs of her immediate surroundings—the small porch studio in her Larkspur home, still life arrangements of glassware and vegetables, and eventually, process shots of ongoing paintings and drawings. While DeFeo never exhibited her photographs as artworks during her own lifetime (she died at age 60 in 1989), they were integral to her practice.\u003c/p>\n\u003cfigure id=\"attachment_13852641\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13852641\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/defeo_p1042.jpg\" alt=\"Jay DeFeo, 'Untitled,' 1971.\" width=\"1024\" height=\"1046\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/defeo_p1042.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/defeo_p1042-160x163.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/defeo_p1042-800x817.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/defeo_p1042-768x785.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/defeo_p1042-1020x1042.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/defeo_p1042-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/defeo_p1042-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/defeo_p1042-64x64.jpg 64w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Jay DeFeo, ‘Untitled,’ 1971. \u003ccite>(Courtesy of The Jay DeFeo Foundation; Marc Selwyn Fine Art, Los Angeles; Mitchell-Innes & Nash, New York; Galerie Frank Elbaz, Paris & Dallas)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The scale of these high-contrast silver gelatin prints—the smallest of which is just over 2-by-4 inches—necessitates a lean-in approach to viewing the exhibition. Nothing in the SJMA’s gallery will overwhelm you physically, but many of the images puzzle. DeFeo plays with light and texture, cropping and camera angles to render ordinary objects strange. (The exhibition’s title comes from DeFeo’s friend, poet Michael McClure, who used it to describe the spiritual and aesthetic qualities of everyday things.)\u003c/p>\n\u003cp>Through DeFeo’s lens, a serving dish holding a head of cauliflower, reflected in two small mirrors, becomes a surrealist meal. Photocopies, likely made semi-illicitly at Mills College, capture bones, drawing compasses and the gummy shapes of kneaded erasers pressed against the glass. In the mixed media on paper piece \u003ci>Three Mile Island No. 2\u003c/i> from her \u003ci>One O’clock Jump\u003c/i> series, these “undersoul” tactics render a broken tape dispenser as a giant gray-hued eyeball. She further abstracts the same tape dispense in \u003ci>Blind Spot\u003c/i>, a simplified circle on a creamy expanse of paper.\u003c/p>\n\u003cfigure id=\"attachment_13852642\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13852642\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/03_JDF_SJMA_FLiang_1200.jpg\" alt=\"Installation view of 'Undersoul: Jay DeFeo' on view at San Jose Museum of Art, March 8-July 7, 2019.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/03_JDF_SJMA_FLiang_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/03_JDF_SJMA_FLiang_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/03_JDF_SJMA_FLiang_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/03_JDF_SJMA_FLiang_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/03_JDF_SJMA_FLiang_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Undersoul: Jay DeFeo’ on view at San Jose Museum of Art, March 8-July 7, 2019. \u003ccite>(Photo by Frederick Liang)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Throughout \u003ci>Undersoul\u003c/i>, details speak to the precariousness of DeFeo’s life and work. A close-up photograph of the artist’s dental bridge opens the show; Schell Dickens’ essay posits that DeFeo’s use of oil paint may have made her teeth fall out. \u003ci>\u003ca href=\"https://collections.lacma.org/node/186631\" target=\"_blank\" rel=\"noopener noreferrer\">The Jewel\u003c/a>\u003c/i>, a painting she began at the same time as \u003ci>The Rose\u003c/i> as a colorful complement to it, lived under a porch for two decades before it reemerged. (DeFeo’s work has a habit of hiding from sight.)\u003c/p>\n\u003cp>But what also emerges in this small yet focused exhibition is the artist’s incredible facility with her chosen materials. Photography, collage, drawing, painting; all demonstrate her ability to transcend a subject’s inherent form (whether that was a leaf, a shoe tree, broken glass or her own work), unhinge it from reality, and open up another dimension through art.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12127869 aligncenter\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Undersoul: Jay DeFeo’ is on view at the San Jose Museum of Art through July 7, 2019. \u003ca href=\"https://sjmusart.org/exhibition/undersoul-jay-defeo\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For those with a bit of Bay Area art history under their belts, any mention of Jay DeFeo’s name invariably conjures looming visions of \u003ci>\u003ca href=\"https://whitney.org/collection/works/10075\" target=\"_blank\" rel=\"noopener noreferrer\">The Rose\u003c/a>\u003c/i>, a painting of such monumental and mythic proportions it’s often misunderstood as the artist’s entire life’s work.\u003c/p>\n\u003cp>Granted, \u003ci>The Rose\u003c/i> is a very big deal, and not just because of the amount of physical space the thing takes up. (Layered with almost 2,000 pounds of paint, the geometric starburst design is nearly 11 feet tall, 8 feet wide and 11 inches deep.) DeFeo spent eight years working on \u003ci>The Rose\u003c/i> (1958–1966), building up the surface with oil paint, wooden dowels and mica flakes. To see it in person is to stand in awe.\u003c/p>\n\u003cp>And yes, \u003ci>The Rose\u003c/i> temporarily wrecked DeFeo—physically, emotionally and creatively. But her story—and her art—didn’t stop there.\u003c/p>\n\u003cfigure id=\"attachment_13852640\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13852640\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/01_JDF_SJMA_FLiang_1200.jpg\" alt=\"Installation view of 'Undersoul: Jay DeFeo' on view at San Jose Museum of Art, March 8-July 7, 2019.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/01_JDF_SJMA_FLiang_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/01_JDF_SJMA_FLiang_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/01_JDF_SJMA_FLiang_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/01_JDF_SJMA_FLiang_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/01_JDF_SJMA_FLiang_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Undersoul: Jay DeFeo’ on view at San Jose Museum of Art, March 8-July 7, 2019. \u003ccite>(Photo by Frederick Liang)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>\u003ca href=\"https://sjmusart.org/exhibition/undersoul-jay-defeo\" target=\"_blank\" rel=\"noopener noreferrer\">Undersoul\u003c/a>\u003c/i>, a new exhibition at the San Jose Museum of Art, co-curated by Lauren Schell Dickens and Kathryn Wade, picks up after \u003ci>The Rose\u003c/i> was walled into a conference room at the San Francisco Art Institute (not to be seen again for 16 years, when the Whitney Museum of Art organized its excavation, conservation and exhibition in 1995).\u003c/p>\n\u003cp>“What do you do with yourself—as an artist, as a person—after an undertaking like \u003ci>The Rose\u003c/i>?” the exhibition asks. The answer comes in the form of DeFeo’s previously unseen photographic works.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After a three-year break from art-making, photography was DeFeo’s way back in. And instead of large-scale time-consuming projects, we see her taking photographs of her immediate surroundings—the small porch studio in her Larkspur home, still life arrangements of glassware and vegetables, and eventually, process shots of ongoing paintings and drawings. While DeFeo never exhibited her photographs as artworks during her own lifetime (she died at age 60 in 1989), they were integral to her practice.\u003c/p>\n\u003cfigure id=\"attachment_13852641\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13852641\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/defeo_p1042.jpg\" alt=\"Jay DeFeo, 'Untitled,' 1971.\" width=\"1024\" height=\"1046\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/defeo_p1042.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/defeo_p1042-160x163.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/defeo_p1042-800x817.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/defeo_p1042-768x785.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/defeo_p1042-1020x1042.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/defeo_p1042-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/defeo_p1042-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/defeo_p1042-64x64.jpg 64w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Jay DeFeo, ‘Untitled,’ 1971. \u003ccite>(Courtesy of The Jay DeFeo Foundation; Marc Selwyn Fine Art, Los Angeles; Mitchell-Innes & Nash, New York; Galerie Frank Elbaz, Paris & Dallas)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The scale of these high-contrast silver gelatin prints—the smallest of which is just over 2-by-4 inches—necessitates a lean-in approach to viewing the exhibition. Nothing in the SJMA’s gallery will overwhelm you physically, but many of the images puzzle. DeFeo plays with light and texture, cropping and camera angles to render ordinary objects strange. (The exhibition’s title comes from DeFeo’s friend, poet Michael McClure, who used it to describe the spiritual and aesthetic qualities of everyday things.)\u003c/p>\n\u003cp>Through DeFeo’s lens, a serving dish holding a head of cauliflower, reflected in two small mirrors, becomes a surrealist meal. Photocopies, likely made semi-illicitly at Mills College, capture bones, drawing compasses and the gummy shapes of kneaded erasers pressed against the glass. In the mixed media on paper piece \u003ci>Three Mile Island No. 2\u003c/i> from her \u003ci>One O’clock Jump\u003c/i> series, these “undersoul” tactics render a broken tape dispenser as a giant gray-hued eyeball. She further abstracts the same tape dispense in \u003ci>Blind Spot\u003c/i>, a simplified circle on a creamy expanse of paper.\u003c/p>\n\u003cfigure id=\"attachment_13852642\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13852642\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/03_JDF_SJMA_FLiang_1200.jpg\" alt=\"Installation view of 'Undersoul: Jay DeFeo' on view at San Jose Museum of Art, March 8-July 7, 2019.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/03_JDF_SJMA_FLiang_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/03_JDF_SJMA_FLiang_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/03_JDF_SJMA_FLiang_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/03_JDF_SJMA_FLiang_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/03_JDF_SJMA_FLiang_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Undersoul: Jay DeFeo’ on view at San Jose Museum of Art, March 8-July 7, 2019. \u003ccite>(Photo by Frederick Liang)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Throughout \u003ci>Undersoul\u003c/i>, details speak to the precariousness of DeFeo’s life and work. A close-up photograph of the artist’s dental bridge opens the show; Schell Dickens’ essay posits that DeFeo’s use of oil paint may have made her teeth fall out. \u003ci>\u003ca href=\"https://collections.lacma.org/node/186631\" target=\"_blank\" rel=\"noopener noreferrer\">The Jewel\u003c/a>\u003c/i>, a painting she began at the same time as \u003ci>The Rose\u003c/i> as a colorful complement to it, lived under a porch for two decades before it reemerged. (DeFeo’s work has a habit of hiding from sight.)