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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">\u003cem>Latin Standards\u003c/em> is Marga Gomez’s 12th solo play: a love letter to her blustery Cuban father and the ways his passion to perform influenced her career as a comedian. Started in New York, Gomez has toured the country over the last year and now brings the show home to the Bay Area in 2018.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">San Franciscans will remember Gomez launching a hipster comedy night at “Esta Noche,” a doomed Mission district drag club, during the onset of San Francisco’s gentrification crisis.\u003c/span>\u003c/p>\n\u003cp>Her father’s glory days — with the stage name Willy Chevalier — were the 1950s and 60s in New York. By the 70s, he was struggling for work as live entertainment venues in the Latino community declined. An entertainer’s life is often one of ups and downs, and she talks about her own as well as his. Marga Gomez performs \u003cem>Latin Standards\u003c/em> at the \u003ca href=\"https://brava.secure.force.com/ticket/#details_a0S41000006WsNxEAK\" target=\"_blank\" rel=\"noopener\">Brava Theater\u003c/a> Jan. 11-28, and then Feb. 9-11 at \u003ca href=\"http://maclaarte.org/programs/performing-arts/\" target=\"_blank\" rel=\"noopener\">MACLA\u003c/a> in San Jose. \u003c/p>\n\u003cp>Catch a sneak peak of \u003cem>Latin Standards\u003c/em> as performed at The Public’s \u003cem>Under The Radar Festival\u003c/em>:\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/FDa86KplBG8'\n title='//www.youtube.com/embed/FDa86KplBG8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003ci>\u003c/i>On a recent Saturday morning, a handful of people milled about a spacious private home in Saratoga, looking at paintings leaning up against the walls and hitched up on easels. The home’s owner, clinical psychologist Anu Singh, has become a collector of contemporary South Asian art in recent years. With the help of her favorite gallerist in Mumbai, \u003ca href=\"http://ashishbalramnagpal.com/ABN_web/\" target=\"_blank\" rel=\"noopener noreferrer\">Ashish Nagpal,\u003c/a> she now shares her passion with others by acting as an amateur gallerist.\u003c/p>\n\u003cp>“India has really changed,” Singh says. “The culture is changing. The people are are changing\u003cb>,\u003c/b> and the art is representative of that change, but people here in Northern California don’t have that concept.”\u003c/p>\n\u003cp>She has a point.\u003c/p>\n\u003cp>It’s unusual to see contemporary South Asian art in the Bay Area’s museums and galleries. Most venues focus on the ancient, classical forms of Indian art, like temple statutes and 16th century miniature paintings.\u003c/p>\n\u003cp>But there is a small but buzzing market for South Asian art by living artists in the Bay Area, thanks to the population of wealthy individuals living in Silicon Valley with roots in the Indian subcontinent.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>A Bay Area resident for 30 years, Singh is fairly new to art collecting. But she can talk at length about the art on show at her house. She points out several works by the abstract expressionist Chintan Upadyay of Rajasthan. There’s a painting titled “Mutant” that’s two things at once: two men joined at the side, and also a video game console. The work sold for $65,000.\u003c/p>\n\u003cfigure id=\"attachment_13809091\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13809091\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/RS26632__73T9942-qut-800x1195.jpg\" alt='\"Mutant,\" an oil and acrylic painting by Chintan Upadhyay, marries references to classic Indian art with modern abstract expressionism to address the alienating impact of technology.' width=\"800\" height=\"1195\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26632__73T9942-qut-800x1195.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26632__73T9942-qut-160x239.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26632__73T9942-qut-768x1148.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26632__73T9942-qut-1020x1524.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26632__73T9942-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26632__73T9942-qut-1180x1763.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26632__73T9942-qut-960x1435.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26632__73T9942-qut-240x359.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26632__73T9942-qut-375x560.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26632__73T9942-qut-520x777.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Mutant,” an oil and acrylic painting by Chintan Upadhyay, marries references to classic Indian art with modern abstract expressionism to address the alienating impact of technology. \u003ccite>(Photo: Courtesy of Ashish Nagpal Balram)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“You see that?” Singh says. “Chinthan talks a lot about we are not using technology so much as technology is starting to use us.”\u003c/p>\n\u003cp>The main customers at Singh’s art-viewing get togethers are her friends, like first time art buyer Anju Kalkunte. She spent $25,000 on a work by KK Raghava (also known as Raghava KK.) The artist splits his time between New York and Bangalore. Kalkunte fell in love with Raghava’s painting of Ganesha, the blue Hindu elephant-headed god, dancing in a sea of watery green.\u003c/p>\n\u003cp>“I looked at it for a few days and I said ‘This is mine,'” Kalkunte says. “And I’m very happy I bought it.”\u003c/p>\n\u003ch2>Cultivating A Bigger Market\u003c/h2>\n\u003cp>It’s not just the newbie end of the market for contemporary South Asian art that’s attracting attention. Things are developing at the other end of the spectrum too.\u003c/p>\n\u003cp>“Honestly, we do business on a global level,” says Deepanjana Klein, international head of \u003ca href=\"http://www.christies.com/departments/asian-contemporary-and-20th-century-chinese-art-92-1.aspx\">South Asian Modern and Contemporary Art\u003c/a> at Christie’s auction house. Klein says Christie’s has sold roughly $100 million worth of contemporary South Asian art over the last five years. Klein says that number does reflect a recent uptick in interest, but not necessarily from the Bay Area. Most of the interest comes from the East coast, Klein says.\u003c/p>\n\u003cp>“The Bay Area has always been interesting to us, because there are a lot of South Asians who are doing very well there,” Klein says. “We’ve done a lot of events there in order to cultivate collectors and potential collectors. However, we haven’t seen much action in that region,” Klein says.\u003c/p>\n\u003cfigure id=\"attachment_13809094\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13809094\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/RS26633_Bhardwaj-higher-res-qut-800x450.jpg\" alt='\" Induced Epidemic,\" an oil and acrylic painting by Ashutosh Bhardwaj, donated to the San Jose Museum of Art by Dipti and Rakesh Mathur .' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26633_Bhardwaj-higher-res-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26633_Bhardwaj-higher-res-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26633_Bhardwaj-higher-res-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26633_Bhardwaj-higher-res-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26633_Bhardwaj-higher-res-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26633_Bhardwaj-higher-res-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26633_Bhardwaj-higher-res-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26633_Bhardwaj-higher-res-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26633_Bhardwaj-higher-res-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26633_Bhardwaj-higher-res-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“ Induced Epidemic,” an oil and acrylic painting by Ashutosh Bhardwaj, donated to the San Jose Museum of Art by Dipti and Rakesh Mathur . \u003ccite>(Photo: Courtesy of the San Jose Museum of Art)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nevertheless, Sotheby’s reports California is home to its fastest growing market for contemporary South Asian art, thanks in part to museums like the \u003ca href=\"http://sjmusart.org\" target=\"_blank\" rel=\"noopener noreferrer\">San Jose Museum of Art\u003c/a>, the \u003ca href=\"https://www.sfmoma.org\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Museum of Modern Art\u003c/a> and the \u003ca href=\"http://www.asianart.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Asian Art Museum\u003c/a>.\u003c/p>\n\u003cp>The Bay Area is also home to some important patrons of new work like \u003ca href=\"https://www.youtube.com/watch?v=RWoHuOOmZDE\" target=\"_blank\" rel=\"noopener noreferrer\">Dipti Mathur\u003c/a>, who’s lived in the area for 20 years. She’s on the board at the \u003ca href=\"http://sjmusart.org\" target=\"_blank\" rel=\"noopener noreferrer\">San Jose Museum of Art\u003c/a>.\u003c/p>\n\u003cp>Mathur says there have been a few major exhibitions of contemporary South Asian art, but the list is short, including just a few standouts like \u003ca href=\"http://sjmusart.org/roots-air-branches-below-modern-and-contemporary-art-india/home/index.php\" target=\"_blank\" rel=\"noopener noreferrer\">Roots in the Air, Branches Below\u003c/a> at the San Jose Museum of Art in 2011.\u003c/p>\n\u003cp>“It’s not that it has not been done before, but not with any frequency and not at any scale,” Mathur says. She adds that the tech crowd, with all its money, has been slow to the collecting game, even as technology is making it easier than ever for people to fill their homes with cutting-edge work from all over the world.\u003c/p>\n\u003cp>“A lot of Indian artists are represented by international galleries,” Mathur says. But in the Bay Area, collecting has been slow. “And therefore support of the museums has also been slow,” Mathur says.\u003c/p>\n\u003cfigure id=\"attachment_13809096\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13809096\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/RS26634_JitishKallatEventHorizon-qut-800x450.jpg\" alt='\"Event Horizon (the hour of the day of the month of the season),\" a series of photographic prints by Jitish Kallat , featured in the exhibition, \"Postdate: Photography and Inherited History in India\" at the San Jose Museum of Art in 2015.' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26634_JitishKallatEventHorizon-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26634_JitishKallatEventHorizon-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26634_JitishKallatEventHorizon-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26634_JitishKallatEventHorizon-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26634_JitishKallatEventHorizon-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26634_JitishKallatEventHorizon-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26634_JitishKallatEventHorizon-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26634_JitishKallatEventHorizon-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26634_JitishKallatEventHorizon-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26634_JitishKallatEventHorizon-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Event Horizon (the hour of the day of the month of the season),” a series of photographic prints by Jitish Kallat , featured in the exhibition, “Postdate: Photography and Inherited History in India” at the San Jose Museum of Art in 2015. \u003ccite>(Photo: Courtesy of San Jose Museum of Art)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There’s something of a feedback loop between museums and collectors. Museums educate prospective collectors, who then may develop an interest and, eventually, a collection. But many museums don’t have a huge acquisition budget for new art, especially art their curators and patrons may be unfamiliar with.\u003c/p>\n\u003cp>Mathur says it’s up to Bay Area people who love new South Asian art, and have the cash to spend on it, to spend it, and then donate some of that art to local museums.\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>\u003cem>Watch a TED talk by artist KK Rhagava to get a sense of his artistic development, as well as how he built a market for his art in the U.S.:\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=I_4IK8CiLg8]\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>\u003c/i>On a recent Saturday morning, a handful of people milled about a spacious private home in Saratoga, looking at paintings leaning up against the walls and hitched up on easels. The home’s owner, clinical psychologist Anu Singh, has become a collector of contemporary South Asian art in recent years. With the help of her favorite gallerist in Mumbai, \u003ca href=\"http://ashishbalramnagpal.com/ABN_web/\" target=\"_blank\" rel=\"noopener noreferrer\">Ashish Nagpal,\u003c/a> she now shares her passion with others by acting as an amateur gallerist.\u003c/p>\n\u003cp>“India has really changed,” Singh says. “The culture is changing. The people are are changing\u003cb>,\u003c/b> and the art is representative of that change, but people here in Northern California don’t have that concept.”\u003c/p>\n\u003cp>She has a point.\u003c/p>\n\u003cp>It’s unusual to see contemporary South Asian art in the Bay Area’s museums and galleries. Most venues focus on the ancient, classical forms of Indian art, like temple statutes and 16th century miniature paintings.\u003c/p>\n\u003cp>But there is a small but buzzing market for South Asian art by living artists in the Bay Area, thanks to the population of wealthy individuals living in Silicon Valley with roots in the Indian subcontinent.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A Bay Area resident for 30 years, Singh is fairly new to art collecting. But she can talk at length about the art on show at her house. She points out several works by the abstract expressionist Chintan Upadyay of Rajasthan. There’s a painting titled “Mutant” that’s two things at once: two men joined at the side, and also a video game console. The work sold for $65,000.\u003c/p>\n\u003cfigure id=\"attachment_13809091\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13809091\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/RS26632__73T9942-qut-800x1195.jpg\" alt='\"Mutant,\" an oil and acrylic painting by Chintan Upadhyay, marries references to classic Indian art with modern abstract expressionism to address the alienating impact of technology.' width=\"800\" height=\"1195\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26632__73T9942-qut-800x1195.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26632__73T9942-qut-160x239.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26632__73T9942-qut-768x1148.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26632__73T9942-qut-1020x1524.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26632__73T9942-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26632__73T9942-qut-1180x1763.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26632__73T9942-qut-960x1435.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26632__73T9942-qut-240x359.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26632__73T9942-qut-375x560.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26632__73T9942-qut-520x777.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Mutant,” an oil and acrylic painting by Chintan Upadhyay, marries references to classic Indian art with modern abstract expressionism to address the alienating impact of technology. \u003ccite>(Photo: Courtesy of Ashish Nagpal Balram)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“You see that?” Singh says. “Chinthan talks a lot about we are not using technology so much as technology is starting to use us.”\u003c/p>\n\u003cp>The main customers at Singh’s art-viewing get togethers are her friends, like first time art buyer Anju Kalkunte. She spent $25,000 on a work by KK Raghava (also known as Raghava KK.) The artist splits his time between New York and Bangalore. Kalkunte fell in love with Raghava’s painting of Ganesha, the blue Hindu elephant-headed god, dancing in a sea of watery green.\u003c/p>\n\u003cp>“I looked at it for a few days and I said ‘This is mine,'” Kalkunte says. “And I’m very happy I bought it.”\u003c/p>\n\u003ch2>Cultivating A Bigger Market\u003c/h2>\n\u003cp>It’s not just the newbie end of the market for contemporary South Asian art that’s attracting attention. Things are developing at the other end of the spectrum too.\u003c/p>\n\u003cp>“Honestly, we do business on a global level,” says Deepanjana Klein, international head of \u003ca href=\"http://www.christies.com/departments/asian-contemporary-and-20th-century-chinese-art-92-1.aspx\">South Asian Modern and Contemporary Art\u003c/a> at Christie’s auction house. Klein says Christie’s has sold roughly $100 million worth of contemporary South Asian art over the last five years. Klein says that number does reflect a recent uptick in interest, but not necessarily from the Bay Area. Most of the interest comes from the East coast, Klein says.\u003c/p>\n\u003cp>“The Bay Area has always been interesting to us, because there are a lot of South Asians who are doing very well there,” Klein says. “We’ve done a lot of events there in order to cultivate collectors and potential collectors. However, we haven’t seen much action in that region,” Klein says.\u003c/p>\n\u003cfigure id=\"attachment_13809094\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13809094\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/RS26633_Bhardwaj-higher-res-qut-800x450.jpg\" alt='\" Induced Epidemic,\" an oil and acrylic painting by Ashutosh Bhardwaj, donated to the San Jose Museum of Art by Dipti and Rakesh Mathur .' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26633_Bhardwaj-higher-res-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26633_Bhardwaj-higher-res-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26633_Bhardwaj-higher-res-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26633_Bhardwaj-higher-res-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26633_Bhardwaj-higher-res-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26633_Bhardwaj-higher-res-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26633_Bhardwaj-higher-res-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26633_Bhardwaj-higher-res-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26633_Bhardwaj-higher-res-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26633_Bhardwaj-higher-res-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“ Induced Epidemic,” an oil and acrylic painting by Ashutosh Bhardwaj, donated to the San Jose Museum of Art by Dipti and Rakesh Mathur . \u003ccite>(Photo: Courtesy of the San Jose Museum of Art)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nevertheless, Sotheby’s reports California is home to its fastest growing market for contemporary South Asian art, thanks in part to museums like the \u003ca href=\"http://sjmusart.org\" target=\"_blank\" rel=\"noopener noreferrer\">San Jose Museum of Art\u003c/a>, the \u003ca href=\"https://www.sfmoma.org\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Museum of Modern Art\u003c/a> and the \u003ca href=\"http://www.asianart.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Asian Art Museum\u003c/a>.\u003c/p>\n\u003cp>The Bay Area is also home to some important patrons of new work like \u003ca href=\"https://www.youtube.com/watch?v=RWoHuOOmZDE\" target=\"_blank\" rel=\"noopener noreferrer\">Dipti Mathur\u003c/a>, who’s lived in the area for 20 years. She’s on the board at the \u003ca href=\"http://sjmusart.org\" target=\"_blank\" rel=\"noopener noreferrer\">San Jose Museum of Art\u003c/a>.\u003c/p>\n\u003cp>Mathur says there have been a few major exhibitions of contemporary South Asian art, but the list is short, including just a few standouts like \u003ca href=\"http://sjmusart.org/roots-air-branches-below-modern-and-contemporary-art-india/home/index.php\" target=\"_blank\" rel=\"noopener noreferrer\">Roots in the Air, Branches Below\u003c/a> at the San Jose Museum of Art in 2011.\u003c/p>\n\u003cp>“It’s not that it has not been done before, but not with any frequency and not at any scale,” Mathur says. She adds that the tech crowd, with all its money, has been slow to the collecting game, even as technology is making it easier than ever for people to fill their homes with cutting-edge work from all over the world.\u003c/p>\n\u003cp>“A lot of Indian artists are represented by international galleries,” Mathur says. But in the Bay Area, collecting has been slow. “And therefore support of the museums has also been slow,” Mathur says.