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"title": "'We Who Work' Pays Tribute to Those Laboring in Santa Cruz and Beyond",
"headTitle": "‘We Who Work’ Pays Tribute to Those Laboring in Santa Cruz and Beyond | KQED",
"content": "\u003cp>A lot of \u003ca href=\"http://www.hungliu.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Hung Liu\u003c/a>’s art starts with an old, black and white photograph from China. Most of the subjects in the photos are anonymous.\u003c/p>\n\u003cp>“You don’t know anything about this person,” says the Chinese-American artist from Oakland. The anonymity, she explains, gives her the freedom to take something specific and universalize it. “I will never know her name, but her image will be enshrined, in a way.”\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12667846\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg\" alt=\"100Days_300x300z\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>Take one photo of an old woman cooking on a big stove that became the inspiration for \u003cem>Luzao (Stove)\u003c/em>, pictured above. “Definitely, she’s not cooking for herself,” Liu says. “Reminds me a little of my grandma. She made shoes, but she cooked every day, day in, day out.”\u003c/p>\n\u003cp>The image of the woman is laid over an old map, to suggest she’s cooking for the world. Geese and fish fly by, and an old scholar waits in the corner for his dinner. Liu chuckles, looking at him. He’s every arrogant, effete intellectual humbled by the rumble in his belly. “Without women cooking, nothing can exist,” she says.\u003c/p>\n\u003cfigure id=\"attachment_12856704\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12856704\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/RS24487_5219499-qut-800x456.jpg\" alt=\"Mother, Daughter, and the River, 2016 by Hung Liu. A Chinese mother and daughter pull a boat upstream with ropes tied to their backs. Liu often drips linseed oil over her paintings, in this case, signifying rain, tears and sweat.\" width=\"800\" height=\"456\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24487_5219499-qut-800x456.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24487_5219499-qut-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24487_5219499-qut-768x437.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24487_5219499-qut-960x547.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24487_5219499-qut-240x137.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24487_5219499-qut-375x214.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24487_5219499-qut-520x296.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24487_5219499-qut.jpg 962w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Mother, Daughter, and the River’ (2016), by Hung Liu. A Chinese mother and daughter pull a boat upstream with ropes tied to their backs. Liu often drips linseed oil over her paintings, in this case, signifying rain, tears and sweat. \u003ccite>(Photo: Courtesy of Hung Liu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The paintings, prints and tapestries of \u003cem>We Who Work\u003c/em>, now showing at the \u003ca href=\"https://santacruzmah.org/2016/we-at-work-the-art-of-hung-liu-march-3rd-2017-june-6th-2017/\" target=\"_blank\" rel=\"noopener noreferrer\">Santa Cruz Museum of Art & History\u003c/a>, are both dreamy and provocative, surreal yet grounded in Liu’s respect for hard labor.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The idea is to make the invisible visible: “The people who actually work in the field, on the street, in the back of the kitchen,” Liu says. “They need to be returned to their dignity, to be honored,” adding with a wry smile, “maybe more important than rich and famous people.”\u003c/p>\n\u003cp>“All work is beautiful, in its own way,” says curator Nora Grant, adding that Liu “animates and enlarges” the struggle of the lives she depicts, “creating a new kind of truth.”\u003c/p>\n\u003cfigure id=\"attachment_12856909\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12856909 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/RS24484_Zhuangjia-Crop-003-qut-800x450.jpg\" alt=\"Detail of Zhuangjia (Crop), 2008, by Hung Liu. A peasant woman carries corn across a field. A majority of Liu's pieces in "We Who Work" depict women. "They suffer, but they also stand for their dignity."\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24484_Zhuangjia-Crop-003-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24484_Zhuangjia-Crop-003-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24484_Zhuangjia-Crop-003-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24484_Zhuangjia-Crop-003-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24484_Zhuangjia-Crop-003-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24484_Zhuangjia-Crop-003-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24484_Zhuangjia-Crop-003-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24484_Zhuangjia-Crop-003-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24484_Zhuangjia-Crop-003-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24484_Zhuangjia-Crop-003-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Detail of Zhuangjia (Crop), 2008, by Hung Liu. A peasant woman carries corn across a field. A majority of Liu’s pieces in “We Who Work” depict women. “They suffer, but they also stand for their dignity.” \u003ccite>(Photo: Courtesy of Hung Liu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If that’s the intended effect, it worked for those I talked to visiting the exhibition. Cynthia Begin of Santa Cruz describes Liu’s work as “Profound. I see pain and perseverance, and humanity’s ability to move out of that and create beauty. That’s what she’s [Liu’s] doing.”\u003c/p>\n\u003ch3>An immigrant “like so many immigrants.”\u003c/h3>\n\u003cp>Born in China in 1948, Liu grew up during Chairman Mao’s regime. During the Cultural Revolution, she worked in rice fields for four years. She immigrated to California in 1984 to study at UC San Diego.\u003c/p>\n\u003cp>Now a celebrated artist, her works have been collected by the San Francisco Museum of Modern Art, the Metropolitan Museum of Art and the Whitney Museum of American Art, among others.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/311005606″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>\u003cem>We Who Work\u003c/em> is not Liu’s first foray into political communication through art, but she feels a heightened sense of urgency in this political moment, when the Trump Administration is cracking down on a variety of immigrants.