\u003c/p>\n\u003cp>But what also emerges in this small yet focused exhibition is the artist’s incredible facility with her chosen materials. Photography, collage, drawing, painting; all demonstrate her ability to transcend a subject’s inherent form (whether that was a leaf, a shoe tree, broken glass or her own work), unhinge it from reality, and open up another dimension through art.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12127869 aligncenter\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Undersoul: Jay DeFeo’ is on view at the San Jose Museum of Art through July 7, 2019. \u003ca href=\"https://sjmusart.org/exhibition/undersoul-jay-defeo\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>What drives people to take to the streets? The reasons are varied and the history long. We march to protest, to celebrate, to worship. We march in large part to feel the exhilaration of common purpose and identity, and to collectively announce ourselves to the broader community.\u003c/p>\n\u003cp>Dutch-American, Los Angeles-based artist \u003ca href=\"http://www.laraschnitger.com\" target=\"_blank\" rel=\"noopener\">Lara Schnitger\u003c/a> has been fascinated for years by the potential of these ephemeral events, and eager to take her artwork out onto the streets, turning a static exhibition into a participatory experience for the marchers and those watching the march.\u003c/p>\n\u003cp>You’ll have a chance to see for yourself on January 12, 2019, when roughly 100 volunteers are expected to march through downtown San Jose as part of Schnitger’s walking art exhibit, \u003ca href=\"https://sjmusart.org/event/suffragette-city-participatory-procession-and-protest-lara-schnitger\" target=\"_blank\" rel=\"noopener\">\u003cem>Suffragette City\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>They’ll be wearing fashionable floor length gowns and Rosie -the Riveter-like jump-suits. They’ll be carrying Schnitger’s textile sculptures and quilted signs bearing feminist slogans, like, “Don’t Let the Boys Win,” “All of Us,” and “A Dress is Not a Yes.”\u003c/p>\n\u003cfigure id=\"attachment_13848630\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13848630\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/Other-Walks_12-18_048-800x533.jpg\" alt=\"The props for the march/procession are the pieces from Lara Schnitger's work up in the San Jose Museum of Art.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Other-Walks_12-18_048-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Other-Walks_12-18_048-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Other-Walks_12-18_048-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Other-Walks_12-18_048-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Other-Walks_12-18_048-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Other-Walks_12-18_048-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Other-Walks_12-18_048.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The props for the march/procession are the pieces from Lara Schnitger’s work up in the San Jose Museum of Art. \u003ccite>(Photo: Courtesy of JKA Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Schnitger drew on multiple inspirations for this project, most obviously the women’s suffrage movement active around the turn of the last century. It so happens this year marks the 100th anniversary since Congress sent the 19th amendment to the states for ratification.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“America was one of the later countries to give the vote. And I feel there’s still so much inequality. That’s how it’s still good to keep raising our voices.”\u003c/p>\n\u003cp>Schnitger was also moved by SlutWalk — a transnational movement of scantily clad women marching against rape culture. Her work in response touches on a lot of different elements: “dress codes, what women should wear and not wear,” said Schnitger.\u003c/p>\n\u003cp>She produced a series of “slut sticks,” wood strung with the kind of fabric typically used in sexy lingerie. The effect is both humorous and pointed. “Even though the pieces are still, I look for a certain life force within them,” said Schnitger.\u003c/p>\n\u003cp>\u003ci>Suffragette City\u003c/i> has marched in Berlin, Dresden, Paris, New York, DC and LA since it debuted in 2015. Watch footage from that march in Basel, Switzerland.\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=oRyYoliFVuA]\u003c/p>\n\u003cp>Here in the Bay Area, \u003ci>Suffragette City \u003c/i>is part of the San Jose Museum of Art’s show called \u003ca href=\"https://sjmusart.org/exhibition/other-walks-gabriel-orozco\" target=\"_blank\" rel=\"noopener\">\u003ci>Other Walks, Other Lines\u003c/i>\u003c/a>. The exhibition delivers a broad exploration of “pilgrimage, marches, migration, immigration, and accessibility,” said curatorial associate Kathryn Wade.\u003c/p>\n\u003cp>Some of the work is commissioned, like “City of Marches” by \u003ca href=\"https://lordyrodriguez.com/home.html\" target=\"_blank\" rel=\"noopener\">Lordy Rodriguez.\u003c/a> His map lays a number of protest marches, death marches and parades from around the world on top of each other over one city grid. Naturally, he included two significant San Jose marches: the \u003ca href=\"https://www.kqed.org/arts/12654582/at-bay-area-womens-marches-creativity-out-in-force\" target=\"_blank\" rel=\"noopener\">Women’s March \u003c/a>of 2017 and the \u003ca href=\"https://www.kqed.org/news/11657553/march-for-our-lives-protests-fill-the-streets-of-over-a-dozen-bay-area-cities\" target=\"_blank\" rel=\"noopener\">March for Our Lives\u003c/a> of 2018.\u003c/p>\n\u003cfigure id=\"attachment_13848632\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13848632\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/Other-Walks_12-18_010-800x450.jpeg\" alt=\"There's a map key to the side of Lordy Rodriguez‘s “City of Marches” that explains what famous march is what, but the piece itself lays several protest marches, death marches and parades from around the world onto the same city grid, differentiated only by color. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Other-Walks_12-18_010-800x450.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Other-Walks_12-18_010-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Other-Walks_12-18_010-768x432.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Other-Walks_12-18_010.jpeg 878w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">There’s a map key to the side of Lordy Rodriguez‘s “City of Marches” that explains what famous march is what, but the piece itself lays several protest marches, death marches and parades from around the world onto the same city grid, differentiated only by color. \u003ccite>(Photo: Courtesy of JKA Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Walking here is a political act,” said Wade, who’s enthusiastic about Schnitger’s ambulatory approach to art. “When all of these works exit the gallery and go on procession in the streets of downtown San Jose, we are a visual call to arms.”\u003c/p>\n\u003cp>The fact the third annual \u003ca href=\"https://www.womensmarch.com/2019/\" target=\"_blank\" rel=\"noopener\">Women’s March\u003c/a> takes place next week is just a coincidence, but you could see \u003ci>Suffragette City\u003c/i> as a warm up.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://sjmusart.org/event/suffragette-city-participatory-procession-and-protest-lara-schnitger\" target=\"_blank\" rel=\"noopener\">\u003cstrong>Suffragette City\u003c/strong>\u003c/a> takes place January 12, 2019 from 10 am – 1 pm, starting at the San Jose Museum of Art. \u003ca href=\"https://sjmusart.org/exhibition/other-walks-gabriel-orozco\" target=\"_blank\" rel=\"noopener\">Other Walks, Other Lines\u003c/a> continues through March 10, 2019. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>What drives people to take to the streets? The reasons are varied and the history long. We march to protest, to celebrate, to worship. We march in large part to feel the exhilaration of common purpose and identity, and to collectively announce ourselves to the broader community.\u003c/p>\n\u003cp>Dutch-American, Los Angeles-based artist \u003ca href=\"http://www.laraschnitger.com\" target=\"_blank\" rel=\"noopener\">Lara Schnitger\u003c/a> has been fascinated for years by the potential of these ephemeral events, and eager to take her artwork out onto the streets, turning a static exhibition into a participatory experience for the marchers and those watching the march.\u003c/p>\n\u003cp>You’ll have a chance to see for yourself on January 12, 2019, when roughly 100 volunteers are expected to march through downtown San Jose as part of Schnitger’s walking art exhibit, \u003ca href=\"https://sjmusart.org/event/suffragette-city-participatory-procession-and-protest-lara-schnitger\" target=\"_blank\" rel=\"noopener\">\u003cem>Suffragette City\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>They’ll be wearing fashionable floor length gowns and Rosie -the Riveter-like jump-suits. They’ll be carrying Schnitger’s textile sculptures and quilted signs bearing feminist slogans, like, “Don’t Let the Boys Win,” “All of Us,” and “A Dress is Not a Yes.”\u003c/p>\n\u003cfigure id=\"attachment_13848630\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13848630\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/Other-Walks_12-18_048-800x533.jpg\" alt=\"The props for the march/procession are the pieces from Lara Schnitger's work up in the San Jose Museum of Art.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Other-Walks_12-18_048-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Other-Walks_12-18_048-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Other-Walks_12-18_048-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Other-Walks_12-18_048-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Other-Walks_12-18_048-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Other-Walks_12-18_048-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Other-Walks_12-18_048.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The props for the march/procession are the pieces from Lara Schnitger’s work up in the San Jose Museum of Art. \u003ccite>(Photo: Courtesy of JKA Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Schnitger drew on multiple inspirations for this project, most obviously the women’s suffrage movement active around the turn of the last century. It so happens this year marks the 100th anniversary since Congress sent the 19th amendment to the states for ratification.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“America was one of the later countries to give the vote. And I feel there’s still so much inequality. That’s how it’s still good to keep raising our voices.”\u003c/p>\n\u003cp>Schnitger was also moved by SlutWalk — a transnational movement of scantily clad women marching against rape culture. Her work in response touches on a lot of different elements: “dress codes, what women should wear and not wear,” said Schnitger.\u003c/p>\n\u003cp>She produced a series of “slut sticks,” wood strung with the kind of fabric typically used in sexy lingerie. The effect is both humorous and pointed. “Even though the pieces are still, I look for a certain life force within them,” said Schnitger.