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"content": "\u003cp>Jimmy Waters teaches high school math in Knoxville, Tennessee. Over the summer, he started reading Thomas Pynchon’s \u003ca href=\"https://en.wikipedia.org/wiki/The_Crying_of_Lot_49\" target=\"_blank\" rel=\"noopener\">\u003cem>The Crying of Lot 49\u003c/em>.\u003c/a>\u003c/p>\n\u003cp>As it happens, the novel was \u003ca href=\"https://ww2.kqed.org/news/2016/12/01/theres-a-secret-message-to-decode-in-san-jose/\" target=\"_blank\" rel=\"noopener\">also the source of the secret message\u003c/a> encoded in the very first ‘San Jose Semaphore,’ a media installation project on one of Adobe’s towers in downtown San Jose.\u003c/p>\n\u003cp>[audio src=\"https://dts.podtrac.com/redirect.mp3/http://www.kqed.org/.stream/anon/radio/bay-curious/2016/11/Semaphorespodcastmastered.mp3\" title=\"There’s a Secret Message to Decode in San Jose\" program=\"Bay Curious\" image=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/semaphorescolors.jpg\"]\u003c/p>\n\u003cp>When Waters googled the book title, he stumbled upon the San Jose Semaphore. And then he saw that a second code was put up on the building — a code that hadn’t been cracked in four years.\u003c/p>\n\u003cp>Most people would be too intimidated to attempt the puzzle. After all, it hasn’t been cracked in four years. Not Waters. “I figured that anyone who’d tried to crack it had given up a long time ago. And I felt like I probably didn’t have any competition, so it was all mine to solve at my own pace.”\u003c/p>\n\u003ch3>Each disc as a digit\u003c/h3>\n\u003cp>[youtube https://www.youtube.com/watch?v=pbkhD0SDyI8]So Waters spent some time on the website set up by Adobe to explain the semaphore — and how it was cracked the first time, within a month of installation, by Bob Mayo and Mark Snesrud, two scientists who were in town for a conference. They spotted the semaphore and became obsessed. They wrote an entire \u003ca href=\"http://www.adobe.com/aboutadobe/philanthropy/sjsemaphore/pdf/decoding.pdf\" target=\"_blank\" rel=\"noopener\">scientific paper\u003c/a> explaining how they broke the code.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Waters read their paper, “and I tried to recreate what they had done on my computer.” You know, as you do. “I started turning the data into numbers, using each disc as a digit, and I kind of played around with graphing that.”\u003c/p>\n\u003ch3>‘This kind of looks like audio’\u003c/h3>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12895526\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/RS24599_Adobe-Wave-Form-qut.jpg\" alt=\"RS24599_Adobe-Wave-Form-qut\" width=\"1100\" height=\"619\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24599_Adobe-Wave-Form-qut.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24599_Adobe-Wave-Form-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24599_Adobe-Wave-Form-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24599_Adobe-Wave-Form-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24599_Adobe-Wave-Form-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24599_Adobe-Wave-Form-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24599_Adobe-Wave-Form-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24599_Adobe-Wave-Form-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24599_Adobe-Wave-Form-qut-520x293.jpg 520w\" sizes=\"auto, (max-width: 1100px) 100vw, 1100px\">\u003c/p>\n\u003cp>Then it struck him. “When I graphed it, it kind of looked like those waves that you get for an audio file.” He was expecting text, like the first message, from \u003cem>The Crying of Lot 49\u003c/em>. But “the frequency was off at first, so they sounded like chipmunks,” says Waters.\u003c/p>\n\u003cp>“I couldn’t understand what they said, but I could tell that there were voices.” Waters had the audio running 5.5 times faster than normal. Once he slowed down the message, it all made sense…\u003c/p>\n\u003cp>Waters discovered that the semaphore, created by New York artist \u003ca href=\"https://vimeo.com/benrubin\" target=\"_blank\" rel=\"noopener\">Ben Rubin\u003c/a>, was a sizable stretch of audio from Neil Armstrong and pilot Buzz Aldrin’s moon landing in 1969. Namely, the quote that almost everyone has memorized: “That’s one small step for [a] man, one giant leap for mankind.”\u003c/p>\n\u003cp>“I thought it was neat that it was something that was so instantly recognizable,” says Waters.\u003c/p>\n\u003cp>“I love that Jimmy was able to make the leap to imagine that it might be audio,” says Rubin. “Because that was what was hard this time.”\u003c/p>\n\u003cfigure id=\"attachment_12895304\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12895304 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/RS24597_Adobe_Semaphore_Vertical-qut-800x1419.jpg\" alt=\"The San Jose Semaphore seen from street level.\" width=\"800\" height=\"1419\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24597_Adobe_Semaphore_Vertical-qut-800x1419.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24597_Adobe_Semaphore_Vertical-qut-160x284.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24597_Adobe_Semaphore_Vertical-qut-768x1362.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24597_Adobe_Semaphore_Vertical-qut-1020x1809.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24597_Adobe_Semaphore_Vertical-qut-1920x3406.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24597_Adobe_Semaphore_Vertical-qut-1180x2093.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24597_Adobe_Semaphore_Vertical-qut-960x1703.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24597_Adobe_Semaphore_Vertical-qut-240x426.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24597_Adobe_Semaphore_Vertical-qut-375x665.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24597_Adobe_Semaphore_Vertical-qut-520x922.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24597_Adobe_Semaphore_Vertical-qut.jpg 1154w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The San Jose Semaphore seen from street level. \u003ccite>(Photo: Courtesy of Alexa Rickard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For decoding the San Jose Semaphore, Waters got a free flight to San Jose and bragging rights. Also, Adobe is donating their Creative Cloud software to two computer labs at Waters’ high school, along with a 3D printer.\u003c/p>\n\u003cp>Does Waters think his students could crack this code? Sure enough: “I think it’s something you could explain, the process,” he says, confidently.\u003c/p>\n\u003ch3>What’s Next? San Jose Semaphore 3.0\u003c/h3>\n\u003cp>Rubin was a little dismayed when the first code was cracked in less than two months. But from the time he discovered it existed, it took Waters only about a month to crack the second. Is Rubin going to put up a third? “Absolutely. I don’t know what yet. Something that I hope will be a little bit harder.”\u003c/p>\n\u003cp>For inspiration, Rubin says he likes to imagine “what the \u003ca href=\"https://www.seti.org/\" target=\"_blank\" rel=\"noopener\">SETI \u003c/a>scientists are always hoping for; something that actually looks like communication.”\u003c/p>\n\u003cp>Perhaps it goes without saying you don’t have to be from the United States to submit a qualifying solution. You don’t even have to be from Planet Earth.\u003c/p>\n\u003cfigure id=\"attachment_12895303\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12895303\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/RS24596_97d62997f2c91fd9_soyld03710433r-qut-800x450.jpg\" alt=\"“Arrival,” the 2016 movie based on Ted Chiang’s “Story of Your Life,” features Amy Adams as an ace linguist trying to decode an alien language. Could Ben Rubin come up with a challenge compelling enough for aliens to decode?\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24596_97d62997f2c91fd9_soyld03710433r-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24596_97d62997f2c91fd9_soyld03710433r-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24596_97d62997f2c91fd9_soyld03710433r-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24596_97d62997f2c91fd9_soyld03710433r-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24596_97d62997f2c91fd9_soyld03710433r-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24596_97d62997f2c91fd9_soyld03710433r-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24596_97d62997f2c91fd9_soyld03710433r-qut-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24596_97d62997f2c91fd9_soyld03710433r-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24596_97d62997f2c91fd9_soyld03710433r-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24596_97d62997f2c91fd9_soyld03710433r-qut-520x293.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Arrival,” the 2016 movie based on Ted Chiang’s “Story of Your Life,” features Amy Adams as an ace linguist trying to decode an alien language. Could Ben Rubin come up with a challenge compelling enough for aliens to decode? \u003ccite>(Photo: Courtesy of Paramount Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\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=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Jimmy Waters teaches high school math in Knoxville, Tennessee. Over the summer, he started reading Thomas Pynchon’s \u003ca href=\"https://en.wikipedia.org/wiki/The_Crying_of_Lot_49\" target=\"_blank\" rel=\"noopener\">\u003cem>The Crying of Lot 49\u003c/em>.\u003c/a>\u003c/p>\n\u003cp>As it happens, the novel was \u003ca href=\"https://ww2.kqed.org/news/2016/12/01/theres-a-secret-message-to-decode-in-san-jose/\" target=\"_blank\" rel=\"noopener\">also the source of the secret message\u003c/a> encoded in the very first ‘San Jose Semaphore,’ a media installation project on one of Adobe’s towers in downtown San Jose.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When Waters googled the book title, he stumbled upon the San Jose Semaphore. And then he saw that a second code was put up on the building — a code that hadn’t been cracked in four years.