\u003c/p>\n\u003cfigure id=\"attachment_13809096\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13809096\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/RS26634_JitishKallatEventHorizon-qut-800x450.jpg\" alt='\"Event Horizon (the hour of the day of the month of the season),\" a series of photographic prints by Jitish Kallat , featured in the exhibition, \"Postdate: Photography and Inherited History in India\" at the San Jose Museum of Art in 2015.' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26634_JitishKallatEventHorizon-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26634_JitishKallatEventHorizon-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26634_JitishKallatEventHorizon-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26634_JitishKallatEventHorizon-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26634_JitishKallatEventHorizon-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26634_JitishKallatEventHorizon-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26634_JitishKallatEventHorizon-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26634_JitishKallatEventHorizon-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26634_JitishKallatEventHorizon-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26634_JitishKallatEventHorizon-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Event Horizon (the hour of the day of the month of the season),” a series of photographic prints by Jitish Kallat , featured in the exhibition, “Postdate: Photography and Inherited History in India” at the San Jose Museum of Art in 2015. \u003ccite>(Photo: Courtesy of San Jose Museum of Art)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There’s something of a feedback loop between museums and collectors. Museums educate prospective collectors, who then may develop an interest and, eventually, a collection. But many museums don’t have a huge acquisition budget for new art, especially art their curators and patrons may be unfamiliar with.\u003c/p>\n\u003cp>Mathur says it’s up to Bay Area people who love new South Asian art, and have the cash to spend on it, to spend it, and then donate some of that art to local museums.\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>\u003cem>Watch a TED talk by artist KK Rhagava to get a sense of his artistic development, as well as how he built a market for his art in the U.S.:\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/I_4IK8CiLg8'\n title='//www.youtube.com/embed/I_4IK8CiLg8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Gustavo Arellano’s longtime column “\u003ca href=\"http://www.ocweekly.com/topic/ask-a-mexican-6568416\" target=\"_blank\" rel=\"noopener\">¡Ask a Mexican!\u003c/a>” originated in the \u003cem>O.C. Weekly\u003c/em>, but soon became syndicated around the country for its mix of humor, insight, and irreverence. (Recent entry: “Why Are Mexican Women So Jealous of Successful Mexican Women?”)\u003c/p>\n\u003cp>Now, Denver playwright Anthony Garcia is turning “¡Ask a Mexican!” into a play, launching a series of workshops around the country that kicks off \u003ca href=\"https://www.eventbrite.com/e/reading-of-ask-a-mexican-tickets-34700651583\" target=\"_blank\" rel=\"noopener\">on Sept. 22 at MACLA in San Jose\u003c/a>. Before readings in Albuquerque, Denver, and Pueblo, Colorado, Garcia brings his script-in-progress to South Bay audiences — and he’s hoping you’ll bring your input. Audience participation and response are all part of the show, which is a reasonable $5–$10. Garcia and Arellano host a Q&A afterward with the cast of the play, which includes Irene Burgos, Lorenzo Gonzalez, Andrea Rodriguez, David Terminal, and Daniel Valdez (who you may have seen in \u003cem>Zoot Suit\u003c/em> or \u003cem>La Bamba\u003c/em>). \u003ca href=\"https://www.eventbrite.com/e/reading-of-ask-a-mexican-tickets-34700651583\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Gustavo Arellano’s longtime column “\u003ca href=\"http://www.ocweekly.com/topic/ask-a-mexican-6568416\" target=\"_blank\" rel=\"noopener\">¡Ask a Mexican!\u003c/a>” originated in the \u003cem>O.C. Weekly\u003c/em>, but soon became syndicated around the country for its mix of humor, insight, and irreverence. (Recent entry: “Why Are Mexican Women So Jealous of Successful Mexican Women?”)\u003c/p>\n\u003cp>Now, Denver playwright Anthony Garcia is turning “¡Ask a Mexican!” into a play, launching a series of workshops around the country that kicks off \u003ca href=\"https://www.eventbrite.com/e/reading-of-ask-a-mexican-tickets-34700651583\" target=\"_blank\" rel=\"noopener\">on Sept. 22 at MACLA in San Jose\u003c/a>. Before readings in Albuquerque, Denver, and Pueblo, Colorado, Garcia brings his script-in-progress to South Bay audiences — and he’s hoping you’ll bring your input. Audience participation and response are all part of the show, which is a reasonable $5–$10. Garcia and Arellano host a Q&A afterward with the cast of the play, which includes Irene Burgos, Lorenzo Gonzalez, Andrea Rodriguez, David Terminal, and Daniel Valdez (who you may have seen in \u003cem>Zoot Suit\u003c/em> or \u003cem>La Bamba\u003c/em>). \u003ca href=\"https://www.eventbrite.com/e/reading-of-ask-a-mexican-tickets-34700651583\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "photographic-portraits-bring-you-face-to-face-with-the-vietnam-war",
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"content": "\u003cp>They’re older and grayer now, the men and women who stare unsmiling into the camera. Their figures, shot against a black background, are superimposed on jungle foliage. It looks as if they’ve been surprised, at night, in a private moment: remembering the Vietnam War.\u003c/p>\n\u003cp>That’s the feeling San Francisco Bay Area photographer \u003ca href=\"http://tomsandersphoto.com\" target=\"_blank\" rel=\"noopener noreferrer\">Thomas Sanders\u003c/a> is aiming for. As an undergraduate at Cal Poly San Luis Obispo, he started a series of portraits of World War II veterans that would eventually lead to a book called \u003ca href=\"http://tomsandersphoto.com/portfolio/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Last Good War\u003c/em>\u003c/a>. As a graduate student at San Jose State, Sanders launched \u003ca href=\"http://tomsandersphoto.com/vietnam-war/\" target=\"_blank\" rel=\"noopener noreferrer\">something similar\u003c/a> with U.S. veterans of the Vietnam War, as well as South Vietnamese veterans, and other Vietnamese refugees who came to California.\u003c/p>\n\u003cp>“The idea is that the viewer becomes emotionally enthralled by the portrait,” Sanders says. “Then, right next to the photo, is a brief history on that veteran or immigrant, and they get to learn an individual story about them.”\u003c/p>\n\u003cfigure id=\"attachment_13815358\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13815358\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Thuy-B-800x450.jpg\" alt='Thuy B. says she will always miss her home country. During the Vietnam War, her family was forced to flee south to escape the advancing Viet Cong. \"People got panic-stricken. More and more people evacuated every day. My mother also made decision to leave for Saigon. It was a long, exhausting journey full of pain, stress, and fear.\"' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Thuy-B.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Thuy-B-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Thuy-B-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Thuy-B-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Thuy-B-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Thuy-B-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Thuy B. says she will always miss her home country. During the Vietnam War, her family was forced to flee south to escape the advancing Viet Cong. “People got panic-stricken. More and more people evacuated every day. My mother also made decision to leave for Saigon. It was a long, exhausting journey full of pain, stress, and fear.” \u003ccite>(Thomas Sanders)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sanders has been working with veterans groups and the \u003ca href=\"http://www.sjelks.com/home/\" target=\"_blank\" rel=\"noopener noreferrer\">San Jose Elks Club\u003c/a> to identify people like 69 year-old Dave Sanders — no relation to Thomas — who brought a piece of shrapnel with him to the photo shoot. “From a 122 millimeter rocket that almost got me. Almost!”\u003c/p>\n\u003cp>Dave Sanders doesn’t have any illusions about the war, but he’s proud that he enlisted. He volunteered for military service right out of high school. “All of our friends were being drafted. So the inevitable was coming,” he says.\u003c/p>\n\u003cfigure id=\"attachment_13815359\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13815359\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Rob-Petty-800x1200.jpg\" alt=\"Ron Petty was a helicopter pilot. The necklace he's holding is the bullet that hit him while he was flying in Vietnam. After medics pulled that bullet out of him, he put it on a chain. Photographer Thomas Sanders says he’s been taken by the fact many of his subjects carry grim mementos. "I think, the Vietnam veterans - some of them carry their war relics with them as a reminder that they’re living," he says.\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Rob-Petty.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Rob-Petty-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Rob-Petty-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Rob-Petty-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Rob-Petty-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Rob-Petty-520x780.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ron Petty was a helicopter pilot. The necklace he’s holding is the bullet that hit him while he was flying in Vietnam. After medics pulled that bullet out of him, he put it on a chain. Photographer Thomas Sanders says he’s been taken by the fact many of his subjects carry grim mementos. “I think, the Vietnam veterans – some of them carry their war relics with them as a reminder that they’re living,” he says. \u003ccite>(Thomas Sanders)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sanders made it back in one piece from Vietnam after a one -year tour of duty from May of 1967 to May of 1968. He returned home 50 pounds lighter, but carrying the weight of post traumatic stress disorder.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We did what our country wanted – the military portion of our country and the politicians – but, you know, the more I know, the sadder I get,” Sanders reflects. “I really have a lot of hate and discontent in my mind for people like McNamara, Westmoreland: those that sent other people to die.”\u003c/p>\n\u003cp>Army General William Westmoreland commanded U.S. forces from 1964 to 1968. Defense Secretary Robert McNamara was in charge in the administration in Washington , D.C.\u003c/p>\n\u003cp>I ask Dave Sanders, “If you had Robert McNamara sitting in front of you right now, what would you say to him?” He thinks for a moment, gathering himself. Then he says emphatically, “I’d kill the son-of-a-bitch, for the 58,000 guys that we have on a wall.\u003c/p>\n\u003cp>He’s talking about the American service members who died or went missing. Their names are etched on the polished black rock of the \u003ca href=\"https://www.nps.gov/vive/index.htm\" target=\"_blank\" rel=\"noopener noreferrer\">Vietnam Veterans Memorial\u003c/a> in Washington, D.C.\u003c/p>\n\u003cp>Thomas Sanders has photographed about 200 people for the Vietnam project so far, mostly in and around San Jose. The region is home to one of the largest populations of expatriate Vietnamese in the United States.\u003c/p>\n\u003cfigure id=\"attachment_13815357\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13815357\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Vet-photos-Loc-800x450.jpg\" alt='Loc Vu, an 85-year-old retired colonel who served in the Army of the Republic of Vietnam, holds a bust of a South Vietnamese soldier at the Viet Museum in San Jose. \"This is a beautiful work from the museum,\" he says. \"It reminds me of the unknown soldier.\"' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Vet-photos-Loc.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Vet-photos-Loc-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Vet-photos-Loc-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Vet-photos-Loc-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Vet-photos-Loc-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Vet-photos-Loc-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Loc Vu, an 85-year-old retired colonel who served in the Army of the Republic of Vietnam, holds a bust of a South Vietnamese soldier at the Viet Museum in San Jose. “This is a beautiful work from the museum,” he says. “It reminds me of the unknown soldier.” \u003ccite>(Thomas Sanders)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>People like Loc Vu, an 85-year-old retired colonel who served in the Army of the Republic of Vietnam, are eager to participate in the project.\u003c/p>\n\u003cp>Vu has a history of taking leadership roles. Not long after he arrived in San Jose in the mid-1970s, Vu took the helm of the \u003ca href=\"https://www.facebook.com/irccsanjose/\" target=\"_blank\" rel=\"noopener noreferrer\">Immigrant Resettlement and Cultural Center\u003c/a>. Now he runs the \u003ca href=\"http://www.mercurynews.com/2007/08/25/san-joses-new-vietnamese-museum-elicits-deep-emotions/\" target=\"_blank\" rel=\"noopener noreferrer\">Viet Museum\u003c/a> in San Jose’s History Park, a modest, re-purposed Victorian house stuffed to the gills with framed photos, maps, artwork, and other mementos from the Vietnam War.\u003c/p>\n\u003cp>[audio src=\"https://www.kqed.org/.stream/anon/radio/tcrmag/2017/09/TCRPM20170915seg2VietnamPortraits.mp3\" title=\"Vietnam Portraits\" program=\"The California Report\" image=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/RS26520_DAVE_SANDERS-2-1920x1080.jpg\"]\u003c/p>\n\u003cp>Every item, Vu says, tells a story. Four machine guns mounted on the wall, for instance, serve as pointed reminders of multi-national meddling in Vietnam. “One make by France. One make by Russia. One make by [the] Americans. One make by Chinese Communists. Given to the young Vietnamese, North and South, to die in the Vietnam War,” he says.\u003c/p>\n\u003cp>He adds that the concepts of “winning” or “losing” a war mean nothing to those who fight and die in them. “That is the lesson I want to bring to our children,” he says.\u003c/p>\n\u003cp>Vu has been a helpful community liaison for photographer Thomas Sanders, who is too young to have experienced the war, even as a news story.\u003c/p>\n\u003cfigure id=\"attachment_13815361\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13815361\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Meal-LEtter-800x1200.jpg\" alt=\"Humidity disintegrated paper in the jungles of Vietnam. Resourceful American soldiers used alternatives like the sturdy cardboard wrappers their food rations came in to write letters home to loved ones.\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Meal-LEtter.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Meal-LEtter-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Meal-LEtter-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Meal-LEtter-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Meal-LEtter-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Meal-LEtter-520x780.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Humidity disintegrated paper in the jungles of Vietnam. Resourceful American soldiers used alternatives like the sturdy cardboard wrappers their food rations came in to write letters home to loved ones. \u003ccite>(Thomas Sanders)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This project has taught Sanders some of that history.\u003c/p>\n\u003cp>Vu counts that as a personal win. He wants that kind of history lesson for second generation Vietnamese-Americans as well.\u003c/p>\n\u003cp>“I’m very worried our next generation in the United States do not remember why the Vietnamese are here: where they came from, when, and the reasons why,” he says.\u003c/p>\n\u003cp>As for Thomas Sanders, he hopes to publish some of the portraits in a book. He wants them to serve as a document for those too young to remember the war, and a memento for those too old to forget.\u003c/p>\n\u003cp>“It’s important that these Vietnam veterans and the immigrants get the opportunity to tell their story,” he says. “It’s therapeutic. It gives them the opportunity to be honored.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>To see more stories and photographs from KQED’s series about the impact of the Vietnam War on the Bay Area and other communities in California, visit \u003ca href=\"https://ww2.kqed.org/arts/programs/vietnamwar/\" target=\"_blank\" rel=\"noopener noreferrer\">kqed.org/vietnamwar\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"excerpt": "Photographer Thomas Sanders is working on a series of portraits of those who survived the Vietnam War.",
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"headline": "Photographic Portraits Bring You Face to Face With the Vietnam War",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>They’re older and grayer now, the men and women who stare unsmiling into the camera. Their figures, shot against a black background, are superimposed on jungle foliage. It looks as if they’ve been surprised, at night, in a private moment: remembering the Vietnam War.\u003c/p>\n\u003cp>That’s the feeling San Francisco Bay Area photographer \u003ca href=\"http://tomsandersphoto.com\" target=\"_blank\" rel=\"noopener noreferrer\">Thomas Sanders\u003c/a> is aiming for. As an undergraduate at Cal Poly San Luis Obispo, he started a series of portraits of World War II veterans that would eventually lead to a book called \u003ca href=\"http://tomsandersphoto.com/portfolio/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Last Good War\u003c/em>\u003c/a>. As a graduate student at San Jose State, Sanders launched \u003ca href=\"http://tomsandersphoto.com/vietnam-war/\" target=\"_blank\" rel=\"noopener noreferrer\">something similar\u003c/a> with U.S. veterans of the Vietnam War, as well as South Vietnamese veterans, and other Vietnamese refugees who came to California.\u003c/p>\n\u003cp>“The idea is that the viewer becomes emotionally enthralled by the portrait,” Sanders says. “Then, right next to the photo, is a brief history on that veteran or immigrant, and they get to learn an individual story about them.”\u003c/p>\n\u003cfigure id=\"attachment_13815358\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13815358\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Thuy-B-800x450.jpg\" alt='Thuy B. says she will always miss her home country. During the Vietnam War, her family was forced to flee south to escape the advancing Viet Cong. \"People got panic-stricken. More and more people evacuated every day. My mother also made decision to leave for Saigon. It was a long, exhausting journey full of pain, stress, and fear.\"' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Thuy-B.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Thuy-B-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Thuy-B-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Thuy-B-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Thuy-B-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Thuy-B-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Thuy B. says she will always miss her home country. During the Vietnam War, her family was forced to flee south to escape the advancing Viet Cong. “People got panic-stricken. More and more people evacuated every day. My mother also made decision to leave for Saigon. It was a long, exhausting journey full of pain, stress, and fear.” \u003ccite>(Thomas Sanders)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sanders has been working with veterans groups and the \u003ca href=\"http://www.sjelks.com/home/\" target=\"_blank\" rel=\"noopener noreferrer\">San Jose Elks Club\u003c/a> to identify people like 69 year-old Dave Sanders — no relation to Thomas — who brought a piece of shrapnel with him to the photo shoot. “From a 122 millimeter rocket that almost got me. Almost!”\u003c/p>\n\u003cp>Dave Sanders doesn’t have any illusions about the war, but he’s proud that he enlisted. He volunteered for military service right out of high school. “All of our friends were being drafted. So the inevitable was coming,” he says.