\u003c/p>\n\u003cp>\u003ci>Suffragette City\u003c/i> has marched in Berlin, Dresden, Paris, New York, DC and LA since it debuted in 2015. Watch footage from that march in Basel, Switzerland.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/oRyYoliFVuA'\n title='//www.youtube.com/embed/oRyYoliFVuA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Here in the Bay Area, \u003ci>Suffragette City \u003c/i>is part of the San Jose Museum of Art’s show called \u003ca href=\"https://sjmusart.org/exhibition/other-walks-gabriel-orozco\" target=\"_blank\" rel=\"noopener\">\u003ci>Other Walks, Other Lines\u003c/i>\u003c/a>. The exhibition delivers a broad exploration of “pilgrimage, marches, migration, immigration, and accessibility,” said curatorial associate Kathryn Wade.\u003c/p>\n\u003cp>Some of the work is commissioned, like “City of Marches” by \u003ca href=\"https://lordyrodriguez.com/home.html\" target=\"_blank\" rel=\"noopener\">Lordy Rodriguez.\u003c/a> His map lays a number of protest marches, death marches and parades from around the world on top of each other over one city grid. Naturally, he included two significant San Jose marches: the \u003ca href=\"https://www.kqed.org/arts/12654582/at-bay-area-womens-marches-creativity-out-in-force\" target=\"_blank\" rel=\"noopener\">Women’s March \u003c/a>of 2017 and the \u003ca href=\"https://www.kqed.org/news/11657553/march-for-our-lives-protests-fill-the-streets-of-over-a-dozen-bay-area-cities\" target=\"_blank\" rel=\"noopener\">March for Our Lives\u003c/a> of 2018.\u003c/p>\n\u003cfigure id=\"attachment_13848632\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13848632\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/Other-Walks_12-18_010-800x450.jpeg\" alt=\"There's a map key to the side of Lordy Rodriguez‘s “City of Marches” that explains what famous march is what, but the piece itself lays several protest marches, death marches and parades from around the world onto the same city grid, differentiated only by color. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Other-Walks_12-18_010-800x450.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Other-Walks_12-18_010-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Other-Walks_12-18_010-768x432.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Other-Walks_12-18_010.jpeg 878w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">There’s a map key to the side of Lordy Rodriguez‘s “City of Marches” that explains what famous march is what, but the piece itself lays several protest marches, death marches and parades from around the world onto the same city grid, differentiated only by color. \u003ccite>(Photo: Courtesy of JKA Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Walking here is a political act,” said Wade, who’s enthusiastic about Schnitger’s ambulatory approach to art. “When all of these works exit the gallery and go on procession in the streets of downtown San Jose, we are a visual call to arms.”\u003c/p>\n\u003cp>The fact the third annual \u003ca href=\"https://www.womensmarch.com/2019/\" target=\"_blank\" rel=\"noopener\">Women’s March\u003c/a> takes place next week is just a coincidence, but you could see \u003ci>Suffragette City\u003c/i> as a warm up.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://sjmusart.org/event/suffragette-city-participatory-procession-and-protest-lara-schnitger\" target=\"_blank\" rel=\"noopener\">\u003cstrong>Suffragette City\u003c/strong>\u003c/a> takes place January 12, 2019 from 10 am – 1 pm, starting at the San Jose Museum of Art. \u003ca href=\"https://sjmusart.org/exhibition/other-walks-gabriel-orozco\" target=\"_blank\" rel=\"noopener\">Other Walks, Other Lines\u003c/a> continues through March 10, 2019. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Timely ‘House Imaginary’ Reflects on Memories and Meanings of Home",
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"content": "\u003cp>“Home.” “House.”\u003c/p>\n\u003cp>The terms are often used interchangeably, but a profound psychological divide separates the two. In an impressive multi-disciplinary installation, the artists featured in the San Jose Museum of Art’s exhibition \u003ca href=\"https://sjmusart.org/exhibition/house-imaginary\" target=\"_blank\" rel=\"noopener\">\u003ci>The House Imaginary\u003c/i>\u003c/a> take up the heady emotional meaning of how and where we live.\u003c/p>\n\u003cp>In the aftermath of World War II, German philosopher Theodor W. Adorno wrote in \u003cem>Moralia Minima\u003c/em> that the physical and psychological concept of home was forever altered: “Dwelling, in the proper sense, is now impossible.” Global catastrophe delivered death and displacement to millions. More than seven decades later, death and displacement due to war and economic privation still plague the world’s population, pitting aggressive nationalistic pride against our best impulses to care for one and all.\u003c/p>\n\u003cp>\u003cem>The House Imaginary\u003c/em> does not directly address the current moment, but instead approaches topics including immigration, forced migration, and the effects of income inequality as they register in the Bay Area — from a more suggestive perspective.\u003c/p>\n\u003cfigure id=\"attachment_13832100\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13832100\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/Abode-Sanctuary-for-the-Familiar.jpg\" alt=\"Mildred Howard, 'Abode: Sanctuary for the Familia(r),' 1994.\" width=\"2048\" height=\"1530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Abode-Sanctuary-for-the-Familiar.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Abode-Sanctuary-for-the-Familiar-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Abode-Sanctuary-for-the-Familiar-800x598.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Abode-Sanctuary-for-the-Familiar-768x574.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Abode-Sanctuary-for-the-Familiar-1020x762.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Abode-Sanctuary-for-the-Familiar-1200x897.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Abode-Sanctuary-for-the-Familiar-1920x1435.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Abode-Sanctuary-for-the-Familiar-1180x882.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Abode-Sanctuary-for-the-Familiar-960x717.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Abode-Sanctuary-for-the-Familiar-240x179.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Abode-Sanctuary-for-the-Familiar-375x280.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Abode-Sanctuary-for-the-Familiar-520x389.jpg 520w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Mildred Howard, ‘Abode: Sanctuary for the Familia(r),’ 1994. \u003ccite>(Courtesy of SJMA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Located in the first of three second-floor galleries that host the installation, Carman Lomas Garza’s 1997 color lithograph \u003cem>Sandia\u003c/em> portrays a relatable, beautifully mundane scene: a multigenerational Latino family gathers on the front porch at dusk to eat watermelon. It is a scene that plays out all over the United States as spring gives way to summer, and warm evenings are tempered by the cool sweetness of the juicy melon. An accomplished image, and representative of Garza’s commitment to portraying Mexican-American life, \u003cem>Sandia\u003c/em> is all the more poignant for the humane message it conveys: the family unit — however that is defined — is central to our understanding of home. That concept is realized by who we live with, as much as by where we live.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Two decades after Garza made \u003cem>Sandia\u003c/em>, the Trump administration seeks to limit immigration under any terms, \u003ca href=\"https://www.independent.co.uk/news/world/americas/us-border-mexico-agency-texas-wall-trump-ice-migration-america-a8315781.html\">separating minor children\u003c/a> from their parents as they are apprehended at the U.S.-Mexico border. It’s a controversial policy designed to deter other migrants from seeking asylum in the United States. And it’s a brutal tactic, one that robs us of our humanity, and robs those subjected to it of the familial normalcy Garza portrays.\u003c/p>\n\u003cfigure id=\"attachment_13832097\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13832097\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/Homes-I-Made-A-House-in-Nine-Lines-2.jpg\" alt=\"Zarina Hashmi, Detail of 'Homes I Made/A House in Nine Lines,' 1997.\" width=\"800\" height=\"875\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Homes-I-Made-A-House-in-Nine-Lines-2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Homes-I-Made-A-House-in-Nine-Lines-2-160x175.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Homes-I-Made-A-House-in-Nine-Lines-2-768x840.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Homes-I-Made-A-House-in-Nine-Lines-2-240x263.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Homes-I-Made-A-House-in-Nine-Lines-2-375x410.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Homes-I-Made-A-House-in-Nine-Lines-2-520x569.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Zarina Hashmi, Detail of ‘Homes I Made/A House in Nine Lines,’ 1997. \u003ccite>(Courtesy of SJMA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Memory, with its seductive potency and frustrating imperfection, is the exhibition’s strongest through-line. Through memory, we may access the physical parameters of the places we’ve lived and those who lived with us, but the recollection may be fraught, if not painful.\u003c/p>\n\u003cp>Indian-American multimedia artist Zarina Hashmi — known professionally as Zarina — reduces memories of home to minimalist compositions. \u003cem>Homes I Made / A Life in Nine Lines\u003c/em> is a series of ten etchings on paper, all of which recall different houses she inhabited.\u003c/p>\n\u003cp>Some compositions include details like schematic staircases, while others resemble a child’s rudimentary account of a peaked roof atop four walls. The series blends the exacting and unemotional clarity of the artist’s college math studies with the memories of itinerant life interpreted years after it was experienced. They suggest that what she recalls are houses, simply the physical space one occupies, and not the emotional centers that we know as \u003cem>homes\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13832099\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13832099\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/40477879214_e2e51f2747_o.jpg\" alt=\"Roger Shimomura, 'Memories of Childhood,' 1999.\" width=\"2048\" height=\"1439\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/40477879214_e2e51f2747_o.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/40477879214_e2e51f2747_o-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/40477879214_e2e51f2747_o-800x562.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/40477879214_e2e51f2747_o-768x540.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/40477879214_e2e51f2747_o-1020x717.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/40477879214_e2e51f2747_o-1200x843.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/40477879214_e2e51f2747_o-1920x1349.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/40477879214_e2e51f2747_o-1180x829.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/40477879214_e2e51f2747_o-960x675.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/40477879214_e2e51f2747_o-240x169.