\u003c/p>\n\u003cp>Most people would be too intimidated to attempt the puzzle. After all, it hasn’t been cracked in four years. Not Waters. “I figured that anyone who’d tried to crack it had given up a long time ago. And I felt like I probably didn’t have any competition, so it was all mine to solve at my own pace.”\u003c/p>\n\u003ch3>Each disc as a digit\u003c/h3>\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/pbkhD0SDyI8'\n title='//www.youtube.com/embed/pbkhD0SDyI8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>So Waters spent some time on the website set up by Adobe to explain the semaphore — and how it was cracked the first time, within a month of installation, by Bob Mayo and Mark Snesrud, two scientists who were in town for a conference. They spotted the semaphore and became obsessed. They wrote an entire \u003ca href=\"http://www.adobe.com/aboutadobe/philanthropy/sjsemaphore/pdf/decoding.pdf\" target=\"_blank\" rel=\"noopener\">scientific paper\u003c/a> explaining how they broke the code.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Waters read their paper, “and I tried to recreate what they had done on my computer.” You know, as you do. “I started turning the data into numbers, using each disc as a digit, and I kind of played around with graphing that.”\u003c/p>\n\u003ch3>‘This kind of looks like audio’\u003c/h3>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12895526\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/RS24599_Adobe-Wave-Form-qut.jpg\" alt=\"RS24599_Adobe-Wave-Form-qut\" width=\"1100\" height=\"619\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24599_Adobe-Wave-Form-qut.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24599_Adobe-Wave-Form-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24599_Adobe-Wave-Form-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24599_Adobe-Wave-Form-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24599_Adobe-Wave-Form-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24599_Adobe-Wave-Form-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24599_Adobe-Wave-Form-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24599_Adobe-Wave-Form-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24599_Adobe-Wave-Form-qut-520x293.jpg 520w\" sizes=\"auto, (max-width: 1100px) 100vw, 1100px\">\u003c/p>\n\u003cp>Then it struck him. “When I graphed it, it kind of looked like those waves that you get for an audio file.” He was expecting text, like the first message, from \u003cem>The Crying of Lot 49\u003c/em>. But “the frequency was off at first, so they sounded like chipmunks,” says Waters.\u003c/p>\n\u003cp>“I couldn’t understand what they said, but I could tell that there were voices.” Waters had the audio running 5.5 times faster than normal. Once he slowed down the message, it all made sense…\u003c/p>\n\u003cp>Waters discovered that the semaphore, created by New York artist \u003ca href=\"https://vimeo.com/benrubin\" target=\"_blank\" rel=\"noopener\">Ben Rubin\u003c/a>, was a sizable stretch of audio from Neil Armstrong and pilot Buzz Aldrin’s moon landing in 1969. Namely, the quote that almost everyone has memorized: “That’s one small step for [a] man, one giant leap for mankind.”\u003c/p>\n\u003cp>“I thought it was neat that it was something that was so instantly recognizable,” says Waters.\u003c/p>\n\u003cp>“I love that Jimmy was able to make the leap to imagine that it might be audio,” says Rubin. “Because that was what was hard this time.”\u003c/p>\n\u003cfigure id=\"attachment_12895304\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12895304 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/RS24597_Adobe_Semaphore_Vertical-qut-800x1419.jpg\" alt=\"The San Jose Semaphore seen from street level.\" width=\"800\" height=\"1419\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24597_Adobe_Semaphore_Vertical-qut-800x1419.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24597_Adobe_Semaphore_Vertical-qut-160x284.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24597_Adobe_Semaphore_Vertical-qut-768x1362.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24597_Adobe_Semaphore_Vertical-qut-1020x1809.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24597_Adobe_Semaphore_Vertical-qut-1920x3406.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24597_Adobe_Semaphore_Vertical-qut-1180x2093.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24597_Adobe_Semaphore_Vertical-qut-960x1703.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24597_Adobe_Semaphore_Vertical-qut-240x426.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24597_Adobe_Semaphore_Vertical-qut-375x665.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24597_Adobe_Semaphore_Vertical-qut-520x922.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24597_Adobe_Semaphore_Vertical-qut.jpg 1154w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The San Jose Semaphore seen from street level. \u003ccite>(Photo: Courtesy of Alexa Rickard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For decoding the San Jose Semaphore, Waters got a free flight to San Jose and bragging rights. Also, Adobe is donating their Creative Cloud software to two computer labs at Waters’ high school, along with a 3D printer.\u003c/p>\n\u003cp>Does Waters think his students could crack this code? Sure enough: “I think it’s something you could explain, the process,” he says, confidently.\u003c/p>\n\u003ch3>What’s Next? San Jose Semaphore 3.0\u003c/h3>\n\u003cp>Rubin was a little dismayed when the first code was cracked in less than two months. But from the time he discovered it existed, it took Waters only about a month to crack the second. Is Rubin going to put up a third? “Absolutely. I don’t know what yet. Something that I hope will be a little bit harder.”\u003c/p>\n\u003cp>For inspiration, Rubin says he likes to imagine “what the \u003ca href=\"https://www.seti.org/\" target=\"_blank\" rel=\"noopener\">SETI \u003c/a>scientists are always hoping for; something that actually looks like communication.”\u003c/p>\n\u003cp>Perhaps it goes without saying you don’t have to be from the United States to submit a qualifying solution. You don’t even have to be from Planet Earth.\u003c/p>\n\u003cfigure id=\"attachment_12895303\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12895303\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/RS24596_97d62997f2c91fd9_soyld03710433r-qut-800x450.jpg\" alt=\"“Arrival,” the 2016 movie based on Ted Chiang’s “Story of Your Life,” features Amy Adams as an ace linguist trying to decode an alien language. Could Ben Rubin come up with a challenge compelling enough for aliens to decode?\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24596_97d62997f2c91fd9_soyld03710433r-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24596_97d62997f2c91fd9_soyld03710433r-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24596_97d62997f2c91fd9_soyld03710433r-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24596_97d62997f2c91fd9_soyld03710433r-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24596_97d62997f2c91fd9_soyld03710433r-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24596_97d62997f2c91fd9_soyld03710433r-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24596_97d62997f2c91fd9_soyld03710433r-qut-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24596_97d62997f2c91fd9_soyld03710433r-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24596_97d62997f2c91fd9_soyld03710433r-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24596_97d62997f2c91fd9_soyld03710433r-qut-520x293.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Arrival,” the 2016 movie based on Ted Chiang’s “Story of Your Life,” features Amy Adams as an ace linguist trying to decode an alien language. Could Ben Rubin come up with a challenge compelling enough for aliens to decode? \u003ccite>(Photo: Courtesy of Paramount Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\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=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The\u003ca href=\"http://sjmusart.org/\" target=\"_blank\" rel=\"noopener noreferrer\"> San Jose Museum of Art\u003c/a> (SJMA) announced Monday that Susan Krane will step down as executive director on Jan. 31.\u003c/p>\n\u003cp>“The museum is entering into a new phase of its new strategic plan,” says SJMA marketing and communications director Sherrill Ingalls. “It was a mutual decision between Susan and the board. And it seemed like the right time.”\u003c/p>\n\u003cp>Krane joined the museum in 2008, as the country was spiraling into economic depression. “During a challenging time for arts institutions, her fiscal discipline helped keep the museum financially sound, while—even in lean times—enabling the museum to creatively expand its public programming, grow the permanent collection in both size and stature, and present ambitious exhibitions that reflect the diversity, intelligence, and excitement of the Silicon Valley community,” Hildy Shandell, president of SJMA’s board of trustees, is quoted as saying in the official announcement of Krane’s departure.\u003c/p>\n\u003cp>Under Krane’s leadership, SJMA co-organized nationally touring exhibitions including the first museum exhibition devoted to the work of \u003ca href=\"http://sjmusart.org/press-release/san-jose-museum-art-present-first-museum-survey-devoted-work-leo-villareal-beginning\" target=\"_blank\" rel=\"noopener noreferrer\">Leo Villareal \u003c/a>in 2010; \u003ca href=\"http://sjmusart.org/exhibition/border-cantos\" target=\"_blank\" rel=\"noopener noreferrer\"> Border Cantos: Richard Misrach | Guillermo Galindo \u003c/a>in 2016; and \u003ca href=\"http://sjmusart.org/exhibition/new-stories-edge-asia-tabaimo-her-room\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Tabaimo: Her Room, \u003c/em>\u003c/a>also in 2016.