\u003c/p>\n\u003cp>“I’m an immigrant,” says Liu, who’s an American citizen now. “I’m part of the country, like so many immigrants from all over the world. We made [the U.S.] home.”\u003c/p>\n\u003cfigure id=\"attachment_12856908\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12856908\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/RS24486_DWC2-001-qut-800x450.jpg\" alt=\"Detail of a portrait of a housecleaning couple by Edward Ramirez (UCSC graduate in Fine Art and Sociology 2015).\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24486_DWC2-001-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24486_DWC2-001-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24486_DWC2-001-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24486_DWC2-001-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24486_DWC2-001-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24486_DWC2-001-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24486_DWC2-001-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24486_DWC2-001-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24486_DWC2-001-qut-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24486_DWC2-001-qut.jpg 1269w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Detail of a portrait of a housecleaning couple by Edward Ramirez (UCSC graduate in Fine Art and Sociology 2015). \u003ccite>(Photo: Courtesy of Edward Ramirez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Liu says she feels responsible as an American citizen to use her tools as an artist to influence the political discussion over the value of immigrant labor. “Labor issues overall is human issues, especially in this time.”\u003c/p>\n\u003ch3>Physical labor doesn’t just happen overseas.\u003c/h3>\n\u003cp>The museum has paired Liu’s work with photographs of working people from Santa Cruz County, along with a table full of their tools, and statistics explaining who they are and how they’re treated — and mistreated — by employers.\u003c/p>\n\u003cp>That’s all courtesy of \u003ca href=\"https://workingfordignity.ucsc.edu/\" target=\"_blank\" rel=\"noopener noreferrer\">Working for Dignity\u003c/a>, an advocacy group at UC Santa Cruz. Associate Sociology Professor Steve McKay directs the \u003ca href=\"https://labor.ucsc.edu/\" target=\"_blank\" rel=\"noopener noreferrer\">Center for Labor Studies\u003c/a> there.\u003c/p>\n\u003cp>“The numbers tell a certain story, but images of workers move people, humanizing this kind of invisible work,” McKay says. “People see that this is our community.”\u003c/p>\n\u003cfigure id=\"attachment_12856910\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12856910\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/RS24488_IMG_2916-001-qut-800x450.jpg\" alt=\"Window washer Augustin Garcia says "Behind these tools is sweat from my forehead. These tools help me pay the bills and my daughter's education."\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24488_IMG_2916-001-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24488_IMG_2916-001-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24488_IMG_2916-001-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24488_IMG_2916-001-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24488_IMG_2916-001-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24488_IMG_2916-001-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24488_IMG_2916-001-qut-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24488_IMG_2916-001-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24488_IMG_2916-001-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24488_IMG_2916-001-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Window washer Augustin Garcia says, “Behind these tools is sweat from my forehead. These tools help me pay the bills and my daughter’s education.” \u003ccite>(Photo Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The truth of that statement is not just limited to the artifacts on the walls and tables. Some of those visiting the exhibition can attest to life on the lower rungs of the economic ladder.\u003c/p>\n\u003cp>UC Santa Cruz sociology student Danielle Spahr has worked in restaurants where she’s been denied her legally mandated rest breaks, one of the hardships detailed on the walls in the museum. Staring at the statistic that 50 percent of working people surveyed have been denied their rest breaks, she nods her head. “Unfortunately, that’s how it is right now.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘We Who Work’ runs through Sunday, June 25. More info \u003ca href=\"https://santacruzmah.org/2016/we-at-work-the-art-of-hung-liu-march-3rd-2017-june-6th-2017/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A lot of \u003ca href=\"http://www.hungliu.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Hung Liu\u003c/a>’s art starts with an old, black and white photograph from China. Most of the subjects in the photos are anonymous.\u003c/p>\n\u003cp>“You don’t know anything about this person,” says the Chinese-American artist from Oakland. The anonymity, she explains, gives her the freedom to take something specific and universalize it. “I will never know her name, but her image will be enshrined, in a way.”\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12667846\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg\" alt=\"100Days_300x300z\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>Take one photo of an old woman cooking on a big stove that became the inspiration for \u003cem>Luzao (Stove)\u003c/em>, pictured above. “Definitely, she’s not cooking for herself,” Liu says. “Reminds me a little of my grandma. She made shoes, but she cooked every day, day in, day out.”\u003c/p>\n\u003cp>The image of the woman is laid over an old map, to suggest she’s cooking for the world. Geese and fish fly by, and an old scholar waits in the corner for his dinner. Liu chuckles, looking at him. He’s every arrogant, effete intellectual humbled by the rumble in his belly. “Without women cooking, nothing can exist,” she says.\u003c/p>\n\u003cfigure id=\"attachment_12856704\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12856704\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/RS24487_5219499-qut-800x456.jpg\" alt=\"Mother, Daughter, and the River, 2016 by Hung Liu. A Chinese mother and daughter pull a boat upstream with ropes tied to their backs. Liu often drips linseed oil over her paintings, in this case, signifying rain, tears and sweat.\" width=\"800\" height=\"456\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24487_5219499-qut-800x456.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24487_5219499-qut-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24487_5219499-qut-768x437.