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/40477879214_e2e51f2747_o-375x264.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/40477879214_e2e51f2747_o-520x365.jpg 520w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Roger Shimomura, ‘Memories of Childhood,’ 1999. \u003ccite>(Courtesy of SJMA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Roger Shimomura’s \u003cem>Memories of Childhood\u003c/em> portrays celebration under exceptionally difficult circumstances. Confined with his family to two Japanese internment camps during World War II, Shimomura’s lithograph recalls his imprisonment and the rare joy of birthday cake. His composition restricts the scene to the foreground plane. With no depth to moderate our perception, it is as if we experience the artist’s memory as he did: immediate and unfiltered, a celebration confined by barbed wire. It is an experiential dissonance most of us will never know.\u003c/p>\n\u003cp>In \u003cem>The House Imaginary\u003c/em>, SJMA curator Lauren Schell Dickens has assembled a quiet but still powerful exhibition that marshals divergent accounts of house and home. Though Dickens and the SJMA staff may not have foreseen the deeply fractured social and political context in which the exhibition debuted as planning proceeded, the installation overall is an opportunity to be still, and contemplate how memory shapes our perceptions of safety, security, and identity as they are informed by our physical surroundings.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The House Imaginary’ is on view at the San Jose Museum of Art through Aug. 19, 2018. For more information, \u003ca href=\"https://sjmusart.org/exhibition/house-imaginary\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“Home.” “House.”\u003c/p>\n\u003cp>The terms are often used interchangeably, but a profound psychological divide separates the two. In an impressive multi-disciplinary installation, the artists featured in the San Jose Museum of Art’s exhibition \u003ca href=\"https://sjmusart.org/exhibition/house-imaginary\" target=\"_blank\" rel=\"noopener\">\u003ci>The House Imaginary\u003c/i>\u003c/a> take up the heady emotional meaning of how and where we live.\u003c/p>\n\u003cp>In the aftermath of World War II, German philosopher Theodor W. Adorno wrote in \u003cem>Moralia Minima\u003c/em> that the physical and psychological concept of home was forever altered: “Dwelling, in the proper sense, is now impossible.” Global catastrophe delivered death and displacement to millions. More than seven decades later, death and displacement due to war and economic privation still plague the world’s population, pitting aggressive nationalistic pride against our best impulses to care for one and all.\u003c/p>\n\u003cp>\u003cem>The House Imaginary\u003c/em> does not directly address the current moment, but instead approaches topics including immigration, forced migration, and the effects of income inequality as they register in the Bay Area — from a more suggestive perspective.\u003c/p>\n\u003cfigure id=\"attachment_13832100\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13832100\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/Abode-Sanctuary-for-the-Familiar.jpg\" alt=\"Mildred Howard, 'Abode: Sanctuary for the Familia(r),' 1994.\" width=\"2048\" height=\"1530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Abode-Sanctuary-for-the-Familiar.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Abode-Sanctuary-for-the-Familiar-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Abode-Sanctuary-for-the-Familiar-800x598.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Abode-Sanctuary-for-the-Familiar-768x574.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Abode-Sanctuary-for-the-Familiar-1020x762.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Abode-Sanctuary-for-the-Familiar-1200x897.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Abode-Sanctuary-for-the-Familiar-1920x1435.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Abode-Sanctuary-for-the-Familiar-1180x882.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Abode-Sanctuary-for-the-Familiar-960x717.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Abode-Sanctuary-for-the-Familiar-240x179.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Abode-Sanctuary-for-the-Familiar-375x280.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Abode-Sanctuary-for-the-Familiar-520x389.jpg 520w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Mildred Howard, ‘Abode: Sanctuary for the Familia(r),’ 1994. \u003ccite>(Courtesy of SJMA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Located in the first of three second-floor galleries that host the installation, Carman Lomas Garza’s 1997 color lithograph \u003cem>Sandia\u003c/em> portrays a relatable, beautifully mundane scene: a multigenerational Latino family gathers on the front porch at dusk to eat watermelon. It is a scene that plays out all over the United States as spring gives way to summer, and warm evenings are tempered by the cool sweetness of the juicy melon. An accomplished image, and representative of Garza’s commitment to portraying Mexican-American life, \u003cem>Sandia\u003c/em> is all the more poignant for the humane message it conveys: the family unit — however that is defined — is central to our understanding of home. That concept is realized by who we live with, as much as by where we live.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Two decades after Garza made \u003cem>Sandia\u003c/em>, the Trump administration seeks to limit immigration under any terms, \u003ca href=\"https://www.independent.co.uk/news/world/americas/us-border-mexico-agency-texas-wall-trump-ice-migration-america-a8315781.html\">separating minor children\u003c/a> from their parents as they are apprehended at the U.S.-Mexico border. It’s a controversial policy designed to deter other migrants from seeking asylum in the United States. And it’s a brutal tactic, one that robs us of our humanity, and robs those subjected to it of the familial normalcy Garza portrays.\u003c/p>\n\u003cfigure id=\"attachment_13832097\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13832097\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/Homes-I-Made-A-House-in-Nine-Lines-2.jpg\" alt=\"Zarina Hashmi, Detail of 'Homes I Made/A House in Nine Lines,' 1997.\" width=\"800\" height=\"875\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Homes-I-Made-A-House-in-Nine-Lines-2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Homes-I-Made-A-House-in-Nine-Lines-2-160x175.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Homes-I-Made-A-House-in-Nine-Lines-2-768x840.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Homes-I-Made-A-House-in-Nine-Lines-2-240x263.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Homes-I-Made-A-House-in-Nine-Lines-2-375x410.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Homes-I-Made-A-House-in-Nine-Lines-2-520x569.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Zarina Hashmi, Detail of ‘Homes I Made/A House in Nine Lines,’ 1997. \u003ccite>(Courtesy of SJMA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Memory, with its seductive potency and frustrating imperfection, is the exhibition’s strongest through-line. Through memory, we may access the physical parameters of the places we’ve lived and those who lived with us, but the recollection may be fraught, if not painful.\u003c/p>\n\u003cp>Indian-American multimedia artist Zarina Hashmi — known professionally as Zarina — reduces memories of home to minimalist compositions. \u003cem>Homes I Made / A Life in Nine Lines\u003c/em> is a series of ten etchings on paper, all of which recall different houses she inhabited.\u003c/p>\n\u003cp>Some compositions include details like schematic staircases, while others resemble a child’s rudimentary account of a peaked roof atop four walls. The series blends the exacting and unemotional clarity of the artist’s college math studies with the memories of itinerant life interpreted years after it was experienced. They suggest that what she recalls are houses, simply the physical space one occupies, and not the emotional centers that we know as \u003cem>homes\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13832099\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13832099\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/40477879214_e2e51f2747_o.jpg\" alt=\"Roger Shimomura, 'Memories of Childhood,' 1999.\" width=\"2048\" height=\"1439\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/40477879214_e2e51f2747_o.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/40477879214_e2e51f2747_o-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/40477879214_e2e51f2747_o-800x562.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/40477879214_e2e51f2747_o-768x540.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/40477879214_e2e51f2747_o-1020x717.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/40477879214_e2e51f2747_o-1200x843.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/40477879214_e2e51f2747_o-1920x1349.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/40477879214_e2e51f2747_o-1180x829.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/40477879214_e2e51f2747_o-960x675.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/40477879214_e2e51f2747_o-240x169.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/40477879214_e2e51f2747_o-375x264.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/40477879214_e2e51f2747_o-520x365.jpg 520w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Roger Shimomura, ‘Memories of Childhood,’ 1999. \u003ccite>(Courtesy of SJMA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Roger Shimomura’s \u003cem>Memories of Childhood\u003c/em> portrays celebration under exceptionally difficult circumstances. Confined with his family to two Japanese internment camps during World War II, Shimomura’s lithograph recalls his imprisonment and the rare joy of birthday cake. His composition restricts the scene to the foreground plane. With no depth to moderate our perception, it is as if we experience the artist’s memory as he did: immediate and unfiltered, a celebration confined by barbed wire. It is an experiential dissonance most of us will never know.\u003c/p>\n\u003cp>In \u003cem>The House Imaginary\u003c/em>, SJMA curator Lauren Schell Dickens has assembled a quiet but still powerful exhibition that marshals divergent accounts of house and home. Though Dickens and the SJMA staff may not have foreseen the deeply fractured social and political context in which the exhibition debuted as planning proceeded, the installation overall is an opportunity to be still, and contemplate how memory shapes our perceptions of safety, security, and identity as they are informed by our physical surroundings.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The House Imaginary’ is on view at the San Jose Museum of Art through Aug. 19, 2018. For more information, \u003ca href=\"https://sjmusart.org/exhibition/house-imaginary\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cspan style=\"font-weight: 400\"> More than one thousand people are expected to show up in downtown San Jose Saturday to celebrate the fifth \u003ca href=\"http://aodaifestival.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Ao Dai Festival\u003c/a>.