\u003c/p>\n\u003cp>“It’s been an incredible eight-plus years at the museum, from the growth and great diversification of our exhibition program to amazing new creative partnerships and truly innovative initiatives with the community,” Krane said in an email interview. “I am very eager for a change and look forward to the flexibility to pursue new endeavors in arts engagement, particularly projects that further civic participation, as well as to devote time to several research and writing projects.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Krane has curated several exhibitions herself while at the SJMA, including one \u003ca href=\"http://sjmusart.org/exhibition/your-mind-moment-art-and-practice-attention\" target=\"_blank\" rel=\"noopener noreferrer\">Your Mind, This Moment\u003c/a>, opening Feb. 17.\u003c/p>\n\u003cp>Susan Sayre Batton, deputy director of curatorial affairs, will serve as interim director while the board conducts a nationwide search for a new executive director. That said, a number of people at the museum and in the surrounding community suggest Batton might be a solid permanent choice.\u003c/p>\n\u003cp>“Susan has been a respected colleague and a strong advocate for the arts in San Jose,” says Cathy Kimball, who heads the San Jose Institute for Contemporary Arts and used to work at SJMA. “Sayre Batton has been a great addition to the Museum’s team. During the past year, we’ve become close colleagues and I feel confident that the museum is in good hands.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The\u003ca href=\"http://sjmusart.org/\" target=\"_blank\" rel=\"noopener noreferrer\"> San Jose Museum of Art\u003c/a> (SJMA) announced Monday that Susan Krane will step down as executive director on Jan. 31.\u003c/p>\n\u003cp>“The museum is entering into a new phase of its new strategic plan,” says SJMA marketing and communications director Sherrill Ingalls. “It was a mutual decision between Susan and the board. And it seemed like the right time.”\u003c/p>\n\u003cp>Krane joined the museum in 2008, as the country was spiraling into economic depression. “During a challenging time for arts institutions, her fiscal discipline helped keep the museum financially sound, while—even in lean times—enabling the museum to creatively expand its public programming, grow the permanent collection in both size and stature, and present ambitious exhibitions that reflect the diversity, intelligence, and excitement of the Silicon Valley community,” Hildy Shandell, president of SJMA’s board of trustees, is quoted as saying in the official announcement of Krane’s departure.\u003c/p>\n\u003cp>Under Krane’s leadership, SJMA co-organized nationally touring exhibitions including the first museum exhibition devoted to the work of \u003ca href=\"http://sjmusart.org/press-release/san-jose-museum-art-present-first-museum-survey-devoted-work-leo-villareal-beginning\" target=\"_blank\" rel=\"noopener noreferrer\">Leo Villareal \u003c/a>in 2010; \u003ca href=\"http://sjmusart.org/exhibition/border-cantos\" target=\"_blank\" rel=\"noopener noreferrer\"> Border Cantos: Richard Misrach | Guillermo Galindo \u003c/a>in 2016; and \u003ca href=\"http://sjmusart.org/exhibition/new-stories-edge-asia-tabaimo-her-room\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Tabaimo: Her Room, \u003c/em>\u003c/a>also in 2016.\u003c/p>\n\u003cp>“It’s been an incredible eight-plus years at the museum, from the growth and great diversification of our exhibition program to amazing new creative partnerships and truly innovative initiatives with the community,” Krane said in an email interview. “I am very eager for a change and look forward to the flexibility to pursue new endeavors in arts engagement, particularly projects that further civic participation, as well as to devote time to several research and writing projects.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Krane has curated several exhibitions herself while at the SJMA, including one \u003ca href=\"http://sjmusart.org/exhibition/your-mind-moment-art-and-practice-attention\" target=\"_blank\" rel=\"noopener noreferrer\">Your Mind, This Moment\u003c/a>, opening Feb. 17.\u003c/p>\n\u003cp>Susan Sayre Batton, deputy director of curatorial affairs, will serve as interim director while the board conducts a nationwide search for a new executive director. That said, a number of people at the museum and in the surrounding community suggest Batton might be a solid permanent choice.\u003c/p>\n\u003cp>“Susan has been a respected colleague and a strong advocate for the arts in San Jose,” says Cathy Kimball, who heads the San Jose Institute for Contemporary Arts and used to work at SJMA. “Sayre Batton has been a great addition to the Museum’s team. During the past year, we’ve become close colleagues and I feel confident that the museum is in good hands.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The last art show is up on the walls of \u003ca href=\"http://www.empiresevenstudios.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Empire Seven Studios\u003c/a> – at least, in the gallery Juan Carlos Araujo and Jennifer Ahn opened nearly 10 years ago. A luxury apartment developer bought the building near the corner of Empire and 7th in Japantown late last year, and in a story grown familiar to artists all over the Bay Area, the couple has to leave ahead of the bulldozers.\u003c/p>\n\u003cp>The new landlord has offered some give room. Empire Seven has until the end of February. After that? It’s anybody’s guess.\u003c/p>\n\u003cp>Araujo says he’s been exploring several prospects, “but so far, nothing has been signed in ink.” Ideally, he wants to stay in San Jose.\u003c/p>\n\u003cp>But the \u003ca href=\"https://www.gofundme.com/save-empire-seven\" target=\"_blank\" rel=\"noopener noreferrer\">GoFundMe campaign\u003c/a> Araujo and Ahn launched has raised about $27,000 — a fraction of what’s necessary to buy another property in this Silicon Valley town. So while the original goal was buying a property, they’d settle for a place to rent at this point in time.\u003c/p>\n\u003cp>http://www.youtube.com/watch?v=rLlXlMLMNZ0\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>A beloved local institution\u003c/strong>\u003c/p>\n\u003cp>“Empire Seven is a labor a love,” says Kristin Farr, a former KQED Arts writer who is now Deputy Editor for \u003ca href=\"http://www.juxtapoz.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Juxtapoz Magazine\u003c/a>. She’s also a visual artist. “They’ve been very good to my husband and me. We’ve shown our art there a lot.”\u003c/p>\n\u003cp>Farr echoes a chorus of people who say Empire Seven is more than a gallery. For many, it’s a champion of emerging talent, and a go-between that brings under-the-radar artists together with established institutions and property owners for all sorts of public works, like murals.\u003c/p>\n\u003cp>Empire Seven’s current location is not in a fancy part of Japantown. Train tracks are steps away. Trash blows up against the front door. The place was a dusty mess when Araujo and Ahn came in with a broom and an idea nearly 10 years ago.\u003c/p>\n\u003cp>“You can hear the train in the back,” Araujo says as we talk. “It’s one of the things that sold me on the place. It looked like a diamond in the rough. I took a chance.”\u003c/p>\n\u003cfigure id=\"attachment_12622585\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12622585\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/RS23585_Photo-Dec-22-10-14-38-AM-001-qut-800x450.jpg\" alt=\"A mural by Andrew Schoultz, right around the corner from Empire Seven Studios.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23585_Photo-Dec-22-10-14-38-AM-001-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23585_Photo-Dec-22-10-14-38-AM-001-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23585_Photo-Dec-22-10-14-38-AM-001-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23585_Photo-Dec-22-10-14-38-AM-001-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23585_Photo-Dec-22-10-14-38-AM-001-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23585_Photo-Dec-22-10-14-38-AM-001-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23585_Photo-Dec-22-10-14-38-AM-001-qut-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23585_Photo-Dec-22-10-14-38-AM-001-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23585_Photo-Dec-22-10-14-38-AM-001-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23585_Photo-Dec-22-10-14-38-AM-001-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A mural by Andrew Schoultz, right around the corner from Empire Seven Studios. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Are we really doing this?” Ahn recollected on a recent episode of the San Jose-based podcast \u003ca href=\"https://soundcloud.com/jorge-m-sanchez/82-roberto-tinoco-duran\" target=\"_blank\" rel=\"noopener noreferrer\">JMS\u003c/a>. “Are we really, seriously doing this? It was nothing like it is now, but it all fell into place.” The drywall, the track lighting, the clean, white paint: that wasn’t here before them.\u003c/p>\n\u003cp>\u003cstrong>But Empire Seven is for-profit\u003c/strong>\u003c/p>\n\u003cp>The gallery does receive funding from the San Jose Office of Cultural Affairs. But there’s only so much support San Jose can offer, even though the city has gone to great lengths to help nonprofit arts organizations like the \u003ca href=\"http://www.bagi.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Bay Area Glass Institute\u003c/a> and \u003ca href=\"http://maclaarte.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Movimiento de Arte y Cultura Latino Americana\u003c/a> rent or buy.\u003c/p>\n\u003cp>Kerry Adams Hapner, Deputy Director of Economic Development for San Jose’s Director of Cultural Affairs, suggested that the couple should think seriously about becoming a nonprofit. “Empire Seven is a mission-driven organization with a public benefit. Becoming a nonprofit requires complete reconsideration of a business model and it is not for everyone, but it may enable them access to more resources. ”\u003c/p>\n\u003cp>Others aren’t so sure. Anjee Helstrup-Alvarez, Executive Director of MACLA, says “I would NOT suggest that they become a nonprofit organization. People often think that the 501(c)3 tax code structure is the holy grail of ‘free money’ and access to unlimited grants, but that is not the case. To be a nonprofit, you have be willing to live within the legal structure that governs our industry.”