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24487_5219499-qut-960x547.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24487_5219499-qut-240x137.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24487_5219499-qut-375x214.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24487_5219499-qut-520x296.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24487_5219499-qut.jpg 962w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Mother, Daughter, and the River’ (2016), by Hung Liu. A Chinese mother and daughter pull a boat upstream with ropes tied to their backs. Liu often drips linseed oil over her paintings, in this case, signifying rain, tears and sweat. \u003ccite>(Photo: Courtesy of Hung Liu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The paintings, prints and tapestries of \u003cem>We Who Work\u003c/em>, now showing at the \u003ca href=\"https://santacruzmah.org/2016/we-at-work-the-art-of-hung-liu-march-3rd-2017-june-6th-2017/\" target=\"_blank\" rel=\"noopener noreferrer\">Santa Cruz Museum of Art & History\u003c/a>, are both dreamy and provocative, surreal yet grounded in Liu’s respect for hard labor.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The idea is to make the invisible visible: “The people who actually work in the field, on the street, in the back of the kitchen,” Liu says. “They need to be returned to their dignity, to be honored,” adding with a wry smile, “maybe more important than rich and famous people.”\u003c/p>\n\u003cp>“All work is beautiful, in its own way,” says curator Nora Grant, adding that Liu “animates and enlarges” the struggle of the lives she depicts, “creating a new kind of truth.”\u003c/p>\n\u003cfigure id=\"attachment_12856909\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12856909 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/RS24484_Zhuangjia-Crop-003-qut-800x450.jpg\" alt=\"Detail of Zhuangjia (Crop), 2008, by Hung Liu. A peasant woman carries corn across a field. A majority of Liu's pieces in "We Who Work" depict women. "They suffer, but they also stand for their dignity."\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24484_Zhuangjia-Crop-003-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24484_Zhuangjia-Crop-003-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24484_Zhuangjia-Crop-003-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24484_Zhuangjia-Crop-003-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24484_Zhuangjia-Crop-003-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24484_Zhuangjia-Crop-003-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24484_Zhuangjia-Crop-003-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24484_Zhuangjia-Crop-003-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24484_Zhuangjia-Crop-003-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24484_Zhuangjia-Crop-003-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Detail of Zhuangjia (Crop), 2008, by Hung Liu. A peasant woman carries corn across a field. A majority of Liu’s pieces in “We Who Work” depict women. “They suffer, but they also stand for their dignity.” \u003ccite>(Photo: Courtesy of Hung Liu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If that’s the intended effect, it worked for those I talked to visiting the exhibition. Cynthia Begin of Santa Cruz describes Liu’s work as “Profound. I see pain and perseverance, and humanity’s ability to move out of that and create beauty. That’s what she’s [Liu’s] doing.”\u003c/p>\n\u003ch3>An immigrant “like so many immigrants.”\u003c/h3>\n\u003cp>Born in China in 1948, Liu grew up during Chairman Mao’s regime. During the Cultural Revolution, she worked in rice fields for four years. She immigrated to California in 1984 to study at UC San Diego.\u003c/p>\n\u003cp>Now a celebrated artist, her works have been collected by the San Francisco Museum of Modern Art, the Metropolitan Museum of Art and the Whitney Museum of American Art, among others.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/311005606″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/311005606″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cem>We Who Work\u003c/em> is not Liu’s first foray into political communication through art, but she feels a heightened sense of urgency in this political moment, when the Trump Administration is cracking down on a variety of immigrants.\u003c/p>\n\u003cp>“I’m an immigrant,” says Liu, who’s an American citizen now. “I’m part of the country, like so many immigrants from all over the world. We made [the U.S.] home.”\u003c/p>\n\u003cfigure id=\"attachment_12856908\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12856908\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/RS24486_DWC2-001-qut-800x450.jpg\" alt=\"Detail of a portrait of a housecleaning couple by Edward Ramirez (UCSC graduate in Fine Art and Sociology 2015).\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24486_DWC2-001-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24486_DWC2-001-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24486_DWC2-001-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24486_DWC2-001-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24486_DWC2-001-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24486_DWC2-001-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24486_DWC2-001-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24486_DWC2-001-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24486_DWC2-001-qut-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24486_DWC2-001-qut.jpg 1269w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Detail of a portrait of a housecleaning couple by Edward Ramirez (UCSC graduate in Fine Art and Sociology 2015). \u003ccite>(Photo: Courtesy of Edward Ramirez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Liu says she feels responsible as an American citizen to use her tools as an artist to influence the political discussion over the value of immigrant labor. “Labor issues overall is human issues, especially in this time.”\u003c/p>\n\u003ch3>Physical labor doesn’t just happen overseas.\u003c/h3>\n\u003cp>The museum has paired Liu’s work with photographs of working people from Santa Cruz County, along with a table full of their tools, and statistics explaining who they are and how they’re treated — and mistreated — by employers.\u003c/p>\n\u003cp>That’s all courtesy of \u003ca href=\"https://workingfordignity.ucsc.edu/\" target=\"_blank\" rel=\"noopener noreferrer\">Working for Dignity\u003c/a>, an advocacy group at UC Santa Cruz. Associate Sociology Professor Steve McKay directs the \u003ca href=\"https://labor.ucsc.edu/\" target=\"_blank\" rel=\"noopener noreferrer\">Center for Labor Studies\u003c/a> there.