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The \u003ca href=\"http://aodaifestival.com/history/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>ao dai\u003c/em> \u003c/a>(say “ow-zai”) is a traditional Vietnamese outfit — a long tunic worn over pants, worn by women and men. Starting in the 18th century in the south of Vietnam, the \u003cem>ao dai\u003c/em> has grown from a regional nod to tradition to something much bigger: a national symbol of Vietnamese beauty.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In recent years in San Jose, the \u003cem>ao dai\u003c/em> has become something else yet again: a cultural point of pride most Vietnamese-Americans can get behind. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“It is neutral. It is something that everyone agrees is beautiful,” says \u003c/span>\u003cspan style=\"font-weight: 400\">Trami Nguyen Cron, on the Ao Dai Festival’s steering committee. The author and founder of \u003ca href=\"http://www.chopsticksalley.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Chopsticks Alley\u003c/a>, a nonprofit featuring Southeast Asian Artists in the Bay Area, adds, “Let’s come together to celebrate being one, being Vietnamese!”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13832007\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13832007\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/RS30914_Ao-Dai-Designed-by-Tuan-Tran-2016-qut-800x534.jpg\" alt=\"Models on the catwalk display fresh designs from Tuan Tran at the 2016 Ao Dai Festival in San Jose.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS30914_Ao-Dai-Designed-by-Tuan-Tran-2016-qut-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS30914_Ao-Dai-Designed-by-Tuan-Tran-2016-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS30914_Ao-Dai-Designed-by-Tuan-Tran-2016-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS30914_Ao-Dai-Designed-by-Tuan-Tran-2016-qut-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS30914_Ao-Dai-Designed-by-Tuan-Tran-2016-qut-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS30914_Ao-Dai-Designed-by-Tuan-Tran-2016-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS30914_Ao-Dai-Designed-by-Tuan-Tran-2016-qut-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS30914_Ao-Dai-Designed-by-Tuan-Tran-2016-qut-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS30914_Ao-Dai-Designed-by-Tuan-Tran-2016-qut-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS30914_Ao-Dai-Designed-by-Tuan-Tran-2016-qut-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS30914_Ao-Dai-Designed-by-Tuan-Tran-2016-qut-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Models on the catwalk display fresh designs from Tuan Tran at the 2016 Ao Dai Festival in San Jose. \u003ccite>(Photo: Courtesy of Christine Jade)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">For so many who fled Vietnam as adults, modern art and music from the home country is an unpleasant reminder of the Communist regime. \u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Younger generations may quietly enjoy the cultural dynamism coming from Vietnam today. Publicly? Not so much. \u003c/span>\u003cspan style=\"font-weight: 400\">But as the years pass, young Vietnamese-Americans are eager to take the reins and lead local cultural celebrations. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Or launch them. The San Jose festival was developed by a local attorney, Jenny Do, a refugee who came to the US in 1975. Cron explains, “They want to be connected to their culture, and this is an easy way for them to do it.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This year’s theme in San Jose is a “Confluence of Rivers,” and festival will fill a whole day with fashion, music and dance\u003c/span>, starting with a weaving project at 11 a.m. in the Circle of Palms outside the San Jose Museum of Art. At 4 p.m., there’s a fashion walk – slash – march from City Hall to the Circle of Palms. At 5 p.m., there’s traditional music and dance, and finally at 5:30 p.m., a cocktail reception and dinner inside the Fairmont Hotel.\u003c/p>\n\u003cfigure id=\"attachment_13832022\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13832022\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/RS30916_Outdoor-performance-drummers-2016-qut-800x534.jpg\" alt=\"The Ao Dai Festival also features modern renditions of traditional music.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS30916_Outdoor-performance-drummers-2016-qut-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS30916_Outdoor-performance-drummers-2016-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS30916_Outdoor-performance-drummers-2016-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS30916_Outdoor-performance-drummers-2016-qut-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS30916_Outdoor-performance-drummers-2016-qut-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS30916_Outdoor-performance-drummers-2016-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS30916_Outdoor-performance-drummers-2016-qut-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS30916_Outdoor-performance-drummers-2016-qut-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS30916_Outdoor-performance-drummers-2016-qut-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS30916_Outdoor-performance-drummers-2016-qut-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS30916_Outdoor-performance-drummers-2016-qut-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Ao Dai Festival also features modern renditions of traditional music. \u003ccite>(Photo: Courtesy of Christine Jade)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>From demure to sexy\u003c/strong>\u003c/p>\n\u003cp>Fashion designers have been playing with the \u003cem>ao dai\u003c/em> since the 1930s, when French-trained artists started taking the costume in a more provocative direction. What was loose became more tight-fitting. Slits up the side sometimes go high enough to show a little skin.\u003c/p>\n\u003cp>A new generation of fashion designers in the Bay Area and beyond continues to play with the classic form. Cron says, “We have local designers from San Jose, from San Francisco, and also famous designers from Vietnam.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As the organizers hoped, every generation wants in on the celebration, wants to strut their stuff and celebrate. Pride, fashion, gorgeousness: what’s not to like?\u003cspan class=\"Apple-converted-space\"> \u003c/span>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\"> More than one thousand people are expected to show up in downtown San Jose Saturday to celebrate the fifth \u003ca href=\"http://aodaifestival.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Ao Dai Festival\u003c/a>.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The \u003ca href=\"http://aodaifestival.com/history/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>ao dai\u003c/em> \u003c/a>(say “ow-zai”) is a traditional Vietnamese outfit — a long tunic worn over pants, worn by women and men. Starting in the 18th century in the south of Vietnam, the \u003cem>ao dai\u003c/em> has grown from a regional nod to tradition to something much bigger: a national symbol of Vietnamese beauty.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In recent years in San Jose, the \u003cem>ao dai\u003c/em> has become something else yet again: a cultural point of pride most Vietnamese-Americans can get behind. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“It is neutral. It is something that everyone agrees is beautiful,” says \u003c/span>\u003cspan style=\"font-weight: 400\">Trami Nguyen Cron, on the Ao Dai Festival’s steering committee. The author and founder of \u003ca href=\"http://www.chopsticksalley.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Chopsticks Alley\u003c/a>, a nonprofit featuring Southeast Asian Artists in the Bay Area, adds, “Let’s come together to celebrate being one, being Vietnamese!”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13832007\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13832007\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/RS30914_Ao-Dai-Designed-by-Tuan-Tran-2016-qut-800x534.jpg\" alt=\"Models on the catwalk display fresh designs from Tuan Tran at the 2016 Ao Dai Festival in San Jose.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS30914_Ao-Dai-Designed-by-Tuan-Tran-2016-qut-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS30914_Ao-Dai-Designed-by-Tuan-Tran-2016-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS30914_Ao-Dai-Designed-by-Tuan-Tran-2016-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS30914_Ao-Dai-Designed-by-Tuan-Tran-2016-qut-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS30914_Ao-Dai-Designed-by-Tuan-Tran-2016-qut-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS30914_Ao-Dai-Designed-by-Tuan-Tran-2016-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS30914_Ao-Dai-Designed-by-Tuan-Tran-2016-qut-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS30914_Ao-Dai-Designed-by-Tuan-Tran-2016-qut-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS30914_Ao-Dai-Designed-by-Tuan-Tran-2016-qut-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS30914_Ao-Dai-Designed-by-Tuan-Tran-2016-qut-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS30914_Ao-Dai-Designed-by-Tuan-Tran-2016-qut-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Models on the catwalk display fresh designs from Tuan Tran at the 2016 Ao Dai Festival in San Jose. \u003ccite>(Photo: Courtesy of Christine Jade)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">For so many who fled Vietnam as adults, modern art and music from the home country is an unpleasant reminder of the Communist regime. \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Younger generations may quietly enjoy the cultural dynamism coming from Vietnam today. Publicly? Not so much. \u003c/span>\u003cspan style=\"font-weight: 400\">But as the years pass, young Vietnamese-Americans are eager to take the reins and lead local cultural celebrations. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Or launch them. The San Jose festival was developed by a local attorney, Jenny Do, a refugee who came to the US in 1975. Cron explains, “They want to be connected to their culture, and this is an easy way for them to do it.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This year’s theme in San Jose is a “Confluence of Rivers,” and festival will fill a whole day with fashion, music and dance\u003c/span>, starting with a weaving project at 11 a.m. in the Circle of Palms outside the San Jose Museum of Art. At 4 p.m., there’s a fashion walk – slash – march from City Hall to the Circle of Palms. At 5 p.m., there’s traditional music and dance, and finally at 5:30 p.m., a cocktail reception and dinner inside the Fairmont Hotel.\u003c/p>\n\u003cfigure id=\"attachment_13832022\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13832022\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/RS30916_Outdoor-performance-drummers-2016-qut-800x534.jpg\" alt=\"The Ao Dai Festival also features modern renditions of traditional music.