\u003c/p>\n\u003cfigure id=\"attachment_12622586\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12622586\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/RS23583_Photo-Dec-22-10-07-55-AM-001-qut-800x450.jpg\" alt='The last show up on the walls, DY*NAS*TY, is representative of the political and artistic aesthetic of Empire Seven. All three artists -- Mesngr, SFaustina and Cristovoe -- came up in graffiti, but work as \"grown-ups\" now in graphic design, animation and retail clothing.' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23583_Photo-Dec-22-10-07-55-AM-001-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23583_Photo-Dec-22-10-07-55-AM-001-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23583_Photo-Dec-22-10-07-55-AM-001-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23583_Photo-Dec-22-10-07-55-AM-001-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23583_Photo-Dec-22-10-07-55-AM-001-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23583_Photo-Dec-22-10-07-55-AM-001-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23583_Photo-Dec-22-10-07-55-AM-001-qut-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23583_Photo-Dec-22-10-07-55-AM-001-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23583_Photo-Dec-22-10-07-55-AM-001-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23583_Photo-Dec-22-10-07-55-AM-001-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The last show up on the walls, DY*NAS*TY, is representative of the political and artistic aesthetic of Empire Seven. All three artists — Mesngr, SFaustina and Cristovoe — came up in graffiti, but work as “grown-ups” now in graphic design, animation and retail clothing. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That means a board of directors, by laws, etc, and all of that takes time to establish. It also takes even more time to apply for grants, and then to wait for that money to come through.\u003c/p>\n\u003cp>So what’s Empire Seven to do in the meantime? Araujo and Ahn are talking to the developer pushing them out about a gallery space in the new building. They might rent gallery space from other outfits to mount exhibitions. They might consult. They might pursue all those options simultaneously.\u003c/p>\n\u003cp>Whatever the case, Helstrup-Alvarez argues it’s a great idea for Empire Seven to “continue to build public awareness through their murals, public art projects, or pop-up exhibition spaces.”\u003c/p>\n\u003cp>Araujo is cagey about debt. He doesn’t want to take out loans or max out any credit cards. The GoFundMe campaign, he says, should at the least help Empire Seven survive the next few months.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>He appreciates all the cash and advice coming his way lately. “You know that you can survive, having all these people behind you.”\u003c/p>\n\u003cfigure id=\"attachment_12622587\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12622587\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/RS23586_Photo-Dec-22-10-12-50-AM-001-qut-800x451.jpg\" alt=\"A familiar sight in San Jose these days, warning of something new and upscale.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23586_Photo-Dec-22-10-12-50-AM-001-qut-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23586_Photo-Dec-22-10-12-50-AM-001-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23586_Photo-Dec-22-10-12-50-AM-001-qut-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23586_Photo-Dec-22-10-12-50-AM-001-qut-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23586_Photo-Dec-22-10-12-50-AM-001-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23586_Photo-Dec-22-10-12-50-AM-001-qut-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23586_Photo-Dec-22-10-12-50-AM-001-qut-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23586_Photo-Dec-22-10-12-50-AM-001-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23586_Photo-Dec-22-10-12-50-AM-001-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23586_Photo-Dec-22-10-12-50-AM-001-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A familiar sight in San Jose these days, warning of something new and upscale. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"excerpt": "Empire Seven Studios of San Jose has until March 1st to figure out where it's going to live next.",
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"headline": "Future Uncertain for San Jose's Priced Out Empire Seven Studios",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The last art show is up on the walls of \u003ca href=\"http://www.empiresevenstudios.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Empire Seven Studios\u003c/a> – at least, in the gallery Juan Carlos Araujo and Jennifer Ahn opened nearly 10 years ago. A luxury apartment developer bought the building near the corner of Empire and 7th in Japantown late last year, and in a story grown familiar to artists all over the Bay Area, the couple has to leave ahead of the bulldozers.\u003c/p>\n\u003cp>The new landlord has offered some give room. Empire Seven has until the end of February. After that? It’s anybody’s guess.\u003c/p>\n\u003cp>Araujo says he’s been exploring several prospects, “but so far, nothing has been signed in ink.” Ideally, he wants to stay in San Jose.\u003c/p>\n\u003cp>But the \u003ca href=\"https://www.gofundme.com/save-empire-seven\" target=\"_blank\" rel=\"noopener noreferrer\">GoFundMe campaign\u003c/a> Araujo and Ahn launched has raised about $27,000 — a fraction of what’s necessary to buy another property in this Silicon Valley town. So while the original goal was buying a property, they’d settle for a place to rent at this point in time.\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/rLlXlMLMNZ0'\n title='//www.youtube.com/embed/rLlXlMLMNZ0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>A beloved local institution\u003c/strong>\u003c/p>\n\u003cp>“Empire Seven is a labor a love,” says Kristin Farr, a former KQED Arts writer who is now Deputy Editor for \u003ca href=\"http://www.juxtapoz.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Juxtapoz Magazine\u003c/a>. She’s also a visual artist. “They’ve been very good to my husband and me. We’ve shown our art there a lot.”\u003c/p>\n\u003cp>Farr echoes a chorus of people who say Empire Seven is more than a gallery. For many, it’s a champion of emerging talent, and a go-between that brings under-the-radar artists together with established institutions and property owners for all sorts of public works, like murals.\u003c/p>\n\u003cp>Empire Seven’s current location is not in a fancy part of Japantown. Train tracks are steps away. Trash blows up against the front door. The place was a dusty mess when Araujo and Ahn came in with a broom and an idea nearly 10 years ago.\u003c/p>\n\u003cp>“You can hear the train in the back,” Araujo says as we talk. “It’s one of the things that sold me on the place. It looked like a diamond in the rough. I took a chance.”\u003c/p>\n\u003cfigure id=\"attachment_12622585\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12622585\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/RS23585_Photo-Dec-22-10-14-38-AM-001-qut-800x450.jpg\" alt=\"A mural by Andrew Schoultz, right around the corner from Empire Seven Studios.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23585_Photo-Dec-22-10-14-38-AM-001-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23585_Photo-Dec-22-10-14-38-AM-001-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23585_Photo-Dec-22-10-14-38-AM-001-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23585_Photo-Dec-22-10-14-38-AM-001-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23585_Photo-Dec-22-10-14-38-AM-001-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23585_Photo-Dec-22-10-14-38-AM-001-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23585_Photo-Dec-22-10-14-38-AM-001-qut-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23585_Photo-Dec-22-10-14-38-AM-001-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23585_Photo-Dec-22-10-14-38-AM-001-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23585_Photo-Dec-22-10-14-38-AM-001-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A mural by Andrew Schoultz, right around the corner from Empire Seven Studios. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Are we really doing this?” Ahn recollected on a recent episode of the San Jose-based podcast \u003ca href=\"https://soundcloud.com/jorge-m-sanchez/82-roberto-tinoco-duran\" target=\"_blank\" rel=\"noopener noreferrer\">JMS\u003c/a>. “Are we really, seriously doing this? It was nothing like it is now, but it all fell into place.” The drywall, the track lighting, the clean, white paint: that wasn’t here before them.\u003c/p>\n\u003cp>\u003cstrong>But Empire Seven is for-profit\u003c/strong>\u003c/p>\n\u003cp>The gallery does receive funding from the San Jose Office of Cultural Affairs. But there’s only so much support San Jose can offer, even though the city has gone to great lengths to help nonprofit arts organizations like the \u003ca href=\"http://www.bagi.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Bay Area Glass Institute\u003c/a> and \u003ca href=\"http://maclaarte.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Movimiento de Arte y Cultura Latino Americana\u003c/a> rent or buy.\u003c/p>\n\u003cp>Kerry Adams Hapner, Deputy Director of Economic Development for San Jose’s Director of Cultural Affairs, suggested that the couple should think seriously about becoming a nonprofit. “Empire Seven is a mission-driven organization with a public benefit. Becoming a nonprofit requires complete reconsideration of a business model and it is not for everyone, but it may enable them access to more resources. ”\u003c/p>\n\u003cp>Others aren’t so sure. Anjee Helstrup-Alvarez, Executive Director of MACLA, says “I would NOT suggest that they become a nonprofit organization. People often think that the 501(c)3 tax code structure is the holy grail of ‘free money’ and access to unlimited grants, but that is not the case. To be a nonprofit, you have be willing to live within the legal structure that governs our industry.”