\u003c/p>\n\u003cp>“The numbers tell a certain story, but images of workers move people, humanizing this kind of invisible work,” McKay says. “People see that this is our community.”\u003c/p>\n\u003cfigure id=\"attachment_12856910\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12856910\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/RS24488_IMG_2916-001-qut-800x450.jpg\" alt=\"Window washer Augustin Garcia says "Behind these tools is sweat from my forehead. These tools help me pay the bills and my daughter's education."\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24488_IMG_2916-001-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24488_IMG_2916-001-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24488_IMG_2916-001-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24488_IMG_2916-001-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24488_IMG_2916-001-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24488_IMG_2916-001-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24488_IMG_2916-001-qut-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24488_IMG_2916-001-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24488_IMG_2916-001-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24488_IMG_2916-001-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Window washer Augustin Garcia says, “Behind these tools is sweat from my forehead. These tools help me pay the bills and my daughter’s education.” \u003ccite>(Photo Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The truth of that statement is not just limited to the artifacts on the walls and tables. Some of those visiting the exhibition can attest to life on the lower rungs of the economic ladder.\u003c/p>\n\u003cp>UC Santa Cruz sociology student Danielle Spahr has worked in restaurants where she’s been denied her legally mandated rest breaks, one of the hardships detailed on the walls in the museum. Staring at the statistic that 50 percent of working people surveyed have been denied their rest breaks, she nods her head. “Unfortunately, that’s how it is right now.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘We Who Work’ runs through Sunday, June 25. More info \u003ca href=\"https://santacruzmah.org/2016/we-at-work-the-art-of-hung-liu-march-3rd-2017-june-6th-2017/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "the-unlikely-marriage-of-crochet-and-climate-change",
"title": "The Unlikely Marriage of Crochet and Climate Change",
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"headTitle": "The Unlikely Marriage of Crochet and Climate Change | KQED",
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"content": "\u003cp>All hail the Pussy Hat, the charming, knitted-or-crocheted pink cap,\u003ca href=\"https://ww2.kqed.org/news/2017/01/17/l-a-s-pussyhat-project-crafts-a-political-statement/\" target=\"_blank\" rel=\"noopener\"> designed\u003c/a> to raise awareness of women’s rights.\u003c/p>\n\u003cp>It’s hard to point to anything that has so captured the global imagination and sung the praises of needlecraft at the same time. An exception may be \u003ca href=\"http://ias.ucsc.edu/content/2017/crochet-coral-reef-co2ca-co2la-mary-porter-sesnon-art-gallery\" target=\"_blank\" rel=\"noopener\">\u003cem>Crochet Coral Reef: CO2CA-CO2LA Ocean\u003c/em>\u003c/a>, an exhibition by twin sisters which runs through May 6 at the University of California, Santa Cruz (UCSC).\u003c/p>\n\u003cp>Margaret Wertheim is a science writer. Her sister Christine Wertheim teaches at the \u003ca href=\"https://directory.calarts.edu/directory/christine-wertheim\" target=\"_blank\" rel=\"noopener\">California Institute for the Arts\u003c/a>. They both grew up in Queensland, Australia, home of the the Great Barrier Reef.\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=soxS8VtMi9E]\u003c/p>\n\u003cp>\u003cem>Crochet Coral Reef\u003c/em> is a massive collection of individual works of art: corals, anemones, sponges, and other colorful sea-life forms. The artists crocheted the pieces not just from yarn and thread, but also from a cornucopia of flotsam — plastic bags, ties, can flip-tops, videotape, ribbon, and tinsel.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The \u003cem>Crochet Coral Reef\u003c/em> project has been exhibited all around the world over the past 10 years, at places like the the \u003ca href=\"https://naturalhistory.si.edu/\" target=\"_blank\" rel=\"noopener\">Smithsonian National Museum of Natural History\u003c/a> in Washington, D.C., the \u003ca href=\"https://www.cooperhewitt.org/\" target=\"_blank\" rel=\"noopener\">Cooper-Hewitt National Design Museum\u003c/a> in New York, and the\u003ca href=\"https://www.southbankcentre.co.uk/venues/hayward-gallery\" target=\"_blank\" rel=\"noopener\"> Hayward Gallery\u003c/a> in London.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12667846\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg\" alt=\"100Days_300x300z\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>The materials the artists use to create the work may be soft in feel, but the reef sends out a strong activist message. “My sister and I started the project with the direct intention of bringing attention to the plight of coral reefs, which have been devastated by global warming,” Margaret Wertheim says. “You do get to have a conversation about what’s happening.”\u003c/p>\n\u003cp>Crochet may not seem like the most obvious medium to make a point about the devastating effects of climate change on reefs. But “\u003ca href=\"http://crochetcoralreef.org/contributors/daina_taimina.php\" target=\"_blank\" rel=\"noopener\">hyperbolic crochet\u003c/a>,” as discovered by Cornell University mathematician Daina Taimina, is a remarkably effective way to demonstrate mathematics as it appears in nature. Loopy “kelps,” fringed “anemones,” crenelated “sea slugs,” and curlicued “corals” all model algorithms.\u003c/p>\n\u003cfigure id=\"attachment_12812404\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12812404 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/RS24351_Crochet-Coral-Reef-UCSC-pano-shot-by-Steve-Kurtz-qut-800x450.jpg\" alt=\"The Crochet Coral Reef, by Margaret & Christine Wertheim and the Institute For Figuring, as installed at UC Santa Cruz, sponsored by the Institute of the Arts and Sciences in partnership with the Mary Porter Sesnon Art Gallery.