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS30916_Outdoor-performance-drummers-2016-qut-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS30916_Outdoor-performance-drummers-2016-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS30916_Outdoor-performance-drummers-2016-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS30916_Outdoor-performance-drummers-2016-qut-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS30916_Outdoor-performance-drummers-2016-qut-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS30916_Outdoor-performance-drummers-2016-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS30916_Outdoor-performance-drummers-2016-qut-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS30916_Outdoor-performance-drummers-2016-qut-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS30916_Outdoor-performance-drummers-2016-qut-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS30916_Outdoor-performance-drummers-2016-qut-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS30916_Outdoor-performance-drummers-2016-qut-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Ao Dai Festival also features modern renditions of traditional music. \u003ccite>(Photo: Courtesy of Christine Jade)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>From demure to sexy\u003c/strong>\u003c/p>\n\u003cp>Fashion designers have been playing with the \u003cem>ao dai\u003c/em> since the 1930s, when French-trained artists started taking the costume in a more provocative direction. What was loose became more tight-fitting. Slits up the side sometimes go high enough to show a little skin.\u003c/p>\n\u003cp>A new generation of fashion designers in the Bay Area and beyond continues to play with the classic form. Cron says, “We have local designers from San Jose, from San Francisco, and also famous designers from Vietnam.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As the organizers hoped, every generation wants in on the celebration, wants to strut their stuff and celebrate. Pride, fashion, gorgeousness: what’s not to like?\u003cspan class=\"Apple-converted-space\"> \u003c/span>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>On The Do List this week, we’re welcoming the return to the Bay Area of Tony Kushner’s mind-bogglingly brilliant play \u003cem>Angels in America, \u003c/em>plus an art exhibition in San Jose on the meaning of the house, and two nights with Meshell Ndgeocello, my co-host, KQED Youth Media Manager Ariana Proehl’s favorite artist. Take a listen.\u003c/p>\n\u003cp>\u003cstrong>May 3-4:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13829821/meshell-ndegeocello-finds-healing-in-her-favorite-songs\" target=\"_blank\" rel=\"noopener\">Meshell Ndgeocello finds healing in song with shows at the Freight and Salvage, and we all feel better\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>April 20-Aug. 19: \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13829836/the-meaning-of-the-elusive-single-family-home-at-the-san-jose-museum-of-art\" target=\"_blank\" rel=\"noopener\">The San Jose Museum of Art presents an exhibition examining the meaning of the single family home\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>April 20, 21 and 27:\u003c/strong> \u003ca href=\"http://poormanswhiskey.com/\" target=\"_blank\" rel=\"noopener\">Bay Area country band Poor Man’s Whiskey celebrates a new album with shows at Hopmonk in Sebastopol and The Great American Music Hall, and join an all star lineup for a North Bay fires fundraiser\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>April 17-July 22:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13829770/angels-in-america-returns-to-its-bay-area-birthplace\" target=\"_blank\" rel=\"noopener\">Tony Kushner’s play Angels in America returns to the Bay Area, where it was born.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>April 24:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13829749/a-young-jorja-smith-poised-for-stardom\" target=\"_blank\" rel=\"noopener\">Reveling in the slow jams of young British singer Jorja Smith\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>April 27:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/wp-admin/post.php?post=13829757&action=edit\" target=\"_blank\" rel=\"noopener\">Young artists, storytellers and reporters take over KQED News and present a show at the Brava Theatre\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>April 25-29:\u003c/strong> \u003ca href=\"https://philharmonia.org/2017-2018-season/beethoven-unleashed/\" target=\"_blank\" rel=\"noopener\">The Philharmonia Baroque Ochestra wraps up its season with a double dose of Beethoven\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13748662\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13748662 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-2-e1524013165204-800x458.jpg\" alt=\"Ariana Proehl and Cy Musiker out at a gallery\" width=\"800\" height=\"458\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-2-e1524013165204-800x458.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-2-e1524013165204-160x92.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-2-e1524013165204-768x439.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-2-e1524013165204-1020x583.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-2-e1524013165204-1920x1098.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-2-e1524013165204-1180x675.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-2-e1524013165204-960x549.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-2-e1524013165204-240x137.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-2-e1524013165204-375x214.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-2-e1524013165204-520x297.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-2-e1524013165204-1200x686.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-2-e1524013165204.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ariana Proehl and Cy Musiker out at a gallery \u003ccite>(Photo: Courtesy of Chandran Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On The Do List this week, we’re welcoming the return to the Bay Area of Tony Kushner’s mind-bogglingly brilliant play \u003cem>Angels in America, \u003c/em>plus an art exhibition in San Jose on the meaning of the house, and two nights with Meshell Ndgeocello, my co-host, KQED Youth Media Manager Ariana Proehl’s favorite artist. Take a listen.\u003c/p>\n\u003cp>\u003cstrong>May 3-4:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13829821/meshell-ndegeocello-finds-healing-in-her-favorite-songs\" target=\"_blank\" rel=\"noopener\">Meshell Ndgeocello finds healing in song with shows at the Freight and Salvage, and we all feel better\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>April 20-Aug. 19: \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13829836/the-meaning-of-the-elusive-single-family-home-at-the-san-jose-museum-of-art\" target=\"_blank\" rel=\"noopener\">The San Jose Museum of Art presents an exhibition examining the meaning of the single family home\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>April 20, 21 and 27:\u003c/strong> \u003ca href=\"http://poormanswhiskey.com/\" target=\"_blank\" rel=\"noopener\">Bay Area country band Poor Man’s Whiskey celebrates a new album with shows at Hopmonk in Sebastopol and The Great American Music Hall, and join an all star lineup for a North Bay fires fundraiser\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>April 17-July 22:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13829770/angels-in-america-returns-to-its-bay-area-birthplace\" target=\"_blank\" rel=\"noopener\">Tony Kushner’s play Angels in America returns to the Bay Area, where it was born.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>April 24:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13829749/a-young-jorja-smith-poised-for-stardom\" target=\"_blank\" rel=\"noopener\">Reveling in the slow jams of young British singer Jorja Smith\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>April 27:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/wp-admin/post.php?post=13829757&action=edit\" target=\"_blank\" rel=\"noopener\">Young artists, storytellers and reporters take over KQED News and present a show at the Brava Theatre\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>April 25-29:\u003c/strong> \u003ca href=\"https://philharmonia.org/2017-2018-season/beethoven-unleashed/\" target=\"_blank\" rel=\"noopener\">The Philharmonia Baroque Ochestra wraps up its season with a double dose of Beethoven\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13748662\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13748662 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-2-e1524013165204-800x458.jpg\" alt=\"Ariana Proehl and Cy Musiker out at a gallery\" width=\"800\" height=\"458\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-2-e1524013165204-800x458.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-2-e1524013165204-160x92.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-2-e1524013165204-768x439.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-2-e1524013165204-1020x583.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-2-e1524013165204-1920x1098.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-2-e1524013165204-1180x675.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-2-e1524013165204-960x549.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-2-e1524013165204-240x137.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-2-e1524013165204-375x214.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-2-e1524013165204-520x297.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-2-e1524013165204-1200x686.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-2-e1524013165204.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ariana Proehl and Cy Musiker out at a gallery \u003ccite>(Photo: Courtesy of Chandran Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>My daughter has a close friend who often says, “I’m a millennial, which means I’ll never own a home.” What a sad comment. But it’s pretty realistic here in the Bay Area, with its elusive and over-priced homes. So that makes \u003cem>The House Imaginary\u003c/em>, the new show at the San Jose Museum of Art, among the most important of the year.\u003c/p>\n\u003cp>Curator Lauren Shell Dickens says she began with the question: what does a single family home mean in the Bay Area today?\u003c/p>\n\u003cp>“In terms of today’s housing crisis, but also in terms of today’s era of mobility, and immigration,” she said. “And how can a house signify both stability and a place of refuge, but also such uncertainty in today’s world?”\u003c/p>\n\u003cfigure id=\"attachment_13829851\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13829851\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/tabaimo-dolefullhouse-2007_40295249865_o-800x550.jpg\" alt=\"Tabaimo‘s ‘Dolefullhouse‘\" width=\"800\" height=\"550\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/tabaimo-dolefullhouse-2007_40295249865_o-800x550.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/tabaimo-dolefullhouse-2007_40295249865_o-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/tabaimo-dolefullhouse-2007_40295249865_o-768x528.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/tabaimo-dolefullhouse-2007_40295249865_o-1020x701.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/tabaimo-dolefullhouse-2007_40295249865_o-1200x825.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/tabaimo-dolefullhouse-2007_40295249865_o-1920x1320.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/tabaimo-dolefullhouse-2007_40295249865_o-1180x811.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/tabaimo-dolefullhouse-2007_40295249865_o-960x660.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/tabaimo-dolefullhouse-2007_40295249865_o-240x165.