\u003c/p>\n\u003cfigure id=\"attachment_12622586\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12622586\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/RS23583_Photo-Dec-22-10-07-55-AM-001-qut-800x450.jpg\" alt='The last show up on the walls, DY*NAS*TY, is representative of the political and artistic aesthetic of Empire Seven. All three artists -- Mesngr, SFaustina and Cristovoe -- came up in graffiti, but work as \"grown-ups\" now in graphic design, animation and retail clothing.' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23583_Photo-Dec-22-10-07-55-AM-001-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23583_Photo-Dec-22-10-07-55-AM-001-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23583_Photo-Dec-22-10-07-55-AM-001-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23583_Photo-Dec-22-10-07-55-AM-001-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23583_Photo-Dec-22-10-07-55-AM-001-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23583_Photo-Dec-22-10-07-55-AM-001-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23583_Photo-Dec-22-10-07-55-AM-001-qut-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23583_Photo-Dec-22-10-07-55-AM-001-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23583_Photo-Dec-22-10-07-55-AM-001-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23583_Photo-Dec-22-10-07-55-AM-001-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The last show up on the walls, DY*NAS*TY, is representative of the political and artistic aesthetic of Empire Seven. All three artists — Mesngr, SFaustina and Cristovoe — came up in graffiti, but work as “grown-ups” now in graphic design, animation and retail clothing. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That means a board of directors, by laws, etc, and all of that takes time to establish. It also takes even more time to apply for grants, and then to wait for that money to come through.\u003c/p>\n\u003cp>So what’s Empire Seven to do in the meantime? Araujo and Ahn are talking to the developer pushing them out about a gallery space in the new building. They might rent gallery space from other outfits to mount exhibitions. They might consult. They might pursue all those options simultaneously.\u003c/p>\n\u003cp>Whatever the case, Helstrup-Alvarez argues it’s a great idea for Empire Seven to “continue to build public awareness through their murals, public art projects, or pop-up exhibition spaces.”\u003c/p>\n\u003cp>Araujo is cagey about debt. He doesn’t want to take out loans or max out any credit cards. The GoFundMe campaign, he says, should at the least help Empire Seven survive the next few months.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>He appreciates all the cash and advice coming his way lately. “You know that you can survive, having all these people behind you.”\u003c/p>\n\u003cfigure id=\"attachment_12622587\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12622587\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/RS23586_Photo-Dec-22-10-12-50-AM-001-qut-800x451.jpg\" alt=\"A familiar sight in San Jose these days, warning of something new and upscale.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23586_Photo-Dec-22-10-12-50-AM-001-qut-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23586_Photo-Dec-22-10-12-50-AM-001-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23586_Photo-Dec-22-10-12-50-AM-001-qut-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23586_Photo-Dec-22-10-12-50-AM-001-qut-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23586_Photo-Dec-22-10-12-50-AM-001-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23586_Photo-Dec-22-10-12-50-AM-001-qut-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23586_Photo-Dec-22-10-12-50-AM-001-qut-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23586_Photo-Dec-22-10-12-50-AM-001-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23586_Photo-Dec-22-10-12-50-AM-001-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23586_Photo-Dec-22-10-12-50-AM-001-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A familiar sight in San Jose these days, warning of something new and upscale. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"slug": "paper-stars-at-san-joses-institute-of-contemporary-art",
"title": "Paper is the Star at San Jose's Institute of Contemporary Art",
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"headTitle": "Paper is the Star at San Jose’s Institute of Contemporary Art | KQED",
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"content": "\u003cp>Starting June 5, San Jose’s \u003ca href=\"http://sjica.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Institute of Contemporary Art\u003c/a> showcases three different exhibitions exploring paper as art, in all its forms: bent, broken, cut, glued, sewn, painted, photographed, manufactured and quite often used as a construction material.\u003c/p>\n\u003cp>There are three exhibitions in three different gallery spaces at the institute, each with its own focus.\u003c/p>\n\u003cp>\u003ca href=\"http://www.maryellenbartley.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Mary Ellen Bartley\u003c/a> (see above) is the only artist to get an exhibition all to herself. A photographer, Bartley snaps books standing on their ends with their pages separated, essentially creating abstract and dreamy compositions. Bartley was inspired by a 2008 Met retrospective on \u003ca href=\"http://www.metmuseum.org/exhibitions/listings/2008/giorgio-morandi\" target=\"_blank\" rel=\"noopener noreferrer\">Giorgio Morandi\u003c/a>, the Italian painter and printmaker known for the tonal subtlety of his still lifes.\u003c/p>\n\u003cp>The 19 artists featured in \u003cem>Next New Paper\u003c/em> use paper as their medium. The 28 artists in \u003cem>This is Not a Book: Chapter Two\u003c/em> alter books to create something else entirely. All three exhibitions “complement each other so beautifully,” says Cathy Kimball, ICA’s Executive Director and Chief Curator. “They all speak to each other, but they’re very distinct.”\u003c/p>\n\u003cfigure id=\"attachment_11638675\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11638675\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/RS19640_NextNewPaper-Jann-Nunn-qut-800x532.jpg\" alt=\"New Punctuation (2013) by Jann Nunn. Hand-cut archival microprint paper, nylon, cast plastic, dimensions variable.\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19640_NextNewPaper-Jann-Nunn-qut-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19640_NextNewPaper-Jann-Nunn-qut-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19640_NextNewPaper-Jann-Nunn-qut-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19640_NextNewPaper-Jann-Nunn-qut-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19640_NextNewPaper-Jann-Nunn-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19640_NextNewPaper-Jann-Nunn-qut-960x639.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">New Punctuation (2013) by Jann Nunn. Hand-cut archival microprint paper, nylon, cast plastic, dimensions variable. \u003ccite>(Photo: Courtesy of Jann Nunn)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The art is drawn from all over the world, but one of the most charming sculptures in Next New Paper comes from \u003ca href=\"http://jann-nunn.com/home.html\" target=\"_blank\" rel=\"noopener noreferrer\">Jann Nunn\u003c/a> of Oakland. She teaches sculpture at Sonoma State University and a librarian there clued her in to a stash of archival microprint paper (similar to microfiche) otherwise headed for a landfill.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Nunn has painstakingly, individually cut the coated paper sheets to construct hanging mobiles. In between each sheet is a little spacer, lending a light-filled, buoyant quality to the forms. It gives a whole new meaning to the phrase “reduce, reuse, recycle.”\u003c/p>\n\u003cp>Guest curator \u003ca href=\"http://www.seagergray.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Donna Seager\u003c/a> was brought in to put together \u003cem>This is Not a Book: Chapter Two\u003c/em>. “A lot of these artists are interested in the anatomy of the book,” says ICA Curator Patricia Cariño. Especially for those who consider books sacred objects, the ways in which they are used and abused to create something new can be startling, even shocking, even though the end result is typically beautiful.\u003c/p>\n\u003cfigure id=\"attachment_11638680\" class=\"wp-caption aligncenter\" style=\"max-width: 611px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11638680\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/RS19641_Not-a-Book-Jaqueline-Rush-Lee-qut-611x600.jpg\" alt='Anthologia (2007), by Jacqueline Rush Lee. Reassembled, inkedand folded book, 9x9x6\".' width=\"611\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19641_Not-a-Book-Jaqueline-Rush-Lee-qut-611x600.jpg 611w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19641_Not-a-Book-Jaqueline-Rush-Lee-qut-400x393.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19641_Not-a-Book-Jaqueline-Rush-Lee-qut-768x754.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19641_Not-a-Book-Jaqueline-Rush-Lee-qut-1180x1158.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19641_Not-a-Book-Jaqueline-Rush-Lee-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19641_Not-a-Book-Jaqueline-Rush-Lee-qut-960x942.