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24351_Crochet-Coral-Reef-UCSC-pano-shot-by-Steve-Kurtz-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24351_Crochet-Coral-Reef-UCSC-pano-shot-by-Steve-Kurtz-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24351_Crochet-Coral-Reef-UCSC-pano-shot-by-Steve-Kurtz-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24351_Crochet-Coral-Reef-UCSC-pano-shot-by-Steve-Kurtz-qut-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24351_Crochet-Coral-Reef-UCSC-pano-shot-by-Steve-Kurtz-qut-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24351_Crochet-Coral-Reef-UCSC-pano-shot-by-Steve-Kurtz-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24351_Crochet-Coral-Reef-UCSC-pano-shot-by-Steve-Kurtz-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24351_Crochet-Coral-Reef-UCSC-pano-shot-by-Steve-Kurtz-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24351_Crochet-Coral-Reef-UCSC-pano-shot-by-Steve-Kurtz-qut-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24351_Crochet-Coral-Reef-UCSC-pano-shot-by-Steve-Kurtz-qut.jpg 1279w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Crochet Coral Reef, by Margaret & Christine Wertheim and the Institute For Figuring, as installed at UC Santa Cruz, sponsored by the Institute of the Arts and Sciences in partnership with the Mary Porter Sesnon Art Gallery. \u003ccite>(Photo: Courtesy of Steve Kurtz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>A Collective Project\u003c/h3>\n\u003cp>Part of the project’s continuing appeal is the community aspect. Wherever the \u003cem>Crochet Coral Reef\u003c/em> travels, exhibition organizers wrangle members of the local community to crochet an auxiliary reef of their own. This includes Santa Cruz, where the exhibition is a co-production of the \u003ca href=\"http://art.ucsc.edu/galleries/sesnon/current\" target=\"_blank\" rel=\"noopener\">Mary Porter Sesnon Art Gallery\u003c/a> and UCSC’s \u003ca href=\"http://ias.ucsc.edu/\" target=\"_blank\" rel=\"noopener\">Institute of the Arts and Sciences\u003c/a>.\u003c/p>\n\u003cp>The gallery hosts a selection of what’s been created before in each city. The Institute is coordinating crocheting circles on campus, in downtown Santa Cruz and at the \u003ca href=\"http://seymourcenter.ucsc.edu/\" target=\"_blank\" rel=\"noopener\">Seymour Marine Discovery Center\u003c/a>, where UC Santa Cruz’s “satellite reef” will be presented in May.\u003c/p>\n\u003cp>Almost 300 people have gotten involved so far, including the \u003ca href=\"https://santacruzknittingguild.wordpress.com/\" target=\"_blank\" rel=\"noopener\">Santa Cruz Knitting Guild\u003c/a>, \u003ca href=\"https://thefabrica.org/\" target=\"_blank\" rel=\"noopener\">The Fábrica\u003c/a>, and Rachel Nelson, curator and program manager of the Institute. \u003cspan style=\"color: #000000\">There are monthly workshops at the Seymour Marine Discovery Center, and weekly workshops on campus.\u003c/span>\u003cb> \u003c/b>“I quickly had to learn, so I could help teach people how to crochet,” Nelson says, adding that community members have mostly relieved her of her teaching duties. “This is the first project I’ve been on that has had this level of community engagement.”\u003c/p>\n\u003cfigure id=\"attachment_12809316\" class=\"wp-caption aligncenter\" style=\"max-width: 639px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12809316\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/RS24349_Crochet-Coral-Reef-UCSC-Detail-photo-by-Steve-Kurtz-qut.jpg\" alt=\"Detail of The Crochet Coral Reef, on view the Mary Porter Sesnon Art Gallery at UC Santa Cruz. The Crochet Coral Reef is a massive collection of individual works of art: corals, anemones, kelps, sponges, nudibranchs, flatworms and slugs, crocheted not just from yarn and thread, but from plastic bags, ties, can flip tops, videotape, ribbon, and tinsel. \" width=\"639\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24349_Crochet-Coral-Reef-UCSC-Detail-photo-by-Steve-Kurtz-qut.jpg 639w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24349_Crochet-Coral-Reef-UCSC-Detail-photo-by-Steve-Kurtz-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24349_Crochet-Coral-Reef-UCSC-Detail-photo-by-Steve-Kurtz-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24349_Crochet-Coral-Reef-UCSC-Detail-photo-by-Steve-Kurtz-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24349_Crochet-Coral-Reef-UCSC-Detail-photo-by-Steve-Kurtz-qut-520x293.jpg 520w\" sizes=\"(max-width: 639px) 100vw, 639px\">\u003cfigcaption class=\"wp-caption-text\">Detail of The Crochet Coral Reef, on view the Mary Porter Sesnon Art Gallery at UC Santa Cruz. The Crochet Coral Reef is a massive collection of individual works of art: corals, anemones, kelps, sponges — crocheted not just from yarn and thread, but from plastic bags, ties, videotape, ribbon, and tinsel. \u003ccite>(Photo: Courtesy of Steve Kurtz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Mimicking Mother Nature\u003c/h3>\n\u003cp>Besides fostering community and conversation, the “many hands” approach is meant to make a statement about Mother Nature. “It takes hundreds, sometimes thousands of people to build these community reefs,” Margaret Wertheim says. “That’s exactly how corals work. Each polyp alone has no power on its own. But collectively, they can build the great barrier reef. When we act together, we can really do extraordinary things.”\u003c/p>\n\u003cp>Margaret Wertheim says the Mary Porter Sesnon Gallery is much smaller than the other spaces the Wertheims have worked with in the past. This forced the sisters to get creative. “How can we make something fabulous for this particular space?” Marget Wertheim says.\u003c/p>\n\u003cp>One idea the Wertheim sisters came up with was to use the aerial space in the gallery. Suspended from the ceiling, “The Midden” is a fishing net filled with four years’ worth of domestic trash. “Every bottle, every piece of wrapping that we used in our daily lives,” Margaret Wertheim says. The work is meant to be a reflection of the \u003ca href=\"http://www.nationalgeographic.org/encyclopedia/great-pacific-garbage-patch/\" target=\"_blank\" rel=\"noopener\">Great Pacific Garbage Patch\u003c/a>, seen from a “fish’s eye view.” \u003cstrong> \u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_12809902\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12809902 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/RS24348_2_Crochet-Coral-Reef-UCSC-photo-by-Steve-Kurtz-qut-800x450.jpg\" alt=\"Visitors explore an “undersea grove” of miniature coral “Pod Worlds” featuring plastic bottle anemones by Nadia Severns and Vanessa Garcia. These sculptures are sitting on a bed of plastic “sand” from the Great Pacific Garbage Patch, gathered on Kamillo Beach Hawaii by Captain Charles Moore of the Algalita Foundation.