\u003c/p>\n\u003cfigure id=\"attachment_13815359\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13815359\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Rob-Petty-800x1200.jpg\" alt=\"Ron Petty was a helicopter pilot. The necklace he's holding is the bullet that hit him while he was flying in Vietnam. After medics pulled that bullet out of him, he put it on a chain. Photographer Thomas Sanders says he’s been taken by the fact many of his subjects carry grim mementos. "I think, the Vietnam veterans - some of them carry their war relics with them as a reminder that they’re living," he says.\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Rob-Petty.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Rob-Petty-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Rob-Petty-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Rob-Petty-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Rob-Petty-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Rob-Petty-520x780.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ron Petty was a helicopter pilot. The necklace he’s holding is the bullet that hit him while he was flying in Vietnam. After medics pulled that bullet out of him, he put it on a chain. Photographer Thomas Sanders says he’s been taken by the fact many of his subjects carry grim mementos. “I think, the Vietnam veterans – some of them carry their war relics with them as a reminder that they’re living,” he says. \u003ccite>(Thomas Sanders)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sanders made it back in one piece from Vietnam after a one -year tour of duty from May of 1967 to May of 1968. He returned home 50 pounds lighter, but carrying the weight of post traumatic stress disorder.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We did what our country wanted – the military portion of our country and the politicians – but, you know, the more I know, the sadder I get,” Sanders reflects. “I really have a lot of hate and discontent in my mind for people like McNamara, Westmoreland: those that sent other people to die.”\u003c/p>\n\u003cp>Army General William Westmoreland commanded U.S. forces from 1964 to 1968. Defense Secretary Robert McNamara was in charge in the administration in Washington , D.C.\u003c/p>\n\u003cp>I ask Dave Sanders, “If you had Robert McNamara sitting in front of you right now, what would you say to him?” He thinks for a moment, gathering himself. Then he says emphatically, “I’d kill the son-of-a-bitch, for the 58,000 guys that we have on a wall.\u003c/p>\n\u003cp>He’s talking about the American service members who died or went missing. Their names are etched on the polished black rock of the \u003ca href=\"https://www.nps.gov/vive/index.htm\" target=\"_blank\" rel=\"noopener noreferrer\">Vietnam Veterans Memorial\u003c/a> in Washington, D.C.\u003c/p>\n\u003cp>Thomas Sanders has photographed about 200 people for the Vietnam project so far, mostly in and around San Jose. The region is home to one of the largest populations of expatriate Vietnamese in the United States.\u003c/p>\n\u003cfigure id=\"attachment_13815357\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13815357\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Vet-photos-Loc-800x450.jpg\" alt='Loc Vu, an 85-year-old retired colonel who served in the Army of the Republic of Vietnam, holds a bust of a South Vietnamese soldier at the Viet Museum in San Jose. \"This is a beautiful work from the museum,\" he says. \"It reminds me of the unknown soldier.\"' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Vet-photos-Loc.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Vet-photos-Loc-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Vet-photos-Loc-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Vet-photos-Loc-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Vet-photos-Loc-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Vet-photos-Loc-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Loc Vu, an 85-year-old retired colonel who served in the Army of the Republic of Vietnam, holds a bust of a South Vietnamese soldier at the Viet Museum in San Jose. “This is a beautiful work from the museum,” he says. “It reminds me of the unknown soldier.” \u003ccite>(Thomas Sanders)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>People like Loc Vu, an 85-year-old retired colonel who served in the Army of the Republic of Vietnam, are eager to participate in the project.\u003c/p>\n\u003cp>Vu has a history of taking leadership roles. Not long after he arrived in San Jose in the mid-1970s, Vu took the helm of the \u003ca href=\"https://www.facebook.com/irccsanjose/\" target=\"_blank\" rel=\"noopener noreferrer\">Immigrant Resettlement and Cultural Center\u003c/a>. Now he runs the \u003ca href=\"http://www.mercurynews.com/2007/08/25/san-joses-new-vietnamese-museum-elicits-deep-emotions/\" target=\"_blank\" rel=\"noopener noreferrer\">Viet Museum\u003c/a> in San Jose’s History Park, a modest, re-purposed Victorian house stuffed to the gills with framed photos, maps, artwork, and other mementos from the Vietnam War.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Every item, Vu says, tells a story. Four machine guns mounted on the wall, for instance, serve as pointed reminders of multi-national meddling in Vietnam. “One make by France. One make by Russia. One make by [the] Americans. One make by Chinese Communists. Given to the young Vietnamese, North and South, to die in the Vietnam War,” he says.\u003c/p>\n\u003cp>He adds that the concepts of “winning” or “losing” a war mean nothing to those who fight and die in them. “That is the lesson I want to bring to our children,” he says.\u003c/p>\n\u003cp>Vu has been a helpful community liaison for photographer Thomas Sanders, who is too young to have experienced the war, even as a news story.\u003c/p>\n\u003cfigure id=\"attachment_13815361\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13815361\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Meal-LEtter-800x1200.jpg\" alt=\"Humidity disintegrated paper in the jungles of Vietnam. Resourceful American soldiers used alternatives like the sturdy cardboard wrappers their food rations came in to write letters home to loved ones.\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Meal-LEtter.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Meal-LEtter-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Meal-LEtter-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Meal-LEtter-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Meal-LEtter-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Meal-LEtter-520x780.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Humidity disintegrated paper in the jungles of Vietnam. Resourceful American soldiers used alternatives like the sturdy cardboard wrappers their food rations came in to write letters home to loved ones. \u003ccite>(Thomas Sanders)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This project has taught Sanders some of that history.\u003c/p>\n\u003cp>Vu counts that as a personal win. He wants that kind of history lesson for second generation Vietnamese-Americans as well.\u003c/p>\n\u003cp>“I’m very worried our next generation in the United States do not remember why the Vietnamese are here: where they came from, when, and the reasons why,” he says.\u003c/p>\n\u003cp>As for Thomas Sanders, he hopes to publish some of the portraits in a book. He wants them to serve as a document for those too young to remember the war, and a memento for those too old to forget.\u003c/p>\n\u003cp>“It’s important that these Vietnam veterans and the immigrants get the opportunity to tell their story,” he says. “It’s therapeutic. It gives them the opportunity to be honored.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>To see more stories and photographs from KQED’s series about the impact of the Vietnam War on the Bay Area and other communities in California, visit \u003ca href=\"https://ww2.kqed.org/arts/programs/vietnamwar/\" target=\"_blank\" rel=\"noopener noreferrer\">kqed.org/vietnamwar\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"headTitle": "Chinese Arts Impresario Ann Woo Celebrated at South Bay Memorial | KQED",
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"content": "\u003cp>Around 350 people gathered in San Jose on Sunday afternoon to mourn the passing of Chinese arts impresario Ann Woo, who died rlnder mysterious circumstances in August at the age of 75.\u003c/p>\n\u003cp>In 1991, Woo co-founded \u003ca href=\"http://cpaasv.info\" target=\"_blank\" rel=\"noopener noreferrer\">Chinese Performing Arts of America\u003c/a> (CPAA), a San Jose-based cultural center focused on promoting interest in traditional Chinese and related performing arts disciplines that was integral to the creative landscape of Silicon Valley.\u003c/p>\n\u003cp>Woo’s commitment won her wide respect in the South Bay, ranging from parents grateful she provided a platform for their children to learn about their heritage, to community leaders happy she could wrangle high-quality entertainment for any civic occasion.\u003c/p>\n\u003cfigure id=\"attachment_13808056\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13808056 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/RS26506_IMG_3632-2-qut-800x450.jpg\" alt=\"Representatives of Ann Woo's two families, her personal family and that of Chinese Performing Arts of America, spoke and performed at her memorial.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26506_IMG_3632-2-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26506_IMG_3632-2-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26506_IMG_3632-2-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26506_IMG_3632-2-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26506_IMG_3632-2-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26506_IMG_3632-2-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26506_IMG_3632-2-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26506_IMG_3632-2-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26506_IMG_3632-2-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26506_IMG_3632-2-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Representatives of Ann Woo’s two families, her personal family and that of Chinese Performing Arts of America, spoke and performed at her memorial. \u003ccite>(Photo: Courtesy of Michael M. Cohen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I knew Ann for 27 years,” said Patrick Kwok, former mayor of Cupertino and former board chair for the CPAA. “Her dedication and passion for Chinese arts is just beyond any description.”\u003c/p>\n\u003cp>Woo’s death\u003ca href=\"http://www.mercurynews.com/2017/09/08/ann-woo-death-as-memorial-nears-case-remains-a-mystery/\" target=\"_blank\" rel=\"noopener noreferrer\"> on Aug. 25\u003c/a> occurred two weeks after she fell into a dispute with a woman who had been involved in planning a future event with Woo’s organization. Woo was found later that same day, Aug. 11, on the ground outside CPAA’s offices, bleeding from the head.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The Santa Clara County medical examiner said an autopsy is complete, but the cause of death remains undetermined.\u003c/p>\n\u003cp>The homicide unit of San Jose’s police department continues to investigate, frustrated by a lack of witnesses to the incident. No arrests have yet been made, and no suspects have been publicly named.\u003c/p>\n\u003cfigure id=\"attachment_13808057\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13808057 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/RS26504_Dancers-qut-800x450.jpg\" alt='Zhou Hui, Christina Cheng, Virginia Jian, Allie Dong, Liu Yan, Wang Xin perform the \"Red Ribbon Dance\" at the memorial for Ann Woo on September 10, 2017.' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26504_Dancers-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26504_Dancers-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26504_Dancers-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26504_Dancers-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26504_Dancers-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26504_Dancers-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26504_Dancers-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26504_Dancers-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26504_Dancers-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26504_Dancers-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Zhou Hui, Christina Cheng, Virginia Jian, Allie Dong, Liu Yan, Wang Xin perform the “Red Ribbon Dance” at the memorial for Ann Woo on September 10, 2017. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>A lifetime of achievement\u003c/h3>\n\u003cp>Woo emigrated from China to San Francisco when she was 14 years old. After graduating from UC Berkeley, she spent 30 years as an electronic design engineer, one of few women of her generation to undertake such work in Silicon Valley.\u003c/p>\n\u003cp>But Woo’s heart was always in the arts. When she retired from her tech career, she co-founded CPAA to provide low-cost dance lessons to children and adults, as well as cultivate an appreciation for Chinese culture in the wider community.\u003c/p>\n\u003cp>So great was Woo’s contribution to the South Bay arts scene that her work was the subject of \u003ca href=\"https://tely2.kqed.org/owa/redir.aspx?C=1tLv3zK35tE5CC9GwDvCk9QmYcCfXVA1v5LMLgyUgbjIoZycsvjUCA..&URL=https%3a%2f%2fww2.kqed.org%2farts%2f2014%2f03%2f20%2fsilicon-valley-businesswoman-builds-a-future-for-ancient-arts%2f\">a KQED Arts video\u003c/a> in 2014.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=S219hCL9-QU\u003c/p>\n\u003cp>“When we started, our mission was to introduce Chinese culture to the mainstream through performing arts,” Woo told KQED back in 2014. “But now, we also promote multi-culture.”\u003c/p>\n\u003cp>The center is home to 10 studios, and hosts classes in Indian, Latino and European traditions, as well as Chinese.\u003c/p>\n\u003cp>Many dignitaries attended and spoke at the memorial, ranging from local and regional politicians to the Consul General of the People’s Republic of China in San Francisco, Luo Linquan. Silent videos of past performances played on a screen while one speaker after another recounted Woo’s role in building and sustaining CPAA.\u003c/p>\n\u003cfigure id=\"attachment_13808058\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13808058\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/RS26505_DonationBoxes-qut-800x450.jpg\" alt=\"Two memorial funds have been established to help Ann Woo's family and her passion project, Chinese Performing Arts of America.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26505_DonationBoxes-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26505_DonationBoxes-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26505_DonationBoxes-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26505_DonationBoxes-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26505_DonationBoxes-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26505_DonationBoxes-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26505_DonationBoxes-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26505_DonationBoxes-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26505_DonationBoxes-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26505_DonationBoxes-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Two memorial funds have been established to help Ann Woo’s family and her passion project, Chinese Performing Arts of America. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“This is a testament to her impact on the community, locally and internationally,” said Woo’s daughter, Tina Fredericks, who came up from Pasadena to speak at the memorial. “My realization of her impact is still growing.”\u003c/p>\n\u003ch3>What lies ahead for CPAA\u003c/h3>\n\u003cp>At the time of Woo’s death, CPAA was struggling financially. The center’s interim director, Andy Jian, said Woo’s death occurred with the nonprofit “six figures” in debt. Jian said he is trying to negotiate with the center’s landlord and bank for a grace period as CPAA pulls itself back together.\u003c/p>\n\u003cp>There seems little question Jian and others are committed to keeping CPAA alive, not just because of Ann Woo’s lifetime of commitment to the organization, but also because of its standing in the South Bay arts community.\u003c/p>\n\u003cp>“If you’ve been to any event in Cupertino, Ann has touched your heart and soul,” said Cupertino Mayor Savita Vaidhyanathan. “I’ve been living in the city for over 20 years, and at any event I’ve been to, I’ve seen something performed by her students. Even if you do not understand Chinese — which I do not — her productions just touch your heart.”\u003c/p>\n\u003cp>\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\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Around 350 people gathered in San Jose on Sunday afternoon to mourn the passing of Chinese arts impresario Ann Woo, who died rlnder mysterious circumstances in August at the age of 75.\u003c/p>\n\u003cp>In 1991, Woo co-founded \u003ca href=\"http://cpaasv.info\" target=\"_blank\" rel=\"noopener noreferrer\">Chinese Performing Arts of America\u003c/a> (CPAA), a San Jose-based cultural center focused on promoting interest in traditional Chinese and related performing arts disciplines that was integral to the creative landscape of Silicon Valley.\u003c/p>\n\u003cp>Woo’s commitment won her wide respect in the South Bay, ranging from parents grateful she provided a platform for their children to learn about their heritage, to community leaders happy she could wrangle high-quality entertainment for any civic occasion.\u003c/p>\n\u003cfigure id=\"attachment_13808056\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13808056 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/RS26506_IMG_3632-2-qut-800x450.jpg\" alt=\"Representatives of Ann Woo's two families, her personal family and that of Chinese Performing Arts of America, spoke and performed at her memorial.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26506_IMG_3632-2-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26506_IMG_3632-2-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26506_IMG_3632-2-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26506_IMG_3632-2-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26506_IMG_3632-2-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26506_IMG_3632-2-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26506_IMG_3632-2-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26506_IMG_3632-2-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26506_IMG_3632-2-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26506_IMG_3632-2-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Representatives of Ann Woo’s two families, her personal family and that of Chinese Performing Arts of America, spoke and performed at her memorial. \u003ccite>(Photo: Courtesy of Michael M. Cohen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I knew Ann for 27 years,” said Patrick Kwok, former mayor of Cupertino and former board chair for the CPAA. “Her dedication and passion for Chinese arts is just beyond any description.”\u003c/p>\n\u003cp>Woo’s death\u003ca href=\"http://www.mercurynews.com/2017/09/08/ann-woo-death-as-memorial-nears-case-remains-a-mystery/\" target=\"_blank\" rel=\"noopener noreferrer\"> on Aug. 25\u003c/a> occurred two weeks after she fell into a dispute with a woman who had been involved in planning a future event with Woo’s organization. Woo was found later that same day, Aug. 11, on the ground outside CPAA’s offices, bleeding from the head.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The Santa Clara County medical examiner said an autopsy is complete, but the cause of death remains undetermined.\u003c/p>\n\u003cp>The homicide unit of San Jose’s police department continues to investigate, frustrated by a lack of witnesses to the incident. No arrests have yet been made, and no suspects have been publicly named.\u003c/p>\n\u003cfigure id=\"attachment_13808057\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13808057 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/RS26504_Dancers-qut-800x450.jpg\" alt='Zhou Hui, Christina Cheng, Virginia Jian, Allie Dong, Liu Yan, Wang Xin perform the \"Red Ribbon Dance\" at the memorial for Ann Woo on September 10, 2017.' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26504_Dancers-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26504_Dancers-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26504_Dancers-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26504_Dancers-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26504_Dancers-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26504_Dancers-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26504_Dancers-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26504_Dancers-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26504_Dancers-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26504_Dancers-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Zhou Hui, Christina Cheng, Virginia Jian, Allie Dong, Liu Yan, Wang Xin perform the “Red Ribbon Dance” at the memorial for Ann Woo on September 10, 2017. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>A lifetime of achievement\u003c/h3>\n\u003cp>Woo emigrated from China to San Francisco when she was 14 years old. After graduating from UC Berkeley, she spent 30 years as an electronic design engineer, one of few women of her generation to undertake such work in Silicon Valley.\u003c/p>\n\u003cp>But Woo’s heart was always in the arts. When she retired from her tech career, she co-founded CPAA to provide low-cost dance lessons to children and adults, as well as cultivate an appreciation for Chinese culture in the wider community.\u003c/p>\n\u003cp>So great was Woo’s contribution to the South Bay arts scene that her work was the subject of \u003ca href=\"https://tely2.kqed.org/owa/redir.aspx?C=1tLv3zK35tE5CC9GwDvCk9QmYcCfXVA1v5LMLgyUgbjIoZycsvjUCA..&URL=https%3a%2f%2fww2.kqed.org%2farts%2f2014%2f03%2f20%2fsilicon-valley-businesswoman-builds-a-future-for-ancient-arts%2f\">a KQED Arts video\u003c/a> in 2014.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/S219hCL9-QU'\n title='//www.youtube.com/embed/S219hCL9-QU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“When we started, our mission was to introduce Chinese culture to the mainstream through performing arts,” Woo told KQED back in 2014. “But now, we also promote multi-culture.”\u003c/p>\n\u003cp>The center is home to 10 studios, and hosts classes in Indian, Latino and European traditions, as well as Chinese.\u003c/p>\n\u003cp>Many dignitaries attended and spoke at the memorial, ranging from local and regional politicians to the Consul General of the People’s Republic of China in San Francisco, Luo Linquan. Silent videos of past performances played on a screen while one speaker after another recounted Woo’s role in building and sustaining CPAA.\u003c/p>\n\u003cfigure id=\"attachment_13808058\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13808058\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/RS26505_DonationBoxes-qut-800x450.jpg\" alt=\"Two memorial funds have been established to help Ann Woo's family and her passion project, Chinese Performing Arts of America.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26505_DonationBoxes-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26505_DonationBoxes-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26505_DonationBoxes-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26505_DonationBoxes-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26505_DonationBoxes-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26505_DonationBoxes-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26505_DonationBoxes-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26505_DonationBoxes-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26505_DonationBoxes-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26505_DonationBoxes-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Two memorial funds have been established to help Ann Woo’s family and her passion project, Chinese Performing Arts of America. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“This is a testament to her impact on the community, locally and internationally,” said Woo’s daughter, Tina Fredericks, who came up from Pasadena to speak at the memorial. “My realization of her impact is still growing.”\u003c/p>\n\u003ch3>What lies ahead for CPAA\u003c/h3>\n\u003cp>At the time of Woo’s death, CPAA was struggling financially. The center’s interim director, Andy Jian, said Woo’s death occurred with the nonprofit “six figures” in debt. Jian said he is trying to negotiate with the center’s landlord and bank for a grace period as CPAA pulls itself back together.\u003c/p>\n\u003cp>There seems little question Jian and others are committed to keeping CPAA alive, not just because of Ann Woo’s lifetime of commitment to the organization, but also because of its standing in the South Bay arts community.\u003c/p>\n\u003cp>“If you’ve been to any event in Cupertino, Ann has touched your heart and soul,” said Cupertino Mayor Savita Vaidhyanathan. “I’ve been living in the city for over 20 years, and at any event I’ve been to, I’ve seen something performed by her students. Even if you do not understand Chinese — which I do not — her productions just touch your heart.”\u003c/p>\n\u003cp>\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\n\u003c/div>\u003c/p>",
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"title": "ICA's 'Detritus' Looks at What Artists Leave Behind",
"headTitle": "ICA’s ‘Detritus’ Looks at What Artists Leave Behind | KQED",
"content": "\u003cp>It’s a group exhibition of Bay Area artists with a twist: instead of showing artworks, \u003cem>Detritus\u003c/em> displays the byproducts of making. By “byproducts,” I mean objects that might, in some cases, be considered trash — or archival materials worth saving. To the artists of \u003cem>Detritus\u003c/em>, on view at the \u003ca href=\"http://sanjoseica.weebly.com/\" target=\"_blank\" rel=\"noopener noreferrer\">San Jose Institute of Contemporary Art\u003c/a> (ICA) through Sept. 10, the latter is a safe bet.\u003c/p>\n\u003cp>With byproducts from more than 100 Bay Area artists, \u003cem>Detritus\u003c/em> represents a hefty survey of regional creatives from multiple career levels. The exhibition shows a substantial commitment to diversity of medium, though the abstract expression-ish paint splatterings get extra attention in a digital slideshow of studio floors.\u003c/p>\n\u003cfigure id=\"attachment_13806962\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/04_ICA_Detritus_Sheila-Ghidini_1200.jpg\" alt=\"Sheila Ghidini, pencil shavings from various drawing projects, 2015-present.\" width=\"1200\" height=\"1200\" class=\"size-full wp-image-13806962\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/04_ICA_Detritus_Sheila-Ghidini_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/04_ICA_Detritus_Sheila-Ghidini_1200-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/04_ICA_Detritus_Sheila-Ghidini_1200-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/04_ICA_Detritus_Sheila-Ghidini_1200-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/04_ICA_Detritus_Sheila-Ghidini_1200-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/04_ICA_Detritus_Sheila-Ghidini_1200-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/04_ICA_Detritus_Sheila-Ghidini_1200-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/04_ICA_Detritus_Sheila-Ghidini_1200-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/04_ICA_Detritus_Sheila-Ghidini_1200-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/04_ICA_Detritus_Sheila-Ghidini_1200-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/04_ICA_Detritus_Sheila-Ghidini_1200-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/04_ICA_Detritus_Sheila-Ghidini_1200-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/04_ICA_Detritus_Sheila-Ghidini_1200-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/04_ICA_Detritus_Sheila-Ghidini_1200-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/04_ICA_Detritus_Sheila-Ghidini_1200-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/04_ICA_Detritus_Sheila-Ghidini_1200-150x150.jpg 150w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Sheila Ghidini, pencil shavings from various drawing projects, 2015-present. \u003ccite>(Courtesy of the San Jose Institute of Contemporary Art)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The art-making leftovers range from amassed pencil shavings to foam-core prototypes, from blooper reels to stacked notebooks, all presented in varying degrees of aestheticized display. However, when surveying the gallery for the first time, it’s not necessarily obvious that this is an exhibition of not-art.\u003c/p>\n\u003cp>\u003cem>Detritus\u003c/em> could easily pass for a contemporary group show. This ambiguity is partially because art audiences are used to blurring the lines between everyday objects and art. Who hasn’t seen a stack of folded clothes placed on a pedestal (courtesy of \u003ca href=\"http://www.surabhisaraf.net\" target=\"_blank\" rel=\"noopener noreferrer\">Surabhi Saraf\u003c/a>) or a pile of lightbulbs on the floor (from \u003ca href=\"http://www.jimcampbell.tv\" target=\"_blank\" rel=\"noopener noreferrer\">Jim Campbell\u003c/a>) in an art institution before?\u003c/p>\n\u003cfigure id=\"attachment_13806967\" class=\"wp-caption alignright\" style=\"max-width: 801px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Install3_1200.jpg\" alt=\"Installation view of 'Detritus.'\" width=\"801\" height=\"1200\" class=\"size-full wp-image-13806967\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Install3_1200.jpg 801w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Install3_1200-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Install3_1200-800x1199.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Install3_1200-768x1151.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Install3_1200-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Install3_1200-375x562.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Install3_1200-520x779.jpg 520w\" sizes=\"(max-width: 801px) 100vw, 801px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Detritus.’ \u003ccite>(Courtesy of San Jose Institute of Contemporary Art)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The other reason \u003cem>Detritus\u003c/em> reads like artwork is because the installation displays its objects like works of art. They benefit from institutional presentation: good lighting, white walls, careful display and labels.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Elevating the artists’ refuse — as a curatorial gesture — could point to the power of art institutions to declare what is or isn’t art, but that topic is more like a curatorial byproduct, if you will. Nor is the sentiment cheeky in nature: \u003cem>Detritus\u003c/em> isn’t trying to pull a fast one on us.\u003c/p>\n\u003cp>Instead, the curatorial statement wonders aloud why artists might save their debris the way they do — though the exhibition doesn’t answer its own question — and considers how to foreground art as labor by de-emphasizing the valued end-product.\u003c/p>\n\u003cp>Only a few of the displays in \u003cem>Detritus\u003c/em> include representation of a final artwork or in-depth written context for the debris. The exhibition brochure also includes nine photographs of finished artworks as an in-gallery scavenger hunt, but which ones seems arbitrary. Without the artists’ actual artworks on view, are viewers missing out?\u003c/p>\n\u003cp>The exhibition brochure, too, makes sure to include all of the artists’ websites, which presumably offers viewers an entryway to pursue further research. But printed URLs are akin telling someone to simply Google a name.\u003c/p>\n\u003cp>At the same time, it’s hard to determine if knowing the artists’ work beforehand changes that much, anyway. In some areas of the gallery, the mass groupings of detritus eliminated a sense of unique authorship. The rows of spray paint cans (\u003ca href=\"http://www.theapexer.com\" target=\"_blank\" rel=\"noopener\">Ricardo Richey\u003c/a>’s), that mound of pencil shavings (from \u003ca href=\"http://www.sheilaghidini.com\" target=\"_blank\" rel=\"noopener\">Sheila Ghidini\u003c/a> and, elsewhere, \u003ca href=\"https://robinkandel.com/\" target=\"_blank\" rel=\"noopener\">Robin Kandel\u003c/a>), and a cylinder of X-Acto blades (\u003ca href=\"http://www.adam5100.com\" target=\"_blank\" rel=\"noopener\">Adam Fiebelman\u003c/a>) all merge together. At best, this display formed a communal identity of “maker.” However, the display also reduced the scraps to purely aesthetic objects, devoid of specificity to the artists and their actual practices.\u003c/p>\n\u003cfigure id=\"attachment_13806964\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Install2_1200.jpg\" alt=\"Installation view of 'Detritus.'\" width=\"1200\" height=\"801\" class=\"size-full wp-image-13806964\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Install2_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Install2_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Install2_1200-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Install2_1200-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Install2_1200-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Install2_1200-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Install2_1200-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Install2_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Install2_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Install2_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Detritus.’ \u003ccite>(Courtesy of the San Jose Institute of Contemporary Art)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Don’t get me wrong: There’s pleasure in looking at the textures, colors and shapes of art-making materials. Who doesn’t love a giant vial of black glitter, courtesy of \u003ca href=\"http://www.jamievasta.com\" target=\"_blank\" rel=\"noopener\">Jamie Vasta\u003c/a>? Some of the included objects are irresistibly fun, too, like \u003ca href=\"http://www.leahrosenberg.com\" target=\"_blank\" rel=\"noopener\">Leah Rosenberg\u003c/a>’s giant paint-swatch paper. But the weight of any message around art as labor gets lost along the way. Because intrinsic to acknowledging that labor is knowing what’s at stake for the artists.\u003c/p>\n\u003cp>What’s missing from \u003cem>Detritus\u003c/em> is the weight of \u003cem>why\u003c/em> these 100-plus creatives make their art. Why they spend hours upon hours drawing, painting, peeling back blue tape from canvases, saving their twist-ties from clay shipments, and poring through reel after reel of video outtakes. Seeing the pencil shavings from a drawing actually erases the artist’s identity as a maker with a message.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Detritus’ is on view through Sept. 10, 2017 at the San Jose Institute of Contemporary Art in San Jose. For more information, \u003ca href=\"http://sanjoseica.weebly.com/\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "A show of 100-plus Bay Area artists displays not their artworks, but the residue of those objects' making, prompting questions about the feasibility of exhibiting artists' labor.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s a group exhibition of Bay Area artists with a twist: instead of showing artworks, \u003cem>Detritus\u003c/em> displays the byproducts of making. By “byproducts,” I mean objects that might, in some cases, be considered trash — or archival materials worth saving. To the artists of \u003cem>Detritus\u003c/em>, on view at the \u003ca href=\"http://sanjoseica.weebly.com/\" target=\"_blank\" rel=\"noopener noreferrer\">San Jose Institute of Contemporary Art\u003c/a> (ICA) through Sept. 10, the latter is a safe bet.\u003c/p>\n\u003cp>With byproducts from more than 100 Bay Area artists, \u003cem>Detritus\u003c/em> represents a hefty survey of regional creatives from multiple career levels. The exhibition shows a substantial commitment to diversity of medium, though the abstract expression-ish paint splatterings get extra attention in a digital slideshow of studio floors.\u003c/p>\n\u003cfigure id=\"attachment_13806962\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/04_ICA_Detritus_Sheila-Ghidini_1200.jpg\" alt=\"Sheila Ghidini, pencil shavings from various drawing projects, 2015-present.\" width=\"1200\" height=\"1200\" class=\"size-full wp-image-13806962\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/04_ICA_Detritus_Sheila-Ghidini_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/04_ICA_Detritus_Sheila-Ghidini_1200-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/04_ICA_Detritus_Sheila-Ghidini_1200-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/04_ICA_Detritus_Sheila-Ghidini_1200-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/04_ICA_Detritus_Sheila-Ghidini_1200-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/04_ICA_Detritus_Sheila-Ghidini_1200-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/04_ICA_Detritus_Sheila-Ghidini_1200-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/04_ICA_Detritus_Sheila-Ghidini_1200-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/04_ICA_Detritus_Sheila-Ghidini_1200-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/04_ICA_Detritus_Sheila-Ghidini_1200-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/04_ICA_Detritus_Sheila-Ghidini_1200-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/04_ICA_Detritus_Sheila-Ghidini_1200-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/04_ICA_Detritus_Sheila-Ghidini_1200-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/04_ICA_Detritus_Sheila-Ghidini_1200-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/04_ICA_Detritus_Sheila-Ghidini_1200-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/04_ICA_Detritus_Sheila-Ghidini_1200-150x150.jpg 150w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Sheila Ghidini, pencil shavings from various drawing projects, 2015-present. \u003ccite>(Courtesy of the San Jose Institute of Contemporary Art)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The art-making leftovers range from amassed pencil shavings to foam-core prototypes, from blooper reels to stacked notebooks, all presented in varying degrees of aestheticized display. However, when surveying the gallery for the first time, it’s not necessarily obvious that this is an exhibition of not-art.\u003c/p>\n\u003cp>\u003cem>Detritus\u003c/em> could easily pass for a contemporary group show. This ambiguity is partially because art audiences are used to blurring the lines between everyday objects and art. Who hasn’t seen a stack of folded clothes placed on a pedestal (courtesy of \u003ca href=\"http://www.surabhisaraf.net\" target=\"_blank\" rel=\"noopener noreferrer\">Surabhi Saraf\u003c/a>) or a pile of lightbulbs on the floor (from \u003ca href=\"http://www.jimcampbell.tv\" target=\"_blank\" rel=\"noopener noreferrer\">Jim Campbell\u003c/a>) in an art institution before?\u003c/p>\n\u003cfigure id=\"attachment_13806967\" class=\"wp-caption alignright\" style=\"max-width: 801px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Install3_1200.jpg\" alt=\"Installation view of 'Detritus.'\" width=\"801\" height=\"1200\" class=\"size-full wp-image-13806967\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Install3_1200.jpg 801w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Install3_1200-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Install3_1200-800x1199.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Install3_1200-768x1151.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Install3_1200-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Install3_1200-375x562.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Install3_1200-520x779.jpg 520w\" sizes=\"(max-width: 801px) 100vw, 801px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Detritus.’ \u003ccite>(Courtesy of San Jose Institute of Contemporary Art)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The other reason \u003cem>Detritus\u003c/em> reads like artwork is because the installation displays its objects like works of art. They benefit from institutional presentation: good lighting, white walls, careful display and labels.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Elevating the artists’ refuse — as a curatorial gesture — could point to the power of art institutions to declare what is or isn’t art, but that topic is more like a curatorial byproduct, if you will. Nor is the sentiment cheeky in nature: \u003cem>Detritus\u003c/em> isn’t trying to pull a fast one on us.\u003c/p>\n\u003cp>Instead, the curatorial statement wonders aloud why artists might save their debris the way they do — though the exhibition doesn’t answer its own question — and considers how to foreground art as labor by de-emphasizing the valued end-product.