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19641_Not-a-Book-Jaqueline-Rush-Lee-qut-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19641_Not-a-Book-Jaqueline-Rush-Lee-qut-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19641_Not-a-Book-Jaqueline-Rush-Lee-qut-64x64.jpg 64w\" sizes=\"(max-width: 611px) 100vw, 611px\">\u003cfigcaption class=\"wp-caption-text\">Anthologia (2007), by Jacqueline Rush Lee. Reassembled, inked and folded book, 9x9x6″. \u003ccite>(Photo: Courtesy of Jim and Kelly Polisson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"http://www.jacquelinerushlee.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Jacqueline Rush Lee\u003c/a> is a Hawaii-based sculptor who uses books as raw material to create conceptual art forms. In this case, the book’s pages were repeatedly soaked with ink until they became something else entirely. She then helps the book adopt another form even further removed from its original shape.\u003c/p>\n\u003cp>[contextly_sidebar id=”Ykbwd6bcHOVcxEpqus5VeUm7yngbh9W3″]As Lee writes on her web site, she completely transforms the book “into an abstract, poetic object with an entirely new narrative.” In a similar vein, other artists in \u003cem>This is Not a Book\u003c/em> use books to form everything from pillows to textiles to three-dimensional landscapes. Some of the artists make use of the letters. Others don’t crack open the books, except in a structural fashion.\u003c/p>\n\u003cp>“In some of these works, the text is pertinent to the work,” Kimball says. With Lee’s work, “not so much.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>This is Not a Book: Chapter Two, Next New Paper and Mary Ellen Bartley: Looking Between the Covers\u003c/strong> all open June 5th at the San Jose Institute of Contemporary Art. For more information, head \u003ca href=\"http://www.sjica.org\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "San Jose's Institute of Contemporary Art showcases multiple takes on paper as art, starting June 5. ",
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"title": "Paper is the Star at San Jose's Institute of Contemporary Art | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Starting June 5, San Jose’s \u003ca href=\"http://sjica.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Institute of Contemporary Art\u003c/a> showcases three different exhibitions exploring paper as art, in all its forms: bent, broken, cut, glued, sewn, painted, photographed, manufactured and quite often used as a construction material.\u003c/p>\n\u003cp>There are three exhibitions in three different gallery spaces at the institute, each with its own focus.\u003c/p>\n\u003cp>\u003ca href=\"http://www.maryellenbartley.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Mary Ellen Bartley\u003c/a> (see above) is the only artist to get an exhibition all to herself. A photographer, Bartley snaps books standing on their ends with their pages separated, essentially creating abstract and dreamy compositions. Bartley was inspired by a 2008 Met retrospective on \u003ca href=\"http://www.metmuseum.org/exhibitions/listings/2008/giorgio-morandi\" target=\"_blank\" rel=\"noopener noreferrer\">Giorgio Morandi\u003c/a>, the Italian painter and printmaker known for the tonal subtlety of his still lifes.\u003c/p>\n\u003cp>The 19 artists featured in \u003cem>Next New Paper\u003c/em> use paper as their medium. The 28 artists in \u003cem>This is Not a Book: Chapter Two\u003c/em> alter books to create something else entirely. All three exhibitions “complement each other so beautifully,” says Cathy Kimball, ICA’s Executive Director and Chief Curator. “They all speak to each other, but they’re very distinct.”\u003c/p>\n\u003cfigure id=\"attachment_11638675\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11638675\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/RS19640_NextNewPaper-Jann-Nunn-qut-800x532.jpg\" alt=\"New Punctuation (2013) by Jann Nunn. Hand-cut archival microprint paper, nylon, cast plastic, dimensions variable.\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19640_NextNewPaper-Jann-Nunn-qut-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19640_NextNewPaper-Jann-Nunn-qut-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19640_NextNewPaper-Jann-Nunn-qut-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19640_NextNewPaper-Jann-Nunn-qut-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19640_NextNewPaper-Jann-Nunn-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19640_NextNewPaper-Jann-Nunn-qut-960x639.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">New Punctuation (2013) by Jann Nunn. Hand-cut archival microprint paper, nylon, cast plastic, dimensions variable. \u003ccite>(Photo: Courtesy of Jann Nunn)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The art is drawn from all over the world, but one of the most charming sculptures in Next New Paper comes from \u003ca href=\"http://jann-nunn.com/home.html\" target=\"_blank\" rel=\"noopener noreferrer\">Jann Nunn\u003c/a> of Oakland. She teaches sculpture at Sonoma State University and a librarian there clued her in to a stash of archival microprint paper (similar to microfiche) otherwise headed for a landfill.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Nunn has painstakingly, individually cut the coated paper sheets to construct hanging mobiles. In between each sheet is a little spacer, lending a light-filled, buoyant quality to the forms. It gives a whole new meaning to the phrase “reduce, reuse, recycle.”\u003c/p>\n\u003cp>Guest curator \u003ca href=\"http://www.seagergray.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Donna Seager\u003c/a> was brought in to put together \u003cem>This is Not a Book: Chapter Two\u003c/em>. “A lot of these artists are interested in the anatomy of the book,” says ICA Curator Patricia Cariño. Especially for those who consider books sacred objects, the ways in which they are used and abused to create something new can be startling, even shocking, even though the end result is typically beautiful.\u003c/p>\n\u003cfigure id=\"attachment_11638680\" class=\"wp-caption aligncenter\" style=\"max-width: 611px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11638680\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/RS19641_Not-a-Book-Jaqueline-Rush-Lee-qut-611x600.jpg\" alt='Anthologia (2007), by Jacqueline Rush Lee. Reassembled, inkedand folded book, 9x9x6\".' width=\"611\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19641_Not-a-Book-Jaqueline-Rush-Lee-qut-611x600.jpg 611w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19641_Not-a-Book-Jaqueline-Rush-Lee-qut-400x393.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19641_Not-a-Book-Jaqueline-Rush-Lee-qut-768x754.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19641_Not-a-Book-Jaqueline-Rush-Lee-qut-1180x1158.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19641_Not-a-Book-Jaqueline-Rush-Lee-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19641_Not-a-Book-Jaqueline-Rush-Lee-qut-960x942.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19641_Not-a-Book-Jaqueline-Rush-Lee-qut-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19641_Not-a-Book-Jaqueline-Rush-Lee-qut-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19641_Not-a-Book-Jaqueline-Rush-Lee-qut-64x64.jpg 64w\" sizes=\"(max-width: 611px) 100vw, 611px\">\u003cfigcaption class=\"wp-caption-text\">Anthologia (2007), by Jacqueline Rush Lee. Reassembled, inked and folded book, 9x9x6″. \u003ccite>(Photo: Courtesy of Jim and Kelly Polisson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"http://www.jacquelinerushlee.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Jacqueline Rush Lee\u003c/a> is a Hawaii-based sculptor who uses books as raw material to create conceptual art forms. In this case, the book’s pages were repeatedly soaked with ink until they became something else entirely. She then helps the book adopt another form even further removed from its original shape.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>As Lee writes on her web site, she completely transforms the book “into an abstract, poetic object with an entirely new narrative.” In a similar vein, other artists in \u003cem>This is Not a Book\u003c/em> use books to form everything from pillows to textiles to three-dimensional landscapes. Some of the artists make use of the letters. Others don’t crack open the books, except in a structural fashion.\u003c/p>\n\u003cp>“In some of these works, the text is pertinent to the work,” Kimball says. With Lee’s work, “not so much.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>This is Not a Book: Chapter Two, Next New Paper and Mary Ellen Bartley: Looking Between the Covers\u003c/strong> all open June 5th at the San Jose Institute of Contemporary Art. For more information, head \u003ca href=\"http://www.sjica.org\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Inked Women of California Flex Their Muscles in San Jose",