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24348_2_Crochet-Coral-Reef-UCSC-photo-by-Steve-Kurtz-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24348_2_Crochet-Coral-Reef-UCSC-photo-by-Steve-Kurtz-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24348_2_Crochet-Coral-Reef-UCSC-photo-by-Steve-Kurtz-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24348_2_Crochet-Coral-Reef-UCSC-photo-by-Steve-Kurtz-qut-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24348_2_Crochet-Coral-Reef-UCSC-photo-by-Steve-Kurtz-qut-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24348_2_Crochet-Coral-Reef-UCSC-photo-by-Steve-Kurtz-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24348_2_Crochet-Coral-Reef-UCSC-photo-by-Steve-Kurtz-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24348_2_Crochet-Coral-Reef-UCSC-photo-by-Steve-Kurtz-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24348_2_Crochet-Coral-Reef-UCSC-photo-by-Steve-Kurtz-qut-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24348_2_Crochet-Coral-Reef-UCSC-photo-by-Steve-Kurtz-qut.jpg 1279w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Visitors explore an ‘undersea grove’ of miniature coral ‘Pod Worlds’ featuring plastic bottle anemones by Nadia Severns and Vanessa Garcia. These sculptures are sitting on a bed of plastic ‘sand’ from the Great Pacific Garbage Patch, gathered on Kamillo Beach Hawaii by Captain Charles Moore of the Algalita Foundation. \u003ccite>(Photo: Courtesy of Steve Kurtz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As global warming accelerates, “It’s now very, very clear that we are in deep trouble,” Margaret Wertheim says. “What’s needed is to keep on pushing, whether gently or aggressively, the notion that climate change is caused by humans. I think our project has done it, in a way that’s gentle and accessible to people.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>‘Crochet Coral Reef: CO2CA-CO2LA Ocean’ runs through Saturday, May 6, 2017 at the Mary Porter Sesnon Gallery on the UC Santa Cruz campus. More info \u003cstrong>\u003ca href=\"http://art.ucsc.edu/galleries/sesnon/current\" target=\"_blank\" rel=\"noopener\">here\u003c/a>\u003c/strong>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>To join one or more of the crocheting workshops, check out the schedule \u003cstrong>\u003ca href=\"http://ias.ucsc.edu/events/2017/uc-santa-cruz-satellite-reef-crocheting-workshops-winter-schedule\" target=\"_blank\" rel=\"noopener\">here\u003c/a>\u003c/strong>.\u003c/em>\u003c/p>\n\n",
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"title": "The Unlikely Marriage of Crochet and Climate Change | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>All hail the Pussy Hat, the charming, knitted-or-crocheted pink cap,\u003ca href=\"https://ww2.kqed.org/news/2017/01/17/l-a-s-pussyhat-project-crafts-a-political-statement/\" target=\"_blank\" rel=\"noopener\"> designed\u003c/a> to raise awareness of women’s rights.\u003c/p>\n\u003cp>It’s hard to point to anything that has so captured the global imagination and sung the praises of needlecraft at the same time. An exception may be \u003ca href=\"http://ias.ucsc.edu/content/2017/crochet-coral-reef-co2ca-co2la-mary-porter-sesnon-art-gallery\" target=\"_blank\" rel=\"noopener\">\u003cem>Crochet Coral Reef: CO2CA-CO2LA Ocean\u003c/em>\u003c/a>, an exhibition by twin sisters which runs through May 6 at the University of California, Santa Cruz (UCSC).\u003c/p>\n\u003cp>Margaret Wertheim is a science writer. Her sister Christine Wertheim teaches at the \u003ca href=\"https://directory.calarts.edu/directory/christine-wertheim\" target=\"_blank\" rel=\"noopener\">California Institute for the Arts\u003c/a>. They both grew up in Queensland, Australia, home of the the Great Barrier Reef.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/soxS8VtMi9E'\n title='//www.youtube.com/embed/soxS8VtMi9E'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cem>Crochet Coral Reef\u003c/em> is a massive collection of individual works of art: corals, anemones, sponges, and other colorful sea-life forms. The artists crocheted the pieces not just from yarn and thread, but also from a cornucopia of flotsam — plastic bags, ties, can flip-tops, videotape, ribbon, and tinsel.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The \u003cem>Crochet Coral Reef\u003c/em> project has been exhibited all around the world over the past 10 years, at places like the the \u003ca href=\"https://naturalhistory.si.edu/\" target=\"_blank\" rel=\"noopener\">Smithsonian National Museum of Natural History\u003c/a> in Washington, D.C., the \u003ca href=\"https://www.cooperhewitt.org/\" target=\"_blank\" rel=\"noopener\">Cooper-Hewitt National Design Museum\u003c/a> in New York, and the\u003ca href=\"https://www.southbankcentre.co.uk/venues/hayward-gallery\" target=\"_blank\" rel=\"noopener\"> Hayward Gallery\u003c/a> in London.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12667846\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg\" alt=\"100Days_300x300z\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>The materials the artists use to create the work may be soft in feel, but the reef sends out a strong activist message. “My sister and I started the project with the direct intention of bringing attention to the plight of coral reefs, which have been devastated by global warming,” Margaret Wertheim says. “You do get to have a conversation about what’s happening.”\u003c/p>\n\u003cp>Crochet may not seem like the most obvious medium to make a point about the devastating effects of climate change on reefs. But “\u003ca href=\"http://crochetcoralreef.org/contributors/daina_taimina.php\" target=\"_blank\" rel=\"noopener\">hyperbolic crochet\u003c/a>,” as discovered by Cornell University mathematician Daina Taimina, is a remarkably effective way to demonstrate mathematics as it appears in nature. Loopy “kelps,” fringed “anemones,” crenelated “sea slugs,” and curlicued “corals” all model algorithms.\u003c/p>\n\u003cfigure id=\"attachment_12812404\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12812404 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/RS24351_Crochet-Coral-Reef-UCSC-pano-shot-by-Steve-Kurtz-qut-800x450.jpg\" alt=\"The Crochet Coral Reef, by Margaret & Christine Wertheim and the Institute For Figuring, as installed at UC Santa Cruz, sponsored by the Institute of the Arts and Sciences in partnership with the Mary Porter Sesnon Art Gallery.