\u003c/p>\n\u003cp>Only a few of the displays in \u003cem>Detritus\u003c/em> include representation of a final artwork or in-depth written context for the debris. The exhibition brochure also includes nine photographs of finished artworks as an in-gallery scavenger hunt, but which ones seems arbitrary. Without the artists’ actual artworks on view, are viewers missing out?\u003c/p>\n\u003cp>The exhibition brochure, too, makes sure to include all of the artists’ websites, which presumably offers viewers an entryway to pursue further research. But printed URLs are akin telling someone to simply Google a name.\u003c/p>\n\u003cp>At the same time, it’s hard to determine if knowing the artists’ work beforehand changes that much, anyway. In some areas of the gallery, the mass groupings of detritus eliminated a sense of unique authorship. The rows of spray paint cans (\u003ca href=\"http://www.theapexer.com\" target=\"_blank\" rel=\"noopener\">Ricardo Richey\u003c/a>’s), that mound of pencil shavings (from \u003ca href=\"http://www.sheilaghidini.com\" target=\"_blank\" rel=\"noopener\">Sheila Ghidini\u003c/a> and, elsewhere, \u003ca href=\"https://robinkandel.com/\" target=\"_blank\" rel=\"noopener\">Robin Kandel\u003c/a>), and a cylinder of X-Acto blades (\u003ca href=\"http://www.adam5100.com\" target=\"_blank\" rel=\"noopener\">Adam Fiebelman\u003c/a>) all merge together. At best, this display formed a communal identity of “maker.” However, the display also reduced the scraps to purely aesthetic objects, devoid of specificity to the artists and their actual practices.\u003c/p>\n\u003cfigure id=\"attachment_13806964\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Install2_1200.jpg\" alt=\"Installation view of 'Detritus.'\" width=\"1200\" height=\"801\" class=\"size-full wp-image-13806964\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Install2_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Install2_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Install2_1200-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Install2_1200-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Install2_1200-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Install2_1200-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Install2_1200-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Install2_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Install2_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Install2_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Detritus.’ \u003ccite>(Courtesy of the San Jose Institute of Contemporary Art)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Don’t get me wrong: There’s pleasure in looking at the textures, colors and shapes of art-making materials. Who doesn’t love a giant vial of black glitter, courtesy of \u003ca href=\"http://www.jamievasta.com\" target=\"_blank\" rel=\"noopener\">Jamie Vasta\u003c/a>? Some of the included objects are irresistibly fun, too, like \u003ca href=\"http://www.leahrosenberg.com\" target=\"_blank\" rel=\"noopener\">Leah Rosenberg\u003c/a>’s giant paint-swatch paper. But the weight of any message around art as labor gets lost along the way. Because intrinsic to acknowledging that labor is knowing what’s at stake for the artists.\u003c/p>\n\u003cp>What’s missing from \u003cem>Detritus\u003c/em> is the weight of \u003cem>why\u003c/em> these 100-plus creatives make their art. Why they spend hours upon hours drawing, painting, peeling back blue tape from canvases, saving their twist-ties from clay shipments, and poring through reel after reel of video outtakes. Seeing the pencil shavings from a drawing actually erases the artist’s identity as a maker with a message.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Detritus’ is on view through Sept. 10, 2017 at the San Jose Institute of Contemporary Art in San Jose. For more information, \u003ca href=\"http://sanjoseica.weebly.com/\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "new-pop-up-series-treats-silicon-valley-workers-to-opera-at-the-office",
"title": "New Pop-Up Series Treats Silicon Valley Workers to Opera at the Office",
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"content": "\u003cp>The lobby of a Silicon Valley tech company is not where you would expect to hear a soprano belting out a \u003ca href=\"http://www.npr.org/artists/90063951/giacomo-puccini\" target=\"_blank\" rel=\"noopener noreferrer\">Puccini\u003c/a> aria, but that was exactly what happened at the first performance of Arias in the Office.\u003c/p>\n\u003cp>With “Ch’il Bel Sogno,” soprano Katharine Gunnink kicked off the new pop-up series at Adobe’s San Jose headquarters at the beginning of August. The initiative by Opera San José aims to introduce people to the very concept of opera as something that can be fun and enjoyable.\u003c/p>\n\u003cp>“That’s the idea — to bring what we do, and the level at which we do it, to people who’ve heard it and are fans, or people who’ve never heard it,” explains Aaron Nicholson, director of Marketing and Development for Opera San José.\u003c/p>\n\u003cp>The free performance had the intended effect on Jyh-Jiun Liou, a software quality engineer for Adobe who has lived in nearby Sunnyvale for 25 years but had no clue Opera San José even existed.\u003c/p>\n\u003cfigure id=\"attachment_13806983\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13806983\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/20170801_opera_jt_151-b0dc071ce1fee0bf3734a5e0916f8c01cf25c5c7-800x600.jpg\" alt=\"Trevor Neal performs for Adobe employees at the company's headquarters in San Jose, Calif. as part of Arias in the Office\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20170801_opera_jt_151-b0dc071ce1fee0bf3734a5e0916f8c01cf25c5c7-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20170801_opera_jt_151-b0dc071ce1fee0bf3734a5e0916f8c01cf25c5c7-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20170801_opera_jt_151-b0dc071ce1fee0bf3734a5e0916f8c01cf25c5c7-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20170801_opera_jt_151-b0dc071ce1fee0bf3734a5e0916f8c01cf25c5c7-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20170801_opera_jt_151-b0dc071ce1fee0bf3734a5e0916f8c01cf25c5c7-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20170801_opera_jt_151-b0dc071ce1fee0bf3734a5e0916f8c01cf25c5c7-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20170801_opera_jt_151-b0dc071ce1fee0bf3734a5e0916f8c01cf25c5c7-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20170801_opera_jt_151-b0dc071ce1fee0bf3734a5e0916f8c01cf25c5c7-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20170801_opera_jt_151-b0dc071ce1fee0bf3734a5e0916f8c01cf25c5c7-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20170801_opera_jt_151-b0dc071ce1fee0bf3734a5e0916f8c01cf25c5c7-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Trevor Neal performs for Adobe employees at the company’s headquarters in San Jose, Calif. as part of Arias in the Office \u003ccite>(James Tensuan/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Not a fan, but I really like it,” she remarked. “So if I see they will have a performance — maybe I will purchase a ticket.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>On the other end of the spectrum was Zori Sanchez, of Adobe’s finance department. Sanchez is a single ticket holder who says she “periodically” goes to the opera with friends. “I tend to go with people who kind of love it,” she says.\u003c/p>\n\u003cp>About 60 self-selecting attendees gathered in the Adobe lobby for the free performance — and more curious passers-by looked on. Such pop-up concerts in non-traditional venues, like parks and pubs, have helped a growing number of opera artists cultivate new fans.\u003c/p>\n\u003cp>Opera on Tap is a national non-profit focused on taking the art form beyond the opera house in the name of community outreach. “We can’t just expect that if we put together a great season, people will come,” says Indre Viskontas, a soprano with the San Francisco chapter. “We need to go to where they are and show them how awesome our art is. And then they’ll come to some of the bigger productions.”\u003c/p>\n\u003cfigure id=\"attachment_13806984\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13806984\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/20170801_opera_jt_131-acb6491a973b523068c5e8572961bdc4e8cb3787-800x600.jpg\" alt=\"Adobe employees listen to Katharine Gunnick perform during the first performance of Arias at the Office.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20170801_opera_jt_131-acb6491a973b523068c5e8572961bdc4e8cb3787-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20170801_opera_jt_131-acb6491a973b523068c5e8572961bdc4e8cb3787-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20170801_opera_jt_131-acb6491a973b523068c5e8572961bdc4e8cb3787-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20170801_opera_jt_131-acb6491a973b523068c5e8572961bdc4e8cb3787-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20170801_opera_jt_131-acb6491a973b523068c5e8572961bdc4e8cb3787-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20170801_opera_jt_131-acb6491a973b523068c5e8572961bdc4e8cb3787-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20170801_opera_jt_131-acb6491a973b523068c5e8572961bdc4e8cb3787-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20170801_opera_jt_131-acb6491a973b523068c5e8572961bdc4e8cb3787-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20170801_opera_jt_131-acb6491a973b523068c5e8572961bdc4e8cb3787-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20170801_opera_jt_131-acb6491a973b523068c5e8572961bdc4e8cb3787-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Adobe employees listen to Katharine Gunnick perform during the first performance of Arias at the Office. \u003ccite>(James Tensuan/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>For workers at some Silicon Valley companies, Arias in the Office might very well be pleasantly surprising lunchtime entertainment. But for opera singers and performers, the pop-up series is not just a means of expanding their audience, but also continuing the relevance and vibrancy of their art form.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=New+Pop-Up+Series+Treats+Silicon+Valley+Workers+To+Opera+At+The+Office&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The lobby of a Silicon Valley tech company is not where you would expect to hear a soprano belting out a \u003ca href=\"http://www.npr.org/artists/90063951/giacomo-puccini\" target=\"_blank\" rel=\"noopener noreferrer\">Puccini\u003c/a> aria, but that was exactly what happened at the first performance of Arias in the Office.\u003c/p>\n\u003cp>With “Ch’il Bel Sogno,” soprano Katharine Gunnink kicked off the new pop-up series at Adobe’s San Jose headquarters at the beginning of August. The initiative by Opera San José aims to introduce people to the very concept of opera as something that can be fun and enjoyable.\u003c/p>\n\u003cp>“That’s the idea — to bring what we do, and the level at which we do it, to people who’ve heard it and are fans, or people who’ve never heard it,” explains Aaron Nicholson, director of Marketing and Development for Opera San José.\u003c/p>\n\u003cp>The free performance had the intended effect on Jyh-Jiun Liou, a software quality engineer for Adobe who has lived in nearby Sunnyvale for 25 years but had no clue Opera San José even existed.\u003c/p>\n\u003cfigure id=\"attachment_13806983\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13806983\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/20170801_opera_jt_151-b0dc071ce1fee0bf3734a5e0916f8c01cf25c5c7-800x600.jpg\" alt=\"Trevor Neal performs for Adobe employees at the company's headquarters in San Jose, Calif. as part of Arias in the Office\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20170801_opera_jt_151-b0dc071ce1fee0bf3734a5e0916f8c01cf25c5c7-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20170801_opera_jt_151-b0dc071ce1fee0bf3734a5e0916f8c01cf25c5c7-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20170801_opera_jt_151-b0dc071ce1fee0bf3734a5e0916f8c01cf25c5c7-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20170801_opera_jt_151-b0dc071ce1fee0bf3734a5e0916f8c01cf25c5c7-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20170801_opera_jt_151-b0dc071ce1fee0bf3734a5e0916f8c01cf25c5c7-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20170801_opera_jt_151-b0dc071ce1fee0bf3734a5e0916f8c01cf25c5c7-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20170801_opera_jt_151-b0dc071ce1fee0bf3734a5e0916f8c01cf25c5c7-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20170801_opera_jt_151-b0dc071ce1fee0bf3734a5e0916f8c01cf25c5c7-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20170801_opera_jt_151-b0dc071ce1fee0bf3734a5e0916f8c01cf25c5c7-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20170801_opera_jt_151-b0dc071ce1fee0bf3734a5e0916f8c01cf25c5c7-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Trevor Neal performs for Adobe employees at the company’s headquarters in San Jose, Calif. as part of Arias in the Office \u003ccite>(James Tensuan/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Not a fan, but I really like it,” she remarked. “So if I see they will have a performance — maybe I will purchase a ticket.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>On the other end of the spectrum was Zori Sanchez, of Adobe’s finance department. Sanchez is a single ticket holder who says she “periodically” goes to the opera with friends. “I tend to go with people who kind of love it,” she says.\u003c/p>\n\u003cp>About 60 self-selecting attendees gathered in the Adobe lobby for the free performance — and more curious passers-by looked on. Such pop-up concerts in non-traditional venues, like parks and pubs, have helped a growing number of opera artists cultivate new fans.\u003c/p>\n\u003cp>Opera on Tap is a national non-profit focused on taking the art form beyond the opera house in the name of community outreach. “We can’t just expect that if we put together a great season, people will come,” says Indre Viskontas, a soprano with the San Francisco chapter. “We need to go to where they are and show them how awesome our art is. And then they’ll come to some of the bigger productions.”\u003c/p>\n\u003cfigure id=\"attachment_13806984\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13806984\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/20170801_opera_jt_131-acb6491a973b523068c5e8572961bdc4e8cb3787-800x600.jpg\" alt=\"Adobe employees listen to Katharine Gunnick perform during the first performance of Arias at the Office.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20170801_opera_jt_131-acb6491a973b523068c5e8572961bdc4e8cb3787-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20170801_opera_jt_131-acb6491a973b523068c5e8572961bdc4e8cb3787-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20170801_opera_jt_131-acb6491a973b523068c5e8572961bdc4e8cb3787-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20170801_opera_jt_131-acb6491a973b523068c5e8572961bdc4e8cb3787-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20170801_opera_jt_131-acb6491a973b523068c5e8572961bdc4e8cb3787-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20170801_opera_jt_131-acb6491a973b523068c5e8572961bdc4e8cb3787-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20170801_opera_jt_131-acb6491a973b523068c5e8572961bdc4e8cb3787-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20170801_opera_jt_131-acb6491a973b523068c5e8572961bdc4e8cb3787-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20170801_opera_jt_131-acb6491a973b523068c5e8572961bdc4e8cb3787-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20170801_opera_jt_131-acb6491a973b523068c5e8572961bdc4e8cb3787-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Adobe employees listen to Katharine Gunnick perform during the first performance of Arias at the Office. \u003ccite>(James Tensuan/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>For workers at some Silicon Valley companies, Arias in the Office might very well be pleasantly surprising lunchtime entertainment. But for opera singers and performers, the pop-up series is not just a means of expanding their audience, but also continuing the relevance and vibrancy of their art form.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=New+Pop-Up+Series+Treats+Silicon+Valley+Workers+To+Opera+At+The+Office&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The online retailer \u003ca href=\"http://www.amazon.com\" target=\"_blank\" rel=\"noopener noreferrer\">Amazon \u003c/a>opened a bookstore in San Jose Thursday. Take a moment with that news. This is 20 years after the online retail giant helped lay waste to the brick and mortar book industry. The San Jose bookstore is not the first. It’s Amazon’s \u003ca href=\"https://www.amazon.com/b/?_encoding=UTF8&node=13270229011\" target=\"_blank\" rel=\"noopener noreferrer\">tenth nationwide\u003c/a>, its second in California and its first in the Bay Area.\u003c/p>\n\u003cp>In many respects, the Seattle-based behemoth is following on the footsteps of other tech giants like Apple and Microsoft. Vice president of Amazon’s books division, Jennifer Cast, says customers like to see products in person — books, and other things, too. “They need help,” Cast says. “They need advice, and so we have associates who are experts on Amazon devices.”\u003c/p>\n\u003cp>That said, the Amazon bookstore in San Jose’s Santana Row delivers an impressive experience for book lovers, with numerous, distinctively Amazonian touches. You get the Amazon.com price if you’re signed up with the company’s membership program, Amazon Prime. Many of the bookstore sections follow what’s trending online. One area of the store called “Page Turners” highlights books that a large number of Kindle readers finished in three days or less.\u003c/p>\n\u003cfigure id=\"attachment_13806494\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13806494\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/RS26380_Book-Reviews-qut-800x450.jpg\" alt=\"Instead of handwritten employee reviews, there are printed customer reviews pinned up under the books. Scan the review card and you can see the price. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26380_Book-Reviews-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26380_Book-Reviews-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26380_Book-Reviews-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26380_Book-Reviews-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26380_Book-Reviews-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26380_Book-Reviews-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26380_Book-Reviews-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26380_Book-Reviews-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26380_Book-Reviews-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26380_Book-Reviews-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Instead of handwritten employee reviews, there are printed customer reviews pinned up under the books. Scan the review card and you can see the price. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cast explains the bookstore is an extension of the web site. “We’ve been selling online for 20 years, and so we have a lot of information on what customers love: what customers are reading, why they’re reading, how they’re reading,” she says.\u003c/p>\n\u003cp>\u003cstrong>Customers react\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Amazon’s first high street store opened in 2015 in Seattle. While it’s too soon to say whether the strategy works financially, there were plenty of curious and enthusiastic customers milling about the San Jose store on the first day.\u003c/p>\n\u003cp>Jim and Cynthia Williams of Campbell are both avid readers. She’s a Kindle fan. He’s not. “I have to have something to touch and feel,”Jim Williams says. “The hard copy has always been what I like. That’s part of the enjoyment of a book for me.”\u003c/p>\n\u003cfigure id=\"attachment_13806495\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13806495\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/RS26379_Amazon-Devices-qut-800x450.jpg\" alt=\"Not unlike an Apple store, Amazon bookstores have roving staff members at the ready to help you decide to buy devices like the Echo and Kindle or services like Fire TV.