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/tabaimo-dolefullhouse-2007_40295249865_o-375x258.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/tabaimo-dolefullhouse-2007_40295249865_o-520x357.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/tabaimo-dolefullhouse-2007_40295249865_o.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tabaimo‘s ‘Dolefullhouse‘ \u003ccite>(Courtesy of the San Jose Museum of Art)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Among the pieces in the show is an illustration by Carmen Lomas Garza of a Latino family eating watermelon on their front porch (above), and it’s a serene image of safety and family togetherness. And then, for contrast, there’s a drawing by Roger Shimomura of a pleasant room with a birthday cake and barbed wire visible outside the window. It’s a memory of Shimomura’s time in an Idaho internment camp during World War II, showing how a house can sometimes be a cruel prison.\u003c/p>\n\u003cfigure id=\"attachment_13829850\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13829850\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/larry-sultan-mom-posing-by-green-wall-and-dad-watching-tv-1984_41146283242_o-800x680.jpg\" alt=\"California artist Larry Sultans ‘Mom Posing by A Green Wall‘ from 1984\" width=\"800\" height=\"680\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/larry-sultan-mom-posing-by-green-wall-and-dad-watching-tv-1984_41146283242_o-800x680.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/larry-sultan-mom-posing-by-green-wall-and-dad-watching-tv-1984_41146283242_o-160x136.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/larry-sultan-mom-posing-by-green-wall-and-dad-watching-tv-1984_41146283242_o-768x653.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/larry-sultan-mom-posing-by-green-wall-and-dad-watching-tv-1984_41146283242_o-1020x867.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/larry-sultan-mom-posing-by-green-wall-and-dad-watching-tv-1984_41146283242_o-1200x1020.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/larry-sultan-mom-posing-by-green-wall-and-dad-watching-tv-1984_41146283242_o-1920x1632.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/larry-sultan-mom-posing-by-green-wall-and-dad-watching-tv-1984_41146283242_o-1180x1003.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/larry-sultan-mom-posing-by-green-wall-and-dad-watching-tv-1984_41146283242_o-960x816.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/larry-sultan-mom-posing-by-green-wall-and-dad-watching-tv-1984_41146283242_o-240x204.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/larry-sultan-mom-posing-by-green-wall-and-dad-watching-tv-1984_41146283242_o-375x319.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/larry-sultan-mom-posing-by-green-wall-and-dad-watching-tv-1984_41146283242_o-520x442.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/larry-sultan-mom-posing-by-green-wall-and-dad-watching-tv-1984_41146283242_o.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">California artist Larry Sultans ‘Mom Posing by A Green Wall‘ from 1984 \u003ccite>(Courtesy of The San Jose Museum of Art)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The museum is also presenting a double feature on May 17 of the horror films \u003cem>Get Out\u003c/em>, Jordan Peele’s creepy-home story of last year; and \u003cem>The Shining\u003c/em>, Stanley Kubrick’s gothic masterpiece set in an old hotel from 1980.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Coming back to the theme of the Bay Area’s housing crisis, Dickens will join Megan Colvard, regional director of People Assisting the Homeless for a gallery talk about the show. Dickens notes that the museum’s portico is often a shelter for the homeless at night and during the rainy season. \u003cem>The House Imaginary\u003c/em> opens April 20 and continues through August 19. \u003ca href=\"https://sjmusart.org/exhibition/house-imaginary\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>My daughter has a close friend who often says, “I’m a millennial, which means I’ll never own a home.” What a sad comment. But it’s pretty realistic here in the Bay Area, with its elusive and over-priced homes. So that makes \u003cem>The House Imaginary\u003c/em>, the new show at the San Jose Museum of Art, among the most important of the year.\u003c/p>\n\u003cp>Curator Lauren Shell Dickens says she began with the question: what does a single family home mean in the Bay Area today?\u003c/p>\n\u003cp>“In terms of today’s housing crisis, but also in terms of today’s era of mobility, and immigration,” she said. “And how can a house signify both stability and a place of refuge, but also such uncertainty in today’s world?”\u003c/p>\n\u003cfigure id=\"attachment_13829851\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13829851\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/tabaimo-dolefullhouse-2007_40295249865_o-800x550.jpg\" alt=\"Tabaimo‘s ‘Dolefullhouse‘\" width=\"800\" height=\"550\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/tabaimo-dolefullhouse-2007_40295249865_o-800x550.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/tabaimo-dolefullhouse-2007_40295249865_o-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/tabaimo-dolefullhouse-2007_40295249865_o-768x528.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/tabaimo-dolefullhouse-2007_40295249865_o-1020x701.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/tabaimo-dolefullhouse-2007_40295249865_o-1200x825.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/tabaimo-dolefullhouse-2007_40295249865_o-1920x1320.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/tabaimo-dolefullhouse-2007_40295249865_o-1180x811.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/tabaimo-dolefullhouse-2007_40295249865_o-960x660.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/tabaimo-dolefullhouse-2007_40295249865_o-240x165.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/tabaimo-dolefullhouse-2007_40295249865_o-375x258.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/tabaimo-dolefullhouse-2007_40295249865_o-520x357.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/tabaimo-dolefullhouse-2007_40295249865_o.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tabaimo‘s ‘Dolefullhouse‘ \u003ccite>(Courtesy of the San Jose Museum of Art)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Among the pieces in the show is an illustration by Carmen Lomas Garza of a Latino family eating watermelon on their front porch (above), and it’s a serene image of safety and family togetherness. And then, for contrast, there’s a drawing by Roger Shimomura of a pleasant room with a birthday cake and barbed wire visible outside the window. It’s a memory of Shimomura’s time in an Idaho internment camp during World War II, showing how a house can sometimes be a cruel prison.\u003c/p>\n\u003cfigure id=\"attachment_13829850\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13829850\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/larry-sultan-mom-posing-by-green-wall-and-dad-watching-tv-1984_41146283242_o-800x680.jpg\" alt=\"California artist Larry Sultans ‘Mom Posing by A Green Wall‘ from 1984\" width=\"800\" height=\"680\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/larry-sultan-mom-posing-by-green-wall-and-dad-watching-tv-1984_41146283242_o-800x680.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/larry-sultan-mom-posing-by-green-wall-and-dad-watching-tv-1984_41146283242_o-160x136.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/larry-sultan-mom-posing-by-green-wall-and-dad-watching-tv-1984_41146283242_o-768x653.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/larry-sultan-mom-posing-by-green-wall-and-dad-watching-tv-1984_41146283242_o-1020x867.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/larry-sultan-mom-posing-by-green-wall-and-dad-watching-tv-1984_41146283242_o-1200x1020.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/larry-sultan-mom-posing-by-green-wall-and-dad-watching-tv-1984_41146283242_o-1920x1632.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/larry-sultan-mom-posing-by-green-wall-and-dad-watching-tv-1984_41146283242_o-1180x1003.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/larry-sultan-mom-posing-by-green-wall-and-dad-watching-tv-1984_41146283242_o-960x816.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/larry-sultan-mom-posing-by-green-wall-and-dad-watching-tv-1984_41146283242_o-240x204.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/larry-sultan-mom-posing-by-green-wall-and-dad-watching-tv-1984_41146283242_o-375x319.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/larry-sultan-mom-posing-by-green-wall-and-dad-watching-tv-1984_41146283242_o-520x442.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/larry-sultan-mom-posing-by-green-wall-and-dad-watching-tv-1984_41146283242_o.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">California artist Larry Sultans ‘Mom Posing by A Green Wall‘ from 1984 \u003ccite>(Courtesy of The San Jose Museum of Art)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The museum is also presenting a double feature on May 17 of the horror films \u003cem>Get Out\u003c/em>, Jordan Peele’s creepy-home story of last year; and \u003cem>The Shining\u003c/em>, Stanley Kubrick’s gothic masterpiece set in an old hotel from 1980.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Coming back to the theme of the Bay Area’s housing crisis, Dickens will join Megan Colvard, regional director of People Assisting the Homeless for a gallery talk about the show. Dickens notes that the museum’s portico is often a shelter for the homeless at night and during the rainy season. \u003cem>The House Imaginary\u003c/em> opens April 20 and continues through August 19. \u003ca href=\"https://sjmusart.org/exhibition/house-imaginary\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>If you’ve walked past the \u003ca href=\"https://www.cdm.org\">Children’s Discovery Museum\u003c/a> in San Jose in recent weeks, you’ve seen it going up…a giant mural of a little girl. The dedication is Saturday, and likely to benefit from the spillover crowd coming from the local \u003ca href=\"https://www.eventbrite.com/e/march-for-our-lives-san-jose-official-tickets-43497165192\" target=\"_blank\" rel=\"noopener\">March For Our Lives\u003c/a> just a mile away at San Jose City Hall.\u003c/p>\n\u003cp>The mural features a gargantuan, smiling Sophie Cruz, who, at nine years old, is one of the nation’s youngest and most well-known immigration reform activists.\u003c/p>\n\u003cp>You might have seen her on YouTube. When she was five, she ran out to greet Pope Francis in his motorcade when he visited Washington DC.\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=yPq5WWXcaTU]Cruz got to meet President Barack Obama at the White House. Then, last year, she impressed quite a few people with her self-possessed stage manner at the \u003ca href=\"https://www.youtube.com/watch?v=qPa464CEbuE\" target=\"_blank\" rel=\"noopener\">Woman’s March on Washington\u003c/a>.\u003c/p>\n\u003cp>The mural, called “Sophie Holding the World Together,” was commissioned by the \u003ca href=\"https://sjmusart.org\" target=\"_blank\" rel=\"noopener\">San Jose Museum of Art\u003c/a> to complement an \u003ca href=\"https://sjmusart.org/exhibition/propeller-group\" target=\"_blank\" rel=\"noopener\">exhibition\u003c/a> by the artists’ collective called \u003ca href=\"http://www.the-propeller-group.com/contactus\" target=\"_blank\" rel=\"noopener\">The Propeller Group\u003c/a>. Curator Lauren Schell Dickens explains the group is focused on “rethinking the way media does or does not support ideas around nationalism, nationality, immigration, refugeeism, connectivity; all those sorts of questions.