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24351_Crochet-Coral-Reef-UCSC-pano-shot-by-Steve-Kurtz-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24351_Crochet-Coral-Reef-UCSC-pano-shot-by-Steve-Kurtz-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24351_Crochet-Coral-Reef-UCSC-pano-shot-by-Steve-Kurtz-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24351_Crochet-Coral-Reef-UCSC-pano-shot-by-Steve-Kurtz-qut-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24351_Crochet-Coral-Reef-UCSC-pano-shot-by-Steve-Kurtz-qut-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24351_Crochet-Coral-Reef-UCSC-pano-shot-by-Steve-Kurtz-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24351_Crochet-Coral-Reef-UCSC-pano-shot-by-Steve-Kurtz-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24351_Crochet-Coral-Reef-UCSC-pano-shot-by-Steve-Kurtz-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24351_Crochet-Coral-Reef-UCSC-pano-shot-by-Steve-Kurtz-qut-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24351_Crochet-Coral-Reef-UCSC-pano-shot-by-Steve-Kurtz-qut.jpg 1279w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Crochet Coral Reef, by Margaret & Christine Wertheim and the Institute For Figuring, as installed at UC Santa Cruz, sponsored by the Institute of the Arts and Sciences in partnership with the Mary Porter Sesnon Art Gallery. \u003ccite>(Photo: Courtesy of Steve Kurtz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>A Collective Project\u003c/h3>\n\u003cp>Part of the project’s continuing appeal is the community aspect. Wherever the \u003cem>Crochet Coral Reef\u003c/em> travels, exhibition organizers wrangle members of the local community to crochet an auxiliary reef of their own. This includes Santa Cruz, where the exhibition is a co-production of the \u003ca href=\"http://art.ucsc.edu/galleries/sesnon/current\" target=\"_blank\" rel=\"noopener\">Mary Porter Sesnon Art Gallery\u003c/a> and UCSC’s \u003ca href=\"http://ias.ucsc.edu/\" target=\"_blank\" rel=\"noopener\">Institute of the Arts and Sciences\u003c/a>.\u003c/p>\n\u003cp>The gallery hosts a selection of what’s been created before in each city. The Institute is coordinating crocheting circles on campus, in downtown Santa Cruz and at the \u003ca href=\"http://seymourcenter.ucsc.edu/\" target=\"_blank\" rel=\"noopener\">Seymour Marine Discovery Center\u003c/a>, where UC Santa Cruz’s “satellite reef” will be presented in May.\u003c/p>\n\u003cp>Almost 300 people have gotten involved so far, including the \u003ca href=\"https://santacruzknittingguild.wordpress.com/\" target=\"_blank\" rel=\"noopener\">Santa Cruz Knitting Guild\u003c/a>, \u003ca href=\"https://thefabrica.org/\" target=\"_blank\" rel=\"noopener\">The Fábrica\u003c/a>, and Rachel Nelson, curator and program manager of the Institute. \u003cspan style=\"color: #000000\">There are monthly workshops at the Seymour Marine Discovery Center, and weekly workshops on campus.\u003c/span>\u003cb> \u003c/b>“I quickly had to learn, so I could help teach people how to crochet,” Nelson says, adding that community members have mostly relieved her of her teaching duties. “This is the first project I’ve been on that has had this level of community engagement.”\u003c/p>\n\u003cfigure id=\"attachment_12809316\" class=\"wp-caption aligncenter\" style=\"max-width: 639px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12809316\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/RS24349_Crochet-Coral-Reef-UCSC-Detail-photo-by-Steve-Kurtz-qut.jpg\" alt=\"Detail of The Crochet Coral Reef, on view the Mary Porter Sesnon Art Gallery at UC Santa Cruz. The Crochet Coral Reef is a massive collection of individual works of art: corals, anemones, kelps, sponges, nudibranchs, flatworms and slugs, crocheted not just from yarn and thread, but from plastic bags, ties, can flip tops, videotape, ribbon, and tinsel. \" width=\"639\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24349_Crochet-Coral-Reef-UCSC-Detail-photo-by-Steve-Kurtz-qut.jpg 639w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24349_Crochet-Coral-Reef-UCSC-Detail-photo-by-Steve-Kurtz-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24349_Crochet-Coral-Reef-UCSC-Detail-photo-by-Steve-Kurtz-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24349_Crochet-Coral-Reef-UCSC-Detail-photo-by-Steve-Kurtz-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24349_Crochet-Coral-Reef-UCSC-Detail-photo-by-Steve-Kurtz-qut-520x293.jpg 520w\" sizes=\"(max-width: 639px) 100vw, 639px\">\u003cfigcaption class=\"wp-caption-text\">Detail of The Crochet Coral Reef, on view the Mary Porter Sesnon Art Gallery at UC Santa Cruz. The Crochet Coral Reef is a massive collection of individual works of art: corals, anemones, kelps, sponges — crocheted not just from yarn and thread, but from plastic bags, ties, videotape, ribbon, and tinsel. \u003ccite>(Photo: Courtesy of Steve Kurtz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Mimicking Mother Nature\u003c/h3>\n\u003cp>Besides fostering community and conversation, the “many hands” approach is meant to make a statement about Mother Nature. “It takes hundreds, sometimes thousands of people to build these community reefs,” Margaret Wertheim says. “That’s exactly how corals work. Each polyp alone has no power on its own. But collectively, they can build the great barrier reef. When we act together, we can really do extraordinary things.”\u003c/p>\n\u003cp>Margaret Wertheim says the Mary Porter Sesnon Gallery is much smaller than the other spaces the Wertheims have worked with in the past. This forced the sisters to get creative. “How can we make something fabulous for this particular space?” Marget Wertheim says.\u003c/p>\n\u003cp>One idea the Wertheim sisters came up with was to use the aerial space in the gallery. Suspended from the ceiling, “The Midden” is a fishing net filled with four years’ worth of domestic trash. “Every bottle, every piece of wrapping that we used in our daily lives,” Margaret Wertheim says. The work is meant to be a reflection of the \u003ca href=\"http://www.nationalgeographic.org/encyclopedia/great-pacific-garbage-patch/\" target=\"_blank\" rel=\"noopener\">Great Pacific Garbage Patch\u003c/a>, seen from a “fish’s eye view.” \u003cstrong> \u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_12809902\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12809902 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/RS24348_2_Crochet-Coral-Reef-UCSC-photo-by-Steve-Kurtz-qut-800x450.jpg\" alt=\"Visitors explore an “undersea grove” of miniature coral “Pod Worlds” featuring plastic bottle anemones by Nadia Severns and Vanessa Garcia. These sculptures are sitting on a bed of plastic “sand” from the Great Pacific Garbage Patch, gathered on Kamillo Beach Hawaii by Captain Charles Moore of the Algalita Foundation.