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26379_Amazon-Devices-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26379_Amazon-Devices-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26379_Amazon-Devices-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26379_Amazon-Devices-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26379_Amazon-Devices-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26379_Amazon-Devices-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26379_Amazon-Devices-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26379_Amazon-Devices-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26379_Amazon-Devices-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26379_Amazon-Devices-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Not unlike an Apple store, Amazon bookstores have roving staff members at the ready to help you decide to buy devices like the Echo and Kindle or services like Fire TV. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Before she retired, Cynthia Williams worked in finance in the tech industry and she sees Amazon’s move as making business sense. “Well, they’re acquiring Whole Foods, so they’re obviously getting more into brick and mortar,” she says. “So they’re bringing the businesses, the brick and mortar and the online together.”\u003c/p>\n\u003cp>\u003cstrong>What goes around comes around\u003c/strong>\u003c/p>\n\u003cp>It’s hard to truly quantify the devastation among independent bookstores that followed Amazon’s launch in 1994. Back in 1995, the \u003ca href=\"http://bookweb.org/\" target=\"_blank\" rel=\"noopener noreferrer\">American Booksellers Association\u003c/a> (ABA) claimed roughly 7,000 member stores. Today, there are roughly 2,300.\u003c/p>\n\u003cp>Amazon wasn’t to blame alone. National chains like Borders and Barnes & Noble also helped to put many mom and pop stores across the country out of business. The independents that did survive did so by building communities with in-store events and the like, as well as specializing in genres such as children’s books and science fiction.\u003c/p>\n\u003cp>“A new generation is coming into the business as both owner-managers and frontline booksellers,” says Dan Cullen of the ABA, adding that bookstores are proving remarkably resilient despite the Age of the Internet.\u003c/p>\n\u003cfigure id=\"attachment_13806496\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13806496\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/RS26381_Hicklebees-qut-800x450.jpg\" alt=\"Suzi Hough manages Hicklebees, a San Jose children's bookstore. She takes in stride the arrival of a new bookstore a 15 minute drive away. "If Amazon's here, it helps promote literacy, and that's important to us."\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26381_Hicklebees-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26381_Hicklebees-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26381_Hicklebees-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26381_Hicklebees-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26381_Hicklebees-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26381_Hicklebees-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26381_Hicklebees-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26381_Hicklebees-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26381_Hicklebees-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26381_Hicklebees-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Suzi Hough manages Hicklebees, a San Jose children’s bookstore. She takes in stride the arrival of a new bookstore a 15 minute drive away. “If Amazon’s here, it helps promote literacy, and that’s important to us.” \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We got through it,” says Suzi Hough, who manages \u003ca href=\"http://www.hicklebees.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Hicklebees\u003c/a>, a San Jose children’s bookstore that first opened in 1979. “We’re still here. And we think the same thing will happen again,”\u003c/p>\n\u003cp>Hough says she’s able to stay in business because her store works to differentiate itself from Amazon, for example by offering an extensive calendar of author visits, book club gatherings, and events for educators. “We’re really two different animals,” Hough says.\u003c/p>\n\u003cp>Eric Johnson of \u003ca href=\"http://www.recyclebookstore.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Recycle Bookstore\u003c/a> in San Jose is similarly sanguine about Amazon’s foray into the South Bay. “My initial reaction is really a big shrug of the shoulders,” Johnson says. “It is obvious to me that Amazon opening up bookstores is not really intended as a serious attempt to compete as a traditional bookstore.” Amazon’s bookstore, he says, “is not so much a bookstore as it is a distribution center.”\u003c/p>\n\u003cp>In the meantime, Amazon has plans to continue expanding. In California, more stores are planned for Walnut Creek and Los Angeles.\u003c/p>\n\u003cp>\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=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The online retailer \u003ca href=\"http://www.amazon.com\" target=\"_blank\" rel=\"noopener noreferrer\">Amazon \u003c/a>opened a bookstore in San Jose Thursday. Take a moment with that news. This is 20 years after the online retail giant helped lay waste to the brick and mortar book industry. The San Jose bookstore is not the first. It’s Amazon’s \u003ca href=\"https://www.amazon.com/b/?_encoding=UTF8&node=13270229011\" target=\"_blank\" rel=\"noopener noreferrer\">tenth nationwide\u003c/a>, its second in California and its first in the Bay Area.\u003c/p>\n\u003cp>In many respects, the Seattle-based behemoth is following on the footsteps of other tech giants like Apple and Microsoft. Vice president of Amazon’s books division, Jennifer Cast, says customers like to see products in person — books, and other things, too. “They need help,” Cast says. “They need advice, and so we have associates who are experts on Amazon devices.”\u003c/p>\n\u003cp>That said, the Amazon bookstore in San Jose’s Santana Row delivers an impressive experience for book lovers, with numerous, distinctively Amazonian touches. You get the Amazon.com price if you’re signed up with the company’s membership program, Amazon Prime. Many of the bookstore sections follow what’s trending online. One area of the store called “Page Turners” highlights books that a large number of Kindle readers finished in three days or less.\u003c/p>\n\u003cfigure id=\"attachment_13806494\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13806494\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/RS26380_Book-Reviews-qut-800x450.jpg\" alt=\"Instead of handwritten employee reviews, there are printed customer reviews pinned up under the books. Scan the review card and you can see the price. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26380_Book-Reviews-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26380_Book-Reviews-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26380_Book-Reviews-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26380_Book-Reviews-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26380_Book-Reviews-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26380_Book-Reviews-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26380_Book-Reviews-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26380_Book-Reviews-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26380_Book-Reviews-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26380_Book-Reviews-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Instead of handwritten employee reviews, there are printed customer reviews pinned up under the books. Scan the review card and you can see the price. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cast explains the bookstore is an extension of the web site. “We’ve been selling online for 20 years, and so we have a lot of information on what customers love: what customers are reading, why they’re reading, how they’re reading,” she says.\u003c/p>\n\u003cp>\u003cstrong>Customers react\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Amazon’s first high street store opened in 2015 in Seattle. While it’s too soon to say whether the strategy works financially, there were plenty of curious and enthusiastic customers milling about the San Jose store on the first day.\u003c/p>\n\u003cp>Jim and Cynthia Williams of Campbell are both avid readers. She’s a Kindle fan. He’s not. “I have to have something to touch and feel,”Jim Williams says. “The hard copy has always been what I like. That’s part of the enjoyment of a book for me.”\u003c/p>\n\u003cfigure id=\"attachment_13806495\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13806495\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/RS26379_Amazon-Devices-qut-800x450.jpg\" alt=\"Not unlike an Apple store, Amazon bookstores have roving staff members at the ready to help you decide to buy devices like the Echo and Kindle or services like Fire TV.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26379_Amazon-Devices-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26379_Amazon-Devices-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26379_Amazon-Devices-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26379_Amazon-Devices-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26379_Amazon-Devices-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26379_Amazon-Devices-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26379_Amazon-Devices-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26379_Amazon-Devices-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26379_Amazon-Devices-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26379_Amazon-Devices-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Not unlike an Apple store, Amazon bookstores have roving staff members at the ready to help you decide to buy devices like the Echo and Kindle or services like Fire TV. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Before she retired, Cynthia Williams worked in finance in the tech industry and she sees Amazon’s move as making business sense. “Well, they’re acquiring Whole Foods, so they’re obviously getting more into brick and mortar,” she says. “So they’re bringing the businesses, the brick and mortar and the online together.”\u003c/p>\n\u003cp>\u003cstrong>What goes around comes around\u003c/strong>\u003c/p>\n\u003cp>It’s hard to truly quantify the devastation among independent bookstores that followed Amazon’s launch in 1994. Back in 1995, the \u003ca href=\"http://bookweb.org/\" target=\"_blank\" rel=\"noopener noreferrer\">American Booksellers Association\u003c/a> (ABA) claimed roughly 7,000 member stores. Today, there are roughly 2,300.\u003c/p>\n\u003cp>Amazon wasn’t to blame alone. National chains like Borders and Barnes & Noble also helped to put many mom and pop stores across the country out of business. The independents that did survive did so by building communities with in-store events and the like, as well as specializing in genres such as children’s books and science fiction.\u003c/p>\n\u003cp>“A new generation is coming into the business as both owner-managers and frontline booksellers,” says Dan Cullen of the ABA, adding that bookstores are proving remarkably resilient despite the Age of the Internet.\u003c/p>\n\u003cfigure id=\"attachment_13806496\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13806496\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/RS26381_Hicklebees-qut-800x450.jpg\" alt=\"Suzi Hough manages Hicklebees, a San Jose children's bookstore. She takes in stride the arrival of a new bookstore a 15 minute drive away. "If Amazon's here, it helps promote literacy, and that's important to us."\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26381_Hicklebees-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26381_Hicklebees-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26381_Hicklebees-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26381_Hicklebees-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26381_Hicklebees-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26381_Hicklebees-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26381_Hicklebees-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26381_Hicklebees-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26381_Hicklebees-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26381_Hicklebees-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Suzi Hough manages Hicklebees, a San Jose children’s bookstore. She takes in stride the arrival of a new bookstore a 15 minute drive away. “If Amazon’s here, it helps promote literacy, and that’s important to us.” \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We got through it,” says Suzi Hough, who manages \u003ca href=\"http://www.hicklebees.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Hicklebees\u003c/a>, a San Jose children’s bookstore that first opened in 1979. “We’re still here. And we think the same thing will happen again,”\u003c/p>\n\u003cp>Hough says she’s able to stay in business because her store works to differentiate itself from Amazon, for example by offering an extensive calendar of author visits, book club gatherings, and events for educators. “We’re really two different animals,” Hough says.\u003c/p>\n\u003cp>Eric Johnson of \u003ca href=\"http://www.recyclebookstore.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Recycle Bookstore\u003c/a> in San Jose is similarly sanguine about Amazon’s foray into the South Bay. “My initial reaction is really a big shrug of the shoulders,” Johnson says. “It is obvious to me that Amazon opening up bookstores is not really intended as a serious attempt to compete as a traditional bookstore.” Amazon’s bookstore, he says, “is not so much a bookstore as it is a distribution center.”\u003c/p>\n\u003cp>In the meantime, Amazon has plans to continue expanding. In California, more stores are planned for Walnut Creek and Los Angeles.\u003c/p>\n\u003cp>\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=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Beatboxer, MC and educator \u003ca href=\"https://www.instagram.com/emceeinfinite/\" target=\"_blank\" rel=\"noopener noreferrer\">Carlos Aguirre\u003c/a> wants to make one thing clear: The Rap Opera Project is not ‘Hamilton.’\u003c/p>\n\u003cp>Launched in 2017 by \u003ca href=\"http://www.operacultura.org\" target=\"_blank\" rel=\"noopener noreferrer\">Opera Cultura\u003c/a> with funding from \u003ca href=\"http://www.svcreates.org/opportunities/x-factor-grant/\" target=\"_blank\" rel=\"noopener noreferrer\">Silicon Valley Create’s X Factor grant\u003c/a>, the Rap Opera Project is really about modern-day storytelling. Over the course of multiple workshops at both the Santa Clara County Juvenile Hall and San Jose’s \u003ca href=\"http://maclaarte.org/\" target=\"_blank\" rel=\"noopener noreferrer\">MACLA\u003c/a>, Aguirre coaxed poems, short stories and rap lyrics out of participating youth. “These are rough, guttural street stories, not being told,” he says.\u003c/p>\n\u003cp>Aguirre drew unifying themes from the writing, fine-tuned the rhymes and worked with opera singer Alexandra Sessler, multidisciplinary artist Cellista and Opera Cultura founder and director Hector Armienta to produce an intimate performance at MACLA in early July. The collaborators hope to expand the project and stage a larger production.\u003c/p>\n\u003cp>Watch a young man’s deeply personal writing — including the anxieties and fears of growing up amidst gang violence in San Jose — transform into a dramatic musical performance. — \u003cem>Text by Sarah Hotchkiss\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Beatboxer, MC and educator \u003ca href=\"https://www.instagram.com/emceeinfinite/\" target=\"_blank\" rel=\"noopener noreferrer\">Carlos Aguirre\u003c/a> wants to make one thing clear: The Rap Opera Project is not ‘Hamilton.’\u003c/p>\n\u003cp>Launched in 2017 by \u003ca href=\"http://www.operacultura.org\" target=\"_blank\" rel=\"noopener noreferrer\">Opera Cultura\u003c/a> with funding from \u003ca href=\"http://www.svcreates.org/opportunities/x-factor-grant/\" target=\"_blank\" rel=\"noopener noreferrer\">Silicon Valley Create’s X Factor grant\u003c/a>, the Rap Opera Project is really about modern-day storytelling. Over the course of multiple workshops at both the Santa Clara County Juvenile Hall and San Jose’s \u003ca href=\"http://maclaarte.org/\" target=\"_blank\" rel=\"noopener noreferrer\">MACLA\u003c/a>, Aguirre coaxed poems, short stories and rap lyrics out of participating youth. “These are rough, guttural street stories, not being told,” he says.\u003c/p>\n\u003cp>Aguirre drew unifying themes from the writing, fine-tuned the rhymes and worked with opera singer Alexandra Sessler, multidisciplinary artist Cellista and Opera Cultura founder and director Hector Armienta to produce an intimate performance at MACLA in early July. The collaborators hope to expand the project and stage a larger production.\u003c/p>\n\u003cp>Watch a young man’s deeply personal writing — including the anxieties and fears of growing up amidst gang violence in San Jose — transform into a dramatic musical performance. — \u003cem>Text by Sarah Hotchkiss\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cb>\u003c/b>\u003ci>Welcome to KQED Arts’ \u003c/i>\u003ca href=\"http://ww2.kqed.org/arts/women-to-watch/\">\u003ci>Women to Watch\u003c/i>\u003c/a>\u003ci>, a series celebrating 20 local women artists, creatives and makers who are pushing boundaries in 2017. Driven by passion for their own disciplines, from photography to comedy and every other medium in between, these women are true vanguards paving the way in their respective communities.\u003c/i>\u003c/p>\n\u003cp>\u003ca href=\"http://www.janicewrites.com\" target=\"_blank\" rel=\"noopener noreferrer\">Janice Lobo Sapigao\u003c/a> grew up in Northside San Jose, the child of first-generation Filipino immigrants. Her mom worked the night shift, her dad, the day shift, and so Sapigao never saw them together except on weekends. After her dad died when she was just six years old, her family moved in with her cousin — and his family of 12 people.\u003c/p>\n\u003cp>“I lived in the same room with my mom and my brother for eight years,” Sapigao says. “I was the youngest, really quiet and observant. I didn’t really talk much, which is different from the way I am now!” Now, Sapigao loves to talk, and write, and teach others to do the same.\u003c/p>\n\u003cp>She’s published two books of poetry —\u003cb>\u003ci> \u003c/i>\u003c/b>\u003ci>microchips for millions\u003c/i> and \u003ci>Like a Solid to a Shadow\u003c/i>\u003cb>\u003ci> —\u003c/i>\u003c/b> as well as two chapbooks: \u003ci>you don’t know what you don’t know\u003c/i> and \u003ci>toxic city\u003c/i>. She is the Associate Editor of \u003ci>TAYO Literary Magazine.\u003c/i> She co-founded an open mic in Los Angeles called the \u003ca href=\"http://www.facebook.com/thesundayjump\">\u003cb>Sunday Jump\u003c/b>\u003c/a>. She also teaches part-time at Skyline College in San Bruno and San Jose City College, working with many students who haven’t had positive experiences with English literature.\u003c/p>\n\u003cfigure id=\"attachment_13741267\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13741267\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/w2w-janice-edited-800x450.jpg\" alt=\"Janice Sapigao.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-janice-edited-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-janice-edited-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-janice-edited-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-janice-edited-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-janice-edited.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-janice-edited-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-janice-edited-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-janice-edited-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-janice-edited-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-janice-edited-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Janice Sapigao. \u003ccite>(Photo: Christina Campbell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Did I \u003ca href=\"https://www.youtube.com/watch?v=uU5Pw9S4950\" target=\"_blank\" rel=\"noopener noreferrer\">hear right\u003c/a> watching one of your readings on YouTube: Sapigao means “nuts of the bird?”\u003c/b>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>When I lived in L.A. (for grad school), I was doing community work in the historic Filipino neighborhood there and I met an elder who taught me \u003cem>Ilokano\u003c/em> (a native language in the Philippines), and he told me that. I haven’t checked with any other source, but I like it.