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"content": "\u003cp>Women with tattoos: it’s been a thing for a while, especially among Millennial women. But the history extends far back in California. A new exhibition at \u003ca href=\"http://www.historysanjose.org/\" target=\"_blank\" rel=\"noopener noreferrer\">History San Jose\u003c/a> explores a diverse and surprising relationship between women and ink in the Golden State.\u003c/p>\n\u003cp>[contextly_sidebar id=”RqxxtohyuaN0lTjAOGaVw1WdiwIAdbaj”]\u003c/p>\n\u003cp>Curator Amy Cohen, who has tats herself, enjoys upending expectations. “That’s what I hear from a lot of people,” Cohen says. “They had no idea that tattooed women have such a long history in California.”\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"http://historysanjose.org/wp/event/tattooed-tenacious-inked-women-in-californias-history-exhibit/\" target=\"_blank\" rel=\"noopener noreferrer\">Tattooed & Tenacious: Inked Women in California History\u003c/a>\u003c/em> features four chapters of that history, starting with Native American women, many of whom applied tattoos on each other as a rite of passage. “Women in a lot of tribes in California really held that tradition,” says Cohen. “They were the ones who had the knowledge.”\u003c/p>\n\u003cfigure id=\"attachment_11466582\" class=\"wp-caption aligncenter\" style=\"max-width: 666px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11466582\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/RS19033_Image5-qut-666x600.jpg\" alt='This 1920 chart (from the 2014 book “Tattoo Traditions of Native North America\") shows: A. Yurok; B-C. Costanoan; D. Sinkyone; E-F. Maidu; G. Yuki; H-L. Chukchansi and Yokut' width=\"666\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/RS19033_Image5-qut-666x600.jpg 666w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/RS19033_Image5-qut-400x360.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/RS19033_Image5-qut-768x692.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/RS19033_Image5-qut-1180x1063.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/RS19033_Image5-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/RS19033_Image5-qut-960x865.jpg 960w\" sizes=\"(max-width: 666px) 100vw, 666px\">\u003cfigcaption class=\"wp-caption-text\">This 1920 chart (from the 2014 book “Tattoo Traditions of Native North America”) shows: A. Yurok; B-C. Costanoan; D. Sinkyone; E-F. Maidu; G. Yuki; H-L. Chukchansi and Yokut \u003ccite>(Photo: Courtesy of Lars Krutak)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Tattoos and tightly-laced corsets\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Native women also got tattooed for aesthetic purposes, just as women do today. Tattoos took off in caucasian culture among upper class Victorian women, who wore them underneath their high collars and tightly-laced corsets. “Wealthy women took a cue from their European counterparts,” says Cohen. “They had portraits of lovers, nature imagery, family crests. Later, cars. And these were big tattoos, too. Just with the fashion of the day, you would never see it, unless they wanted you to.”\u003c/p>\n\u003cfigure id=\"attachment_11433946\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11433946 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/RS18854_Image6-qut-400x600.jpg\" alt='Amy Crocker, the Sacramento railroad heiress? Six or seven tattoos. \"Including a huge snake on her forearm with her third husband’s initials,\" says \"Tattooed & Tenacious\" curator Amy Cohen.' width=\"400\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/RS18854_Image6-qut-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/RS18854_Image6-qut-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/RS18854_Image6-qut-786x1180.jpg 786w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/RS18854_Image6-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/RS18854_Image6-qut-1180x1771.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/RS18854_Image6-qut-960x1441.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Amy Crocker, the Sacramento railroad heiress? Six or seven tattoos. “Including a huge snake on her forearm with her third husband’s initials,” says “Tattooed & Tenacious” curator Amy Cohen. \u003ccite>(Photo: Courtesy of History San Jose)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Circus freaks, or tattooed ladies, got covered neck to ankle. They mainly did it to draw crowds and make money. And they got to choose the art. One tattooed lady was Artoria Gibbons, a lifelong Episcopalian. “A lot of her tattoos have a religious bent,” Cohen says.\u003c/p>\n\u003cp>Another circus performer, Lady Viola, worked for Ringling Brothers and Barnum & Bailey with the branded slogan “The Most Beautiful Tattooed Lady in the World.” She was really patriotic. “She has six presidents tattooed on her chest” says Cohen. “She has the US Capitol building on her back.”\u003c/p>\n\u003cp>\u003cspan style=\"line-height: 1.5\">Cohen put together the exhibition for her master’s thesis. The \u003c/span>\u003ca style=\"line-height: 1.5\" href=\"http://www.haywardareahistory.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Hayward Area Historical Society\u003c/a>\u003cspan style=\"line-height: 1.5\">, where she interned, was first to host the show\u003c/span>\u003cem style=\"line-height: 1.5\">. \u003c/em>\u003cspan style=\"line-height: 1.5\">When History San Jose brought it in, curators added contemporary “flash art” from South Bay women tattooing today.\u003c/span>\u003c/p>\n\u003cp>\u003cstrong>California style\u003c/strong>\u003c/p>\n\u003cp>There’s a regional style to the art, according to Sam Rusk of \u003ca href=\"http://eltorobodyshop.com/\" target=\"_blank\" rel=\"noopener noreferrer\">El Toro Body Shop\u003c/a> in Morgan Hill. The tattoo artist says a lot of the art in California follows obvious themes like the shape of the state, the Golden Gate Bridge, grizzly bears, and poppies, as well as quail, the state bird. People on the west coast also tend to look across the Pacific for inspiration, so you see a lot of Japanese, Chinese and Polynesian designs. “Big sleeves of koi fish.” Rusk says. “Island and tribal stuff is pretty popular.”\u003c/p>\n\u003cp>Local gang culture pops up, too. “There’s heavy street influence,” says Jaz Fuller\u003cem>, \u003c/em>who works at \u003ca href=\"https://www.facebook.com/Unlimited-Ink-Tattoo-141038852701840/\" target=\"_blank\" rel=\"noopener noreferrer\">Unlimited Ink Tattoo\u003c/a> and \u003ca href=\"https://www.facebook.com/ironsparrowtattoo/\" target=\"_blank\" rel=\"noopener noreferrer\">The Iron Sparrow Parlor\u003c/a> in San Jose.\u003c/p>\n\u003cp>“I was out in Arizona for a while,” Fuller says. “You’d get a switch blade out in the Bay, and out in Arizona you’d get an old school western revolver.”\u003cbr>\n\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Rachael-TattooBEST.gif\" rel=\"attachment wp-att-11436804\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-11436804\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Rachael-TattooBEST.gif\" alt=\"Rachael-TattooBEST\" width=\"375\" height=\"500\">\u003c/a>\u003c/p>\n\u003cp>Sarah Grossman, another local artist featured in \u003cem>Tattooed & Tenacious\u003c/em>, and also in this \u003ca href=\"http://ww2.kqed.org/arts/2016/05/03/tattooed-and-tenacious-reveals-badass-legacy-of-female-tattoo-artists/\">groovy video\u003c/a> on KQED Arts, works at \u003ca href=\"https://www.instagram.com/polishedtattooing/\" target=\"_blank\" rel=\"noopener noreferrer\">Polished Tattooing\u003c/a> in San Jose.\u003c/p>\n\u003cp>\u003cstrong>A man’s world?\u003c/strong>\u003c/p>\n\u003cp>Grossman is the only woman working at her shop. That’s a common story. Not that the tattoo artist is uncomfortable about it. Grossman says tattoo art has always been a male dominated business, in terms of both the artists and the clients. But Grossman says that’s changing.\u003c/p>\n\u003cp>“It’s not that less men are getting tattooed,” Grossman explains as she works on customer, for whom she’s creating a fierce wolf with glaring yellow eyes and blood dripping from its fangs. “It’s that more women are finally getting tattooed because it’s such a decorative, popular thing. It’s kind of the new way to accessorize and to self-express.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>“Tattooed & Tenacious” continues through the end of the year. After that, it heads to Cal State Fullerton’s Department of Anthropology Teaching Museum in 2017, and \u003ca href=\"http://mtshastamuseum.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Mt. Shasta Sisson Museum\u003c/a> in 2018.\u003c/strong>\u003c/em>\u003c/p>\n\n",
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"excerpt": "History San Jose's 'Tattooed and Tenacious' exhibition shows how women have sported tattoos, delicate and wild, since before California was a thing. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Women with tattoos: it’s been a thing for a while, especially among Millennial women. But the history extends far back in California. A new exhibition at \u003ca href=\"http://www.historysanjose.org/\" target=\"_blank\" rel=\"noopener noreferrer\">History San Jose\u003c/a> explores a diverse and surprising relationship between women and ink in the Golden State.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Curator Amy Cohen, who has tats herself, enjoys upending expectations. “That’s what I hear from a lot of people,” Cohen says. “They had no idea that tattooed women have such a long history in California.”\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"http://historysanjose.org/wp/event/tattooed-tenacious-inked-women-in-californias-history-exhibit/\" target=\"_blank\" rel=\"noopener noreferrer\">Tattooed & Tenacious: Inked Women in California History\u003c/a>\u003c/em> features four chapters of that history, starting with Native American women, many of whom applied tattoos on each other as a rite of passage. “Women in a lot of tribes in California really held that tradition,” says Cohen. “They were the ones who had the knowledge.”\u003c/p>\n\u003cfigure id=\"attachment_11466582\" class=\"wp-caption aligncenter\" style=\"max-width: 666px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11466582\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/RS19033_Image5-qut-666x600.jpg\" alt='This 1920 chart (from the 2014 book “Tattoo Traditions of Native North America\") shows: A. Yurok; B-C. Costanoan; D. Sinkyone; E-F. Maidu; G. Yuki; H-L. Chukchansi and Yokut' width=\"666\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/RS19033_Image5-qut-666x600.jpg 666w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/RS19033_Image5-qut-400x360.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/RS19033_Image5-qut-768x692.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/RS19033_Image5-qut-1180x1063.