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Dickens says \u003ca href=\"http://www.tuanandrewnguyen.com\" target=\"_blank\" rel=\"noopener\">Tuan Andrew Nguyen\u003c/a> of The Propeller Group was impressed with how many murals there are in downtown San Jose and wanted to add to the mix.\u003c/p>\n\u003cp>The Propeller Group has worked with \u003ca href=\"https://elmac.net\" target=\"_blank\" rel=\"noopener\">El Mac\u003c/a> (Miles MacGregor) before in Vietnam, Cambodia and elsewhere. The art museum didn’t have an available public-facing wall. The building’s historic wing, sitting alongside the Circle of Palms Plaza, dates back to 1892. So they partnered with the art gallery \u003ca href=\"https://www.empiresevenstudios.com\" target=\"_blank\" rel=\"noopener\">Empire Seven Studios\u003c/a> to find one the few walls in San Jose it hasn’t already covered with a mural yet.\u003c/p>\n\u003cfigure id=\"attachment_13827951\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13827951 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/RS30030_IMG_3770-2-qut-800x450.jpg\" alt='El Mac writes in his blog about this mural: \"When I met Sophie to shoot reference photos of her, I asked if there was anything she wanted to hold for the photographs, and she came back holding a globe. This seemed perfect, while the lotus was added to symbolize the beauty that can grow from humble origins.\"' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS30030_IMG_3770-2-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS30030_IMG_3770-2-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS30030_IMG_3770-2-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS30030_IMG_3770-2-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS30030_IMG_3770-2-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS30030_IMG_3770-2-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS30030_IMG_3770-2-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS30030_IMG_3770-2-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS30030_IMG_3770-2-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS30030_IMG_3770-2-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">El Mac writes in his \u003ca href=\"http://mac-arte.blogspot.com/2018/03/new-mural-for-san-jose-museum-of-art.html\" target=\"_blank\" rel=\"noopener\">blog\u003c/a> about this mural: “When I met Sophie to shoot reference photos of her, I asked if there was anything she wanted to hold for the photographs, and she came back holding a globe. This seemed perfect, while the lotus was added to symbolize the beauty that can grow from humble origins.” \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Propeller Group likes to break free of traditional museum walls and get out into the community — something the San Jose Museum of Art wants to do more of, too. “The themes of the mural — this idea of borderless thinking, I think speak to our desire to engage people where they are,” Dickens says.\u003c/p>\n\u003cp>On a personal note, she adds, ““It’s a really hopeful image about what our future can be. She’s a girl. She’s young. I loved showing it to my nieces, who are nine. They’re pretty blown away that someone that young, someone their age, could have an impact, could inspire other people, could be featured in a monumentally sized wall mural.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Sophie Cruz, El Mac and Tuan Andrew Nguyen of The Propeller Group will all be on hand outside the Children’s Discovery Museum Saturday at 2 p.m. to officially dedicate the mural.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you’ve walked past the \u003ca href=\"https://www.cdm.org\">Children’s Discovery Museum\u003c/a> in San Jose in recent weeks, you’ve seen it going up…a giant mural of a little girl. The dedication is Saturday, and likely to benefit from the spillover crowd coming from the local \u003ca href=\"https://www.eventbrite.com/e/march-for-our-lives-san-jose-official-tickets-43497165192\" target=\"_blank\" rel=\"noopener\">March For Our Lives\u003c/a> just a mile away at San Jose City Hall.\u003c/p>\n\u003cp>The mural features a gargantuan, smiling Sophie Cruz, who, at nine years old, is one of the nation’s youngest and most well-known immigration reform activists.\u003c/p>\n\u003cp>You might have seen her on YouTube. When she was five, she ran out to greet Pope Francis in his motorcade when he visited Washington DC.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/yPq5WWXcaTU'\n title='//www.youtube.com/embed/yPq5WWXcaTU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>Cruz got to meet President Barack Obama at the White House. Then, last year, she impressed quite a few people with her self-possessed stage manner at the \u003ca href=\"https://www.youtube.com/watch?v=qPa464CEbuE\" target=\"_blank\" rel=\"noopener\">Woman’s March on Washington\u003c/a>.\u003c/p>\n\u003cp>The mural, called “Sophie Holding the World Together,” was commissioned by the \u003ca href=\"https://sjmusart.org\" target=\"_blank\" rel=\"noopener\">San Jose Museum of Art\u003c/a> to complement an \u003ca href=\"https://sjmusart.org/exhibition/propeller-group\" target=\"_blank\" rel=\"noopener\">exhibition\u003c/a> by the artists’ collective called \u003ca href=\"http://www.the-propeller-group.com/contactus\" target=\"_blank\" rel=\"noopener\">The Propeller Group\u003c/a>. Curator Lauren Schell Dickens explains the group is focused on “rethinking the way media does or does not support ideas around nationalism, nationality, immigration, refugeeism, connectivity; all those sorts of questions.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Dickens says \u003ca href=\"http://www.tuanandrewnguyen.com\" target=\"_blank\" rel=\"noopener\">Tuan Andrew Nguyen\u003c/a> of The Propeller Group was impressed with how many murals there are in downtown San Jose and wanted to add to the mix.\u003c/p>\n\u003cp>The Propeller Group has worked with \u003ca href=\"https://elmac.net\" target=\"_blank\" rel=\"noopener\">El Mac\u003c/a> (Miles MacGregor) before in Vietnam, Cambodia and elsewhere. The art museum didn’t have an available public-facing wall. The building’s historic wing, sitting alongside the Circle of Palms Plaza, dates back to 1892. So they partnered with the art gallery \u003ca href=\"https://www.empiresevenstudios.com\" target=\"_blank\" rel=\"noopener\">Empire Seven Studios\u003c/a> to find one the few walls in San Jose it hasn’t already covered with a mural yet.\u003c/p>\n\u003cfigure id=\"attachment_13827951\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13827951 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/RS30030_IMG_3770-2-qut-800x450.jpg\" alt='El Mac writes in his blog about this mural: \"When I met Sophie to shoot reference photos of her, I asked if there was anything she wanted to hold for the photographs, and she came back holding a globe. This seemed perfect, while the lotus was added to symbolize the beauty that can grow from humble origins.\"' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS30030_IMG_3770-2-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS30030_IMG_3770-2-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS30030_IMG_3770-2-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS30030_IMG_3770-2-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS30030_IMG_3770-2-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS30030_IMG_3770-2-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS30030_IMG_3770-2-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS30030_IMG_3770-2-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS30030_IMG_3770-2-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS30030_IMG_3770-2-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">El Mac writes in his \u003ca href=\"http://mac-arte.blogspot.com/2018/03/new-mural-for-san-jose-museum-of-art.html\" target=\"_blank\" rel=\"noopener\">blog\u003c/a> about this mural: “When I met Sophie to shoot reference photos of her, I asked if there was anything she wanted to hold for the photographs, and she came back holding a globe. This seemed perfect, while the lotus was added to symbolize the beauty that can grow from humble origins.” \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Propeller Group likes to break free of traditional museum walls and get out into the community — something the San Jose Museum of Art wants to do more of, too. “The themes of the mural — this idea of borderless thinking, I think speak to our desire to engage people where they are,” Dickens says.\u003c/p>\n\u003cp>On a personal note, she adds, ““It’s a really hopeful image about what our future can be. She’s a girl. She’s young. I loved showing it to my nieces, who are nine. They’re pretty blown away that someone that young, someone their age, could have an impact, could inspire other people, could be featured in a monumentally sized wall mural.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Sophie Cruz, El Mac and Tuan Andrew Nguyen of The Propeller Group will all be on hand outside the Children’s Discovery Museum Saturday at 2 p.m. to officially dedicate the mural.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Rachael Myrow here, pinch hitting for Cy Musiker at the start of 2018. Naturally, I picked a co-host from San Jose to talk about the upcoming concerts and exhibitions we’re most excited about now: Trami Nguyen Cron, author of the book \u003ca href=\"http://www.vietnameazy.com\" target=\"_blank\" rel=\"noopener\">VietnamEazy\u003c/a>, and founder of \u003ca href=\"http://www.chopsticksalley.com\" target=\"_blank\" rel=\"noopener\">Chopsticks Alley\u003c/a>, a non-profit organization featuring Southeast Asian Artists in the Bay Area.\u003c/p>\n\u003cp>\u003cstrong>Jan. 11–28\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2018/01/03/comedy-of-every-stripe-at-sf-sketchfest/\" rel=\"noopener\" target=\"_blank\">Gorge Yourself on Comedy of Every Stripe at SF Sketchfest\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 19:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2018/01/03/st-louis-symphony-on-maestros-swan-song-tour/\" rel=\"noopener\" target=\"_blank\">The St. Louis Symphony Goes on Maestro’s Swan Song Tour, Stops at Stanford\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 27–28: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/01/03/african-american-composers-initiative-a-local-musical-gem/\" rel=\"noopener\" target=\"_blank\">The African American Composers Initiative is a Local Musical Gem\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Oct. 27–Mar. 25:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2018/01/03/the-propeller-group-brings-an-artistic-view-of-vietnam-to-san-jose/\" rel=\"noopener\" target=\"_blank\">The Propeller Group Explores Vietnam at San Jose Museum of Art\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Nov.3–Feb 4:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2018/01/03/korean-couture-pops-on-world-stage/\" rel=\"noopener\" target=\"_blank\">Korean Couture Pops on the World Stage\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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