\u003c/p>\n\u003cp>\u003cb>Your parents were first-generation immigrants. How did your mother react when you told her “I want to be a poet!”\u003c/b>\u003c/p>\n\u003cp>I never had a moment when I told her I want to be a poet. What she tells my family is that I’m a journalist. She knows that I’ve always written, and I’ve read a lot of books. Her context around writing is different. In the Philippines, especially under martial law, writing was the way you could save your life and risk your life at the same time. A journalist is the closest thing to describing what it is that I do. I don’t know how else to say it, because my Americanness is seeping into everything, and maybe the words in English are not enough to say what she knows and I understand. That’s what my poetry looks like: the pieces of a puzzle trying to come together.\u003c/p>\n\u003cp>https://youtu.be/XfMONYmAGuA\u003c/p>\n\u003cp>\u003cb>How does teaching pull on different muscles from the work you do as an individual artist?\u003c/b>\u003c/p>\n\u003cp>Teaching forces me — in a good way — to rethink the possibilities of writing, and the possibilities of a story. A lot of students who come in to my classes will say “I’ve never read a book in its entirety.” Or “I’ve never written an essay that I liked.” They think saying that may get me to cut them some slack. I think that’s where the work begins. How can I really change the narrative of what students have been taught belongs in an English class?\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=uU5Pw9S4950]\u003c/p>\n\u003cp>\u003cb>What do you find most challenging about being an artist in the South Bay?\u003c/b>\u003c/p>\n\u003cp>I look really young, and I am young, but I feel, being a Filipina, and being an artist, people treat me really shitty. There’s a lack of support from librarians, editors, people in my community who may be thinking that they’re helping me. In grad school, nobody said “Here’s how you’ll really be treated.” Especially when you’re a writer who identifies with several communities of struggle. Every time I try to stand up for myself or question, I get that same negative reaction. Community organizing has taught me that you can’t move the community if the community doesn’t want to move.\u003c/p>\n\u003cp>\u003cb>What organizations are supportive and “doing it right”?\u003c/b>\u003c/p>\n\u003cp>\u003ca href=\"https://www.siliconvalleydebug.org\" target=\"_blank\" rel=\"noopener noreferrer\">Silicon Valley Debug\u003c/a>. I just started writing a book review column for them. They’ve been super supportive. They do the same with other folks. It’s so welcoming. That’s a necessary resource in San Jose.\u003c/p>\n\u003cp>\u003cb>What does your ideal future look like for women artists in the Bay Area?\u003c/b>\u003c/p>\n\u003cp>I think of three things: money; more time to create; and residencies which combines both of those things. That are also local and easy to get into! There’s \u003ca href=\"http://www.djerassi.org\" target=\"_blank\" rel=\"noopener noreferrer\">Djerassi\u003c/a> and \u003ca href=\"http://montalvoarts.org/programs/residency/\" target=\"_blank\" rel=\"noopener noreferrer\">Montalvo\u003c/a>, but those are spaces for folks who’ve been able to build up their resumes, not for emerging artists.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003ci>Curious about who else made the list? Check out the \u003c/i>\u003ca href=\"http://ww2.kqed.org/arts/women-to-watch/\">\u003ci>Women to Watch \u003c/i>\u003c/a>\u003ci>series page, including photo galleries, interviews, and videos.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Do you know a Bay Area artist who is doing amazing things? \u003c/i>\u003ca href=\"https://www.instagram.com/kqed_arts/\">\u003ci>We\u003c/i>\u003c/a>\u003ci> want to hear from you! Highlight her efforts using \u003c/i>\u003ca href=\"https://www.instagram.com/explore/tags/baybrilliant/\">\u003ci>#BayBrilliant\u003c/i>\u003c/a>\u003ci>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cb>\u003c/b>\u003ci>Welcome to KQED Arts’ \u003c/i>\u003ca href=\"http://ww2.kqed.org/arts/women-to-watch/\">\u003ci>Women to Watch\u003c/i>\u003c/a>\u003ci>, a series celebrating 20 local women artists, creatives and makers who are pushing boundaries in 2017. Driven by passion for their own disciplines, from photography to comedy and every other medium in between, these women are true vanguards paving the way in their respective communities.\u003c/i>\u003c/p>\n\u003cp>\u003ca href=\"http://www.janicewrites.com\" target=\"_blank\" rel=\"noopener noreferrer\">Janice Lobo Sapigao\u003c/a> grew up in Northside San Jose, the child of first-generation Filipino immigrants. Her mom worked the night shift, her dad, the day shift, and so Sapigao never saw them together except on weekends. After her dad died when she was just six years old, her family moved in with her cousin — and his family of 12 people.\u003c/p>\n\u003cp>“I lived in the same room with my mom and my brother for eight years,” Sapigao says. “I was the youngest, really quiet and observant. I didn’t really talk much, which is different from the way I am now!” Now, Sapigao loves to talk, and write, and teach others to do the same.\u003c/p>\n\u003cp>She’s published two books of poetry —\u003cb>\u003ci> \u003c/i>\u003c/b>\u003ci>microchips for millions\u003c/i> and \u003ci>Like a Solid to a Shadow\u003c/i>\u003cb>\u003ci> —\u003c/i>\u003c/b> as well as two chapbooks: \u003ci>you don’t know what you don’t know\u003c/i> and \u003ci>toxic city\u003c/i>. She is the Associate Editor of \u003ci>TAYO Literary Magazine.\u003c/i> She co-founded an open mic in Los Angeles called the \u003ca href=\"http://www.facebook.com/thesundayjump\">\u003cb>Sunday Jump\u003c/b>\u003c/a>. She also teaches part-time at Skyline College in San Bruno and San Jose City College, working with many students who haven’t had positive experiences with English literature.\u003c/p>\n\u003cfigure id=\"attachment_13741267\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13741267\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/w2w-janice-edited-800x450.jpg\" alt=\"Janice Sapigao.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-janice-edited-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-janice-edited-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-janice-edited-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-janice-edited-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-janice-edited.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-janice-edited-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-janice-edited-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-janice-edited-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-janice-edited-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-janice-edited-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Janice Sapigao. \u003ccite>(Photo: Christina Campbell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Did I \u003ca href=\"https://www.youtube.com/watch?v=uU5Pw9S4950\" target=\"_blank\" rel=\"noopener noreferrer\">hear right\u003c/a> watching one of your readings on YouTube: Sapigao means “nuts of the bird?”\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When I lived in L.A. (for grad school), I was doing community work in the historic Filipino neighborhood there and I met an elder who taught me \u003cem>Ilokano\u003c/em> (a native language in the Philippines), and he told me that. I haven’t checked with any other source, but I like it.\u003c/p>\n\u003cp>\u003cb>Your parents were first-generation immigrants. How did your mother react when you told her “I want to be a poet!”\u003c/b>\u003c/p>\n\u003cp>I never had a moment when I told her I want to be a poet. What she tells my family is that I’m a journalist. She knows that I’ve always written, and I’ve read a lot of books. Her context around writing is different. In the Philippines, especially under martial law, writing was the way you could save your life and risk your life at the same time. A journalist is the closest thing to describing what it is that I do. I don’t know how else to say it, because my Americanness is seeping into everything, and maybe the words in English are not enough to say what she knows and I understand. That’s what my poetry looks like: the pieces of a puzzle trying to come together.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/XfMONYmAGuA'\n title='//www.youtube.com/embed/XfMONYmAGuA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cb>How does teaching pull on different muscles from the work you do as an individual artist?\u003c/b>\u003c/p>\n\u003cp>Teaching forces me — in a good way — to rethink the possibilities of writing, and the possibilities of a story. A lot of students who come in to my classes will say “I’ve never read a book in its entirety.” Or “I’ve never written an essay that I liked.” They think saying that may get me to cut them some slack. I think that’s where the work begins. How can I really change the narrative of what students have been taught belongs in an English class?\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/uU5Pw9S4950'\n title='//www.youtube.com/embed/uU5Pw9S4950'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cb>What do you find most challenging about being an artist in the South Bay?\u003c/b>\u003c/p>\n\u003cp>I look really young, and I am young, but I feel, being a Filipina, and being an artist, people treat me really shitty. There’s a lack of support from librarians, editors, people in my community who may be thinking that they’re helping me. In grad school, nobody said “Here’s how you’ll really be treated.” Especially when you’re a writer who identifies with several communities of struggle. Every time I try to stand up for myself or question, I get that same negative reaction. Community organizing has taught me that you can’t move the community if the community doesn’t want to move.\u003c/p>\n\u003cp>\u003cb>What organizations are supportive and “doing it right”?\u003c/b>\u003c/p>\n\u003cp>\u003ca href=\"https://www.siliconvalleydebug.org\" target=\"_blank\" rel=\"noopener noreferrer\">Silicon Valley Debug\u003c/a>. I just started writing a book review column for them. They’ve been super supportive. They do the same with other folks. It’s so welcoming. That’s a necessary resource in San Jose.\u003c/p>\n\u003cp>\u003cb>What does your ideal future look like for women artists in the Bay Area?\u003c/b>\u003c/p>\n\u003cp>I think of three things: money; more time to create; and residencies which combines both of those things. That are also local and easy to get into! There’s \u003ca href=\"http://www.djerassi.org\" target=\"_blank\" rel=\"noopener noreferrer\">Djerassi\u003c/a> and \u003ca href=\"http://montalvoarts.org/programs/residency/\" target=\"_blank\" rel=\"noopener noreferrer\">Montalvo\u003c/a>, but those are spaces for folks who’ve been able to build up their resumes, not for emerging artists.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003ci>Curious about who else made the list? Check out the \u003c/i>\u003ca href=\"http://ww2.kqed.org/arts/women-to-watch/\">\u003ci>Women to Watch \u003c/i>\u003c/a>\u003ci>series page, including photo galleries, interviews, and videos.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Do you know a Bay Area artist who is doing amazing things? \u003c/i>\u003ca href=\"https://www.instagram.com/kqed_arts/\">\u003ci>We\u003c/i>\u003c/a>\u003ci> want to hear from you! Highlight her efforts using \u003c/i>\u003ca href=\"https://www.instagram.com/explore/tags/baybrilliant/\">\u003ci>#BayBrilliant\u003c/i>\u003c/a>\u003ci>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Anyone wondering if DIY publishing was still alive and well would look no further than February’s inaugural San Jose ZineCon, where visitors perused copies of locally made zines with names like \u003ci>Forget it Fatty: Confessions with Pictures\u003c/i>, \u003ci>Crocodile Girl\u003c/i>, \u003ci>Crush N Stuff\u003c/i> and \u003ci>Men are Disposable\u003c/i>, in all their self-published glory.\u003c/p>\n\u003cp>Zines are having something of a revival; at a time when writing on the internet can feel like a digital void, there’s nothing like a photocopied, stapled statement of purpose passed around among friends. Though the form has roots in early punk, zines today are radical, personal, political — and often, all of the above.\u003c/p>\n\u003cp>At one table in San Jose, \u003ci>Dear Hometown\u003c/i> — a zine in a manila envelope produced by the people behind the online publication \u003ca href=\"http://www.cheersfromthewasteland.com/\" target=\"_blank\" rel=\"noopener\">Cheers from the Wasteland\u003c/a> — took on the San Jose housing and rental market, the encroachment of Silicon Valley and the pressure to exist as DIY artists within an aggressively commercial society.\u003c/p>\n\u003cp>Inside, said editor Leslie Patron, were “21 unique love letters from different writers and artists in San Jose in response to people saying San Jose is a creative wasteland.”\u003c/p>\n\u003cp>Zinester Maryela Perez tabled the event with a zine in the form of an illustrated playlist, evoking the rush of crushing on someone, as well as the disappointment when it doesn’t work out. “It’s super inspirational to be around people who are, by any means necessary, creating things,” she said.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>ZineCon co-organizer Ivy Atoms, who has toured the West Coast attending and tabling similar events, wanted to bring that energy back to San Jose, in a supportive, inclusive way. “Illustrators, writers, poets,” she lists, “we just wanted to give people a place to share their voices.” \u003cem>— Text by Sarah Hotchkiss; Video by Kelly Whalen\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Anyone wondering if DIY publishing was still alive and well would look no further than February’s inaugural San Jose ZineCon, where visitors perused copies of locally made zines with names like \u003ci>Forget it Fatty: Confessions with Pictures\u003c/i>, \u003ci>Crocodile Girl\u003c/i>, \u003ci>Crush N Stuff\u003c/i> and \u003ci>Men are Disposable\u003c/i>, in all their self-published glory.\u003c/p>\n\u003cp>Zines are having something of a revival; at a time when writing on the internet can feel like a digital void, there’s nothing like a photocopied, stapled statement of purpose passed around among friends. Though the form has roots in early punk, zines today are radical, personal, political — and often, all of the above.\u003c/p>\n\u003cp>At one table in San Jose, \u003ci>Dear Hometown\u003c/i> — a zine in a manila envelope produced by the people behind the online publication \u003ca href=\"http://www.cheersfromthewasteland.com/\" target=\"_blank\" rel=\"noopener\">Cheers from the Wasteland\u003c/a> — took on the San Jose housing and rental market, the encroachment of Silicon Valley and the pressure to exist as DIY artists within an aggressively commercial society.\u003c/p>\n\u003cp>Inside, said editor Leslie Patron, were “21 unique love letters from different writers and artists in San Jose in response to people saying San Jose is a creative wasteland.”\u003c/p>\n\u003cp>Zinester Maryela Perez tabled the event with a zine in the form of an illustrated playlist, evoking the rush of crushing on someone, as well as the disappointment when it doesn’t work out. “It’s super inspirational to be around people who are, by any means necessary, creating things,” she said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>ZineCon co-organizer Ivy Atoms, who has toured the West Coast attending and tabling similar events, wanted to bring that energy back to San Jose, in a supportive, inclusive way. “Illustrators, writers, poets,” she lists, “we just wanted to give people a place to share their voices.” \u003cem>— Text by Sarah Hotchkiss; Video by Kelly Whalen\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Chicanx Artists Mobilize Community in Age of Trump",
"headTitle": "Chicanx Artists Mobilize Community in Age of Trump | KQED",
"content": "\u003cp>At any number of anti-authoritarian protests around the world, you’ll see people carrying posters printed off the Internet, designed by or distributed by Melanie Cervantes and her partner Jesus Barraza. Together, Cervantes and Barraza operate the arts collective \u003ca href=\"http://dignidadrebelde.com/\" target=\"_blank\" rel=\"noopener\">Dignidad Rebelde\u003c/a>. Their West Oakland studio is tightly packed with the materials of their trade — screen printing.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12667846\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg\" alt=\"100Days_300x300z\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>The collective licenses its work under a creative commons license to make the amplification of their work easy. “What we’re doing is amplifying the voices of people in our communities,” Cervantes says. “Part of what’s powerful about the reproducible work is that you have a message that’s consistently being mobilized.”\u003c/p>\n\u003cp>The California native says she’s following in a long line of graphic collectives whose work has existed as much to educate people and fight colonialism as it has to produce art.\u003c/p>\n\u003cp>Cervantes cites outfits like \u003ca href=\"https://www.facebook.com/selfhelpgraphics\" target=\"_blank\" rel=\"noopener\">Self Help Graphics\u003c/a>, active in Los Angeles since the early 1970s, and Taller de Gráfica Popular, a Mexico City group that fought fascism in the 1930s. Cervantes finds this group’s efforts particularly relevant today, given the current divisive political climate.\u003c/p>\n\u003cfigure id=\"attachment_13008905\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13008905\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/RS24866_Domestic-Workers-Poster-qut-800x600.jpg\" alt='\"Domestic Workers,\" a poster by Melanie Cervantes.' width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24866_Domestic-Workers-Poster-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24866_Domestic-Workers-Poster-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24866_Domestic-Workers-Poster-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24866_Domestic-Workers-Poster-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24866_Domestic-Workers-Poster-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24866_Domestic-Workers-Poster-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24866_Domestic-Workers-Poster-qut-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24866_Domestic-Workers-Poster-qut-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24866_Domestic-Workers-Poster-qut-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24866_Domestic-Workers-Poster-qut-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Domestic Workers,” a poster by Melanie Cervantes. \u003ccite>(Photo: Courtesy of Melanie Cervantes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In her view, the Trump Administration is not really a political outlier “You know, the Obama Administration built a very effective deportation machine,” she says. “We’ve been fighting colonialism for, what, 520 some odd years.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But if Cervantes doesn’t see herself as doing anything new, it’s also true that her talents as an art and history educator are heavily in demand right now. So much so, that you’d be hard-pressed to find her at her studio.\u003c/p>\n\u003cp>Cervantes’ calendar is packed with screen-printing workshops, which she teaches all over the country. She’s busy growing the Chicano art movement (or “Chicanx” as it’s commonly called these days in an effort to de-gender the masculine “Chicano”) with the mass distribution of her art and the know-how to produce art like it.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/316310247″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>Chicanx art covers a wide range of political issues. These include immigration and labor rights, the militarization of the police force, mass incarceration, and environmental injustice.\u003c/p>\n\u003cp>“This is a conversation that was happening when I was a child,” says Joey Reyes, who along with Cervantes co-curated the last \u003cem>Chicano/a Biennial\u003c/em> at San Jose’s \u003ca href=\"http://maclaarte.org/\" target=\"_blank\" rel=\"noopener\">Movimiento de Arte y Cultura Latino American\u003c/a>a (MACLA.) “This is a conversation that happens right now. The tension is real.”\u003c/p>\n\u003cp>The tension is also growing, as the Trump Administration makes good on promises to peel back civil rights enforcement and crackdown on illegal immigration.