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/RS19033_Image5-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/RS19033_Image5-qut-960x865.jpg 960w\" sizes=\"(max-width: 666px) 100vw, 666px\">\u003cfigcaption class=\"wp-caption-text\">This 1920 chart (from the 2014 book “Tattoo Traditions of Native North America”) shows: A. Yurok; B-C. Costanoan; D. Sinkyone; E-F. Maidu; G. Yuki; H-L. Chukchansi and Yokut \u003ccite>(Photo: Courtesy of Lars Krutak)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Tattoos and tightly-laced corsets\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Native women also got tattooed for aesthetic purposes, just as women do today. Tattoos took off in caucasian culture among upper class Victorian women, who wore them underneath their high collars and tightly-laced corsets. “Wealthy women took a cue from their European counterparts,” says Cohen. “They had portraits of lovers, nature imagery, family crests. Later, cars. And these were big tattoos, too. Just with the fashion of the day, you would never see it, unless they wanted you to.”\u003c/p>\n\u003cfigure id=\"attachment_11433946\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11433946 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/RS18854_Image6-qut-400x600.jpg\" alt='Amy Crocker, the Sacramento railroad heiress? Six or seven tattoos. \"Including a huge snake on her forearm with her third husband’s initials,\" says \"Tattooed & Tenacious\" curator Amy Cohen.' width=\"400\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/RS18854_Image6-qut-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/RS18854_Image6-qut-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/RS18854_Image6-qut-786x1180.jpg 786w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/RS18854_Image6-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/RS18854_Image6-qut-1180x1771.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/RS18854_Image6-qut-960x1441.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Amy Crocker, the Sacramento railroad heiress? Six or seven tattoos. “Including a huge snake on her forearm with her third husband’s initials,” says “Tattooed & Tenacious” curator Amy Cohen. \u003ccite>(Photo: Courtesy of History San Jose)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Circus freaks, or tattooed ladies, got covered neck to ankle. They mainly did it to draw crowds and make money. And they got to choose the art. One tattooed lady was Artoria Gibbons, a lifelong Episcopalian. “A lot of her tattoos have a religious bent,” Cohen says.\u003c/p>\n\u003cp>Another circus performer, Lady Viola, worked for Ringling Brothers and Barnum & Bailey with the branded slogan “The Most Beautiful Tattooed Lady in the World.” She was really patriotic. “She has six presidents tattooed on her chest” says Cohen. “She has the US Capitol building on her back.”\u003c/p>\n\u003cp>\u003cspan style=\"line-height: 1.5\">Cohen put together the exhibition for her master’s thesis. The \u003c/span>\u003ca style=\"line-height: 1.5\" href=\"http://www.haywardareahistory.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Hayward Area Historical Society\u003c/a>\u003cspan style=\"line-height: 1.5\">, where she interned, was first to host the show\u003c/span>\u003cem style=\"line-height: 1.5\">. \u003c/em>\u003cspan style=\"line-height: 1.5\">When History San Jose brought it in, curators added contemporary “flash art” from South Bay women tattooing today.\u003c/span>\u003c/p>\n\u003cp>\u003cstrong>California style\u003c/strong>\u003c/p>\n\u003cp>There’s a regional style to the art, according to Sam Rusk of \u003ca href=\"http://eltorobodyshop.com/\" target=\"_blank\" rel=\"noopener noreferrer\">El Toro Body Shop\u003c/a> in Morgan Hill. The tattoo artist says a lot of the art in California follows obvious themes like the shape of the state, the Golden Gate Bridge, grizzly bears, and poppies, as well as quail, the state bird. People on the west coast also tend to look across the Pacific for inspiration, so you see a lot of Japanese, Chinese and Polynesian designs. “Big sleeves of koi fish.” Rusk says. “Island and tribal stuff is pretty popular.”\u003c/p>\n\u003cp>Local gang culture pops up, too. “There’s heavy street influence,” says Jaz Fuller\u003cem>, \u003c/em>who works at \u003ca href=\"https://www.facebook.com/Unlimited-Ink-Tattoo-141038852701840/\" target=\"_blank\" rel=\"noopener noreferrer\">Unlimited Ink Tattoo\u003c/a> and \u003ca href=\"https://www.facebook.com/ironsparrowtattoo/\" target=\"_blank\" rel=\"noopener noreferrer\">The Iron Sparrow Parlor\u003c/a> in San Jose.\u003c/p>\n\u003cp>“I was out in Arizona for a while,” Fuller says. “You’d get a switch blade out in the Bay, and out in Arizona you’d get an old school western revolver.”\u003cbr>\n\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Rachael-TattooBEST.gif\" rel=\"attachment wp-att-11436804\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-11436804\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Rachael-TattooBEST.gif\" alt=\"Rachael-TattooBEST\" width=\"375\" height=\"500\">\u003c/a>\u003c/p>\n\u003cp>Sarah Grossman, another local artist featured in \u003cem>Tattooed & Tenacious\u003c/em>, and also in this \u003ca href=\"http://ww2.kqed.org/arts/2016/05/03/tattooed-and-tenacious-reveals-badass-legacy-of-female-tattoo-artists/\">groovy video\u003c/a> on KQED Arts, works at \u003ca href=\"https://www.instagram.com/polishedtattooing/\" target=\"_blank\" rel=\"noopener noreferrer\">Polished Tattooing\u003c/a> in San Jose.\u003c/p>\n\u003cp>\u003cstrong>A man’s world?\u003c/strong>\u003c/p>\n\u003cp>Grossman is the only woman working at her shop. That’s a common story. Not that the tattoo artist is uncomfortable about it. Grossman says tattoo art has always been a male dominated business, in terms of both the artists and the clients. But Grossman says that’s changing.\u003c/p>\n\u003cp>“It’s not that less men are getting tattooed,” Grossman explains as she works on customer, for whom she’s creating a fierce wolf with glaring yellow eyes and blood dripping from its fangs. “It’s that more women are finally getting tattooed because it’s such a decorative, popular thing. It’s kind of the new way to accessorize and to self-express.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>“Tattooed & Tenacious” continues through the end of the year. After that, it heads to Cal State Fullerton’s Department of Anthropology Teaching Museum in 2017, and \u003ca href=\"http://mtshastamuseum.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Mt. Shasta Sisson Museum\u003c/a> in 2018.\u003c/strong>\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"id": "fresh-air",
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"hidden-brain": {
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"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"hyphenacion": {
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"tagline": "Where conversation and cultura meet",
"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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"jerrybrown": {
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"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
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},
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"title": "Latino USA",
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"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
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},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"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.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
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"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
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"masters-of-scale": {
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"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"rss": "https://rss.art19.com/masters-of-scale"
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},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"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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"officialWebsiteLink": "/mindshift/",
"meta": {
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"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
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"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"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?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/onourwatch",
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"order": 11
},
"link": "/podcasts/onourwatch",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"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",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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},
"link": "/radio/program/on-the-media",
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"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
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},
"pbs-newshour": {
"id": "pbs-newshour",
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"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
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},
"link": "/radio/program/pbs-newshour",
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"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
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},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
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"officialWebsiteLink": "/perspectives/",
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"order": 14
},
"link": "/perspectives",
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"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"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.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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"meta": {
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},
"link": "/radio/program/planet-money",
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"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
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},
"politicalbreakdown": {
"id": "politicalbreakdown",
"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",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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