\u003c/p>\n\u003cfigure id=\"attachment_13008904\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13008904 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/RS24865_DSC_0314-001-qut-800x451.jpg\" alt=\"Detail of "Institutionally Trapped," by <a href="http://www.aarondestrada.com/" target="_blank">Aaron Estrada</a>. It was in a recent exhibition at San Jose's MACLA. Curator Joey Reye says "It’s something very personal, looking at the history of incarceration within Estrada's own family and friends that he’s grown up with in Los Angeles."\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24865_DSC_0314-001-qut-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24865_DSC_0314-001-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24865_DSC_0314-001-qut-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24865_DSC_0314-001-qut-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24865_DSC_0314-001-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24865_DSC_0314-001-qut-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24865_DSC_0314-001-qut-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24865_DSC_0314-001-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24865_DSC_0314-001-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24865_DSC_0314-001-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Detail of “Institutionally Trapped,” by \u003ca href=\"http://www.aarondestrada.com/\" target=\"_blank\" rel=\"noopener\">Aaron Estrada\u003c/a>. It was in a recent exhibition at San Jose’s MACLA. Curator Joey Reye says “It’s something very personal, looking at the history of incarceration within Estrada’s own family and friends that he’s grown up with in Los Angeles.” \u003ccite>(Photo: Courtesy of MACLA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“You know, it’s easy to say, ‘let’s kick out 11 million people,’ but that is 11 million fathers, mothers, and children,” says \u003ca href=\"http://www.ericalmanza.com/\" target=\"_blank\" rel=\"noopener\">Eric Almanza\u003c/a>, one of the artists featured in MACLA’s \u003cem>Chicana/o Biennial\u003c/em>. “My goal is to put a face to these people, so that you can no longer say, ‘hey, let’s treat them all the same and kick them out.”‘\u003c/p>\n\u003cp>Almanza says he and fellow Chicanx artists are hoping their work can cultivate a stronger sense of compassion for the people being evicted from the U.S.\u003c/p>\n\u003cfigure id=\"attachment_13009113\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13009113\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/RS24645_LR-In-Search-of-a-New-Home-qut-800x637.jpg\" alt='\"In Search of a New Home,\" by Long Beach artist Eric Almanza. \"I have pieces that preach to the choir,\" he says, \"but I ’m also working on the more narrative, subtle pieces that try to strike a chord with people’s emotions and their hearts.\" ' width=\"800\" height=\"637\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24645_LR-In-Search-of-a-New-Home-qut-800x637.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24645_LR-In-Search-of-a-New-Home-qut-160x127.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24645_LR-In-Search-of-a-New-Home-qut-768x612.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24645_LR-In-Search-of-a-New-Home-qut-1020x813.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24645_LR-In-Search-of-a-New-Home-qut-1180x940.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24645_LR-In-Search-of-a-New-Home-qut-960x765.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24645_LR-In-Search-of-a-New-Home-qut-240x191.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24645_LR-In-Search-of-a-New-Home-qut-375x299.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24645_LR-In-Search-of-a-New-Home-qut-520x414.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24645_LR-In-Search-of-a-New-Home-qut.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“In Search of a New Home,” by Long Beach artist Eric Almanza. “I have pieces that preach to the choir,” he says, “but I ’m also working on the more narrative, subtle pieces that try to strike a chord with people’s emotions and their hearts.” \u003ccite>(Photo: Courtesy of Eric Almanza)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Art of Resistance\u003c/strong>\u003c/p>\n\u003cp>For a number of years, Almanza has included a logo in his work that he imagines will prove handy in a post-apocalyptic world. It’s a circular dream catcher with a triangle in the center that looks like the “\u003ca href=\"https://en.wikipedia.org/wiki/Triforce\" target=\"_blank\" rel=\"noopener\">triforce” \u003c/a>from \u003cem>\u003ca href=\"http://www.zelda.com/\" target=\"_blank\" rel=\"noopener\">Legend of Zelda\u003c/a>\u003c/em>. “It’s for the resistance, because every great resistance needs some kind of logo,” he says.\u003c/p>\n\u003cp>At the time he first developed the logo, Almanza thought it was a piece of apocalyptic science fiction. Now, he says, some kind of political apocalypse seems imminent under the Trump Administration. “Wow, these guys are for real,” Almanza says. “They have their agenda, and they’re going through with it. I always imagined it would take place 50 years from now, but it almost seems like time has fast-forwarded, and we’re just about to enter this post apocalyptic society that I’ve been painting and writing about.”\u003c/p>\n\u003cfigure id=\"attachment_13009114\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13009114 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/RS24867_LR-Frida-001-qut-800x656.jpg\" alt='Detail of \"Frida,\" an oil painting by Eric Almanza. Note the symbol of resistance he includes in many of his more recent paintings.' width=\"800\" height=\"656\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24867_LR-Frida-001-qut-800x656.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24867_LR-Frida-001-qut-160x131.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24867_LR-Frida-001-qut-768x630.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24867_LR-Frida-001-qut-240x197.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24867_LR-Frida-001-qut-375x307.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24867_LR-Frida-001-qut-520x426.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24867_LR-Frida-001-qut.jpg 893w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Detail of “Frida,” an oil painting by Eric Almanza. Note the symbol of resistance he includes in many of his more recent paintings. \u003ccite>(Photo: Courtesy of Eric Almanza)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Almanza is organizing an exhibition titled \u003cem>Art of Resistance: Paintings\u003c/em> \u003cem>in Protest to a Trump Presidency\u003c/em>. Featuring 17 artists, including himself, the show is scheduled to open next month in Los Angeles. “I’ve started on a piece that takes a section of the border wall and it’s being set on fire,” Almanza says of his contribution. The logo of resistance is emblazoned on that wall.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" 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\">\u003cem>“Art of Resistance: Paintings in Protest to a Trump Presidency” opens Saturday, May 13th at Ave 50 Studios in Highland Park, Los Angeles. More information \u003ca href=\"http://avenue50studio.org/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Some artists in the movement are responding to the current political climate by creating new art; others, by ramping up production of socially conscious images.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>At any number of anti-authoritarian protests around the world, you’ll see people carrying posters printed off the Internet, designed by or distributed by Melanie Cervantes and her partner Jesus Barraza. Together, Cervantes and Barraza operate the arts collective \u003ca href=\"http://dignidadrebelde.com/\" target=\"_blank\" rel=\"noopener\">Dignidad Rebelde\u003c/a>. Their West Oakland studio is tightly packed with the materials of their trade — screen printing.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12667846\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg\" alt=\"100Days_300x300z\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>The collective licenses its work under a creative commons license to make the amplification of their work easy. “What we’re doing is amplifying the voices of people in our communities,” Cervantes says. “Part of what’s powerful about the reproducible work is that you have a message that’s consistently being mobilized.”\u003c/p>\n\u003cp>The California native says she’s following in a long line of graphic collectives whose work has existed as much to educate people and fight colonialism as it has to produce art.\u003c/p>\n\u003cp>Cervantes cites outfits like \u003ca href=\"https://www.facebook.com/selfhelpgraphics\" target=\"_blank\" rel=\"noopener\">Self Help Graphics\u003c/a>, active in Los Angeles since the early 1970s, and Taller de Gráfica Popular, a Mexico City group that fought fascism in the 1930s. Cervantes finds this group’s efforts particularly relevant today, given the current divisive political climate.\u003c/p>\n\u003cfigure id=\"attachment_13008905\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13008905\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/RS24866_Domestic-Workers-Poster-qut-800x600.jpg\" alt='\"Domestic Workers,\" a poster by Melanie Cervantes.' width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24866_Domestic-Workers-Poster-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24866_Domestic-Workers-Poster-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24866_Domestic-Workers-Poster-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24866_Domestic-Workers-Poster-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24866_Domestic-Workers-Poster-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24866_Domestic-Workers-Poster-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24866_Domestic-Workers-Poster-qut-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24866_Domestic-Workers-Poster-qut-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24866_Domestic-Workers-Poster-qut-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24866_Domestic-Workers-Poster-qut-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Domestic Workers,” a poster by Melanie Cervantes. \u003ccite>(Photo: Courtesy of Melanie Cervantes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In her view, the Trump Administration is not really a political outlier “You know, the Obama Administration built a very effective deportation machine,” she says. “We’ve been fighting colonialism for, what, 520 some odd years.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But if Cervantes doesn’t see herself as doing anything new, it’s also true that her talents as an art and history educator are heavily in demand right now. So much so, that you’d be hard-pressed to find her at her studio.\u003c/p>\n\u003cp>Cervantes’ calendar is packed with screen-printing workshops, which she teaches all over the country. She’s busy growing the Chicano art movement (or “Chicanx” as it’s commonly called these days in an effort to de-gender the masculine “Chicano”) with the mass distribution of her art and the know-how to produce art like it.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/316310247″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/316310247″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Chicanx art covers a wide range of political issues. These include immigration and labor rights, the militarization of the police force, mass incarceration, and environmental injustice.\u003c/p>\n\u003cp>“This is a conversation that was happening when I was a child,” says Joey Reyes, who along with Cervantes co-curated the last \u003cem>Chicano/a Biennial\u003c/em> at San Jose’s \u003ca href=\"http://maclaarte.org/\" target=\"_blank\" rel=\"noopener\">Movimiento de Arte y Cultura Latino American\u003c/a>a (MACLA.) “This is a conversation that happens right now. The tension is real.”\u003c/p>\n\u003cp>The tension is also growing, as the Trump Administration makes good on promises to peel back civil rights enforcement and crackdown on illegal immigration.\u003c/p>\n\u003cfigure id=\"attachment_13008904\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13008904 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/RS24865_DSC_0314-001-qut-800x451.jpg\" alt=\"Detail of "Institutionally Trapped," by <a href="http://www.aarondestrada.com/" target="_blank">Aaron Estrada</a>. It was in a recent exhibition at San Jose's MACLA. Curator Joey Reye says "It’s something very personal, looking at the history of incarceration within Estrada's own family and friends that he’s grown up with in Los Angeles."\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24865_DSC_0314-001-qut-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24865_DSC_0314-001-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24865_DSC_0314-001-qut-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24865_DSC_0314-001-qut-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24865_DSC_0314-001-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24865_DSC_0314-001-qut-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24865_DSC_0314-001-qut-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24865_DSC_0314-001-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24865_DSC_0314-001-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24865_DSC_0314-001-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Detail of “Institutionally Trapped,” by \u003ca href=\"http://www.aarondestrada.com/\" target=\"_blank\" rel=\"noopener\">Aaron Estrada\u003c/a>. It was in a recent exhibition at San Jose’s MACLA. Curator Joey Reye says “It’s something very personal, looking at the history of incarceration within Estrada’s own family and friends that he’s grown up with in Los Angeles.” \u003ccite>(Photo: Courtesy of MACLA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“You know, it’s easy to say, ‘let’s kick out 11 million people,’ but that is 11 million fathers, mothers, and children,” says \u003ca href=\"http://www.ericalmanza.com/\" target=\"_blank\" rel=\"noopener\">Eric Almanza\u003c/a>, one of the artists featured in MACLA’s \u003cem>Chicana/o Biennial\u003c/em>. “My goal is to put a face to these people, so that you can no longer say, ‘hey, let’s treat them all the same and kick them out.”‘\u003c/p>\n\u003cp>Almanza says he and fellow Chicanx artists are hoping their work can cultivate a stronger sense of compassion for the people being evicted from the U.S.\u003c/p>\n\u003cfigure id=\"attachment_13009113\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13009113\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/RS24645_LR-In-Search-of-a-New-Home-qut-800x637.jpg\" alt='\"In Search of a New Home,\" by Long Beach artist Eric Almanza. \"I have pieces that preach to the choir,\" he says, \"but I ’m also working on the more narrative, subtle pieces that try to strike a chord with people’s emotions and their hearts.\" ' width=\"800\" height=\"637\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24645_LR-In-Search-of-a-New-Home-qut-800x637.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24645_LR-In-Search-of-a-New-Home-qut-160x127.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24645_LR-In-Search-of-a-New-Home-qut-768x612.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24645_LR-In-Search-of-a-New-Home-qut-1020x813.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24645_LR-In-Search-of-a-New-Home-qut-1180x940.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24645_LR-In-Search-of-a-New-Home-qut-960x765.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24645_LR-In-Search-of-a-New-Home-qut-240x191.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24645_LR-In-Search-of-a-New-Home-qut-375x299.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24645_LR-In-Search-of-a-New-Home-qut-520x414.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24645_LR-In-Search-of-a-New-Home-qut.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“In Search of a New Home,” by Long Beach artist Eric Almanza. “I have pieces that preach to the choir,” he says, “but I ’m also working on the more narrative, subtle pieces that try to strike a chord with people’s emotions and their hearts.” \u003ccite>(Photo: Courtesy of Eric Almanza)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Art of Resistance\u003c/strong>\u003c/p>\n\u003cp>For a number of years, Almanza has included a logo in his work that he imagines will prove handy in a post-apocalyptic world. It’s a circular dream catcher with a triangle in the center that looks like the “\u003ca href=\"https://en.wikipedia.org/wiki/Triforce\" target=\"_blank\" rel=\"noopener\">triforce” \u003c/a>from \u003cem>\u003ca href=\"http://www.zelda.com/\" target=\"_blank\" rel=\"noopener\">Legend of Zelda\u003c/a>\u003c/em>. “It’s for the resistance, because every great resistance needs some kind of logo,” he says.\u003c/p>\n\u003cp>At the time he first developed the logo, Almanza thought it was a piece of apocalyptic science fiction. Now, he says, some kind of political apocalypse seems imminent under the Trump Administration. “Wow, these guys are for real,” Almanza says. “They have their agenda, and they’re going through with it. I always imagined it would take place 50 years from now, but it almost seems like time has fast-forwarded, and we’re just about to enter this post apocalyptic society that I’ve been painting and writing about.”\u003c/p>\n\u003cfigure id=\"attachment_13009114\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13009114 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/RS24867_LR-Frida-001-qut-800x656.jpg\" alt='Detail of \"Frida,\" an oil painting by Eric Almanza. Note the symbol of resistance he includes in many of his more recent paintings.' width=\"800\" height=\"656\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24867_LR-Frida-001-qut-800x656.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24867_LR-Frida-001-qut-160x131.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24867_LR-Frida-001-qut-768x630.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24867_LR-Frida-001-qut-240x197.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24867_LR-Frida-001-qut-375x307.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24867_LR-Frida-001-qut-520x426.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24867_LR-Frida-001-qut.jpg 893w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Detail of “Frida,” an oil painting by Eric Almanza. Note the symbol of resistance he includes in many of his more recent paintings. \u003ccite>(Photo: Courtesy of Eric Almanza)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Almanza is organizing an exhibition titled \u003cem>Art of Resistance: Paintings\u003c/em> \u003cem>in Protest to a Trump Presidency\u003c/em>. Featuring 17 artists, including himself, the show is scheduled to open next month in Los Angeles. “I’ve started on a piece that takes a section of the border wall and it’s being set on fire,” Almanza says of his contribution. The logo of resistance is emblazoned on that wall.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" 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\">\u003cem>“Art of Resistance: Paintings in Protest to a Trump Presidency” opens Saturday, May 13th at Ave 50 Studios in Highland Park, Los Angeles. More information \u003ca href=\"http://avenue50studio.org/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"masters-of-scale": {
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"mindshift": {
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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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"order": 12
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"morning-edition": {
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"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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},
"pbs-newshour": {
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},
"perspectives": {
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"order": 14
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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"link": "/radio/program/planet-money",
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"politicalbreakdown": {
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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"order": 5
},
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
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