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24348_2_Crochet-Coral-Reef-UCSC-photo-by-Steve-Kurtz-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24348_2_Crochet-Coral-Reef-UCSC-photo-by-Steve-Kurtz-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24348_2_Crochet-Coral-Reef-UCSC-photo-by-Steve-Kurtz-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24348_2_Crochet-Coral-Reef-UCSC-photo-by-Steve-Kurtz-qut-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24348_2_Crochet-Coral-Reef-UCSC-photo-by-Steve-Kurtz-qut-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24348_2_Crochet-Coral-Reef-UCSC-photo-by-Steve-Kurtz-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24348_2_Crochet-Coral-Reef-UCSC-photo-by-Steve-Kurtz-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24348_2_Crochet-Coral-Reef-UCSC-photo-by-Steve-Kurtz-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24348_2_Crochet-Coral-Reef-UCSC-photo-by-Steve-Kurtz-qut-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24348_2_Crochet-Coral-Reef-UCSC-photo-by-Steve-Kurtz-qut.jpg 1279w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Visitors explore an ‘undersea grove’ of miniature coral ‘Pod Worlds’ featuring plastic bottle anemones by Nadia Severns and Vanessa Garcia. These sculptures are sitting on a bed of plastic ‘sand’ from the Great Pacific Garbage Patch, gathered on Kamillo Beach Hawaii by Captain Charles Moore of the Algalita Foundation. \u003ccite>(Photo: Courtesy of Steve Kurtz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As global warming accelerates, “It’s now very, very clear that we are in deep trouble,” Margaret Wertheim says. “What’s needed is to keep on pushing, whether gently or aggressively, the notion that climate change is caused by humans. I think our project has done it, in a way that’s gentle and accessible to people.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>‘Crochet Coral Reef: CO2CA-CO2LA Ocean’ runs through Saturday, May 6, 2017 at the Mary Porter Sesnon Gallery on the UC Santa Cruz campus. More info \u003cstrong>\u003ca href=\"http://art.ucsc.edu/galleries/sesnon/current\" target=\"_blank\" rel=\"noopener\">here\u003c/a>\u003c/strong>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>To join one or more of the crocheting workshops, check out the schedule \u003cstrong>\u003ca href=\"http://ias.ucsc.edu/events/2017/uc-santa-cruz-satellite-reef-crocheting-workshops-winter-schedule\" target=\"_blank\" rel=\"noopener\">here\u003c/a>\u003c/strong>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Over 40 Years of Fine Printmaking at UC Santa Cruz Celebrated in Exhibit",
"headTitle": "Over 40 Years of Fine Printmaking at UC Santa Cruz Celebrated in Exhibit | KQED",
"content": "\u003cp>Back in the early 1970s, a couple of UC Santa Cruz students wanted to take a class in letterpress book printing. There being no such class, SB Masters and Tom Whitridge lined up a potential teacher, respected San Francisco typographer Jack Stauffacher, and then a grant to cover his pay. Soon after that, poet and printer William Everson began teaching at UCSC, too. Over time, the program grew to offer UCSC students all sorts of classes, in typography, design, printmaking and book making.\u003c/p>\n\u003cp>A new exhibit at the \u003ca href=\"http://cowell.ucsc.edu/smith-gallery/\" target=\"_blank\" rel=\"noopener noreferrer\">Eloise Pickard Smith Gallery\u003c/a> that opens this weekend called \u003ca href=\"https://events.ucsc.edu/event/3443\" target=\"_blank\" rel=\"noopener noreferrer\">Pressing On: Selected Works from the Cowell Press\u003c/a> explores the legacy of the UCSC program. On Saturday, there will be a panel discussion at the Page Smith Library that features the current head of the program, \u003ca href=\"http://www.gary-young.net/\" target=\"_blank\" rel=\"noopener noreferrer\">Gary Young\u003c/a>, and a couple of star alums, including \u003ca href=\"http://movingpartspress.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Felicia Rice\u003c/a> and \u003ca href=\"http://www.tomkillion.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Tom Killion\u003c/a>.\u003c/p>\n\u003cp>“That was a wonderful moment in time at UC Santa Cruz,” says Killion, whose work has been exhibited in California, New York and Europe. “There were all these wonderful professors who had come to participate in a world-class experiment.”\u003c/p>\n\u003cp>Killion hails from Marin County and currently lives near Point Reyes. But for many decades, he lived in Santa Cruz County, starting with a stint at UC Santa Cruz in the early 1970s. That’s where his career started — “inadvertently,” he says.\u003c/p>\n\u003cfigure id=\"attachment_11268205\" class=\"wp-caption aligncenter\" style=\"max-width: 701px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11268205 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Pogonip-701x600.jpeg\" alt=\"“Santa Cruz from the Pogonip,” more or less the view from Cowell College, UCSC, a multi-block woodcut print from 2002 by Tom Killion.\" width=\"701\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Pogonip-701x600.jpeg 701w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Pogonip-400x342.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Pogonip.jpeg 720w\" sizes=\"(max-width: 701px) 100vw, 701px\">\u003cfigcaption class=\"wp-caption-text\">“Santa Cruz from the Pogonip,” more or less the view from Cowell College, UCSC, a multi-block woodcut print from 2002 by Tom Killion. \u003ccite>(Courtesy: Tom Killion)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He was a history major making a book of linoleum prints of Mt. Tamalpais in his spare time when a friend told him about a class taught by Stauffacher. “He had a Zen way of teaching. He didn’t show us how to print. So the students showed each other the technical aspects. He’d be talking about the great European type designers of the 20th century – which was way over our heads – but it got us inspired,” Killion says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Killion was hooked. He went on to spend the summer after he graduated making his book, \u003cem>28 views of Mount Tamalpais\u003c/em>, inspired by Hokusai’s \u003ca href=\"http://www.hokusaionline.co.uk/code/36_views_mount_fuji.html\" target=\"_blank\" rel=\"noopener noreferrer\">36 Views of Mount Fuji\u003c/a>. Thus began Killion’s long career celebrating the coastal landscape of California in a style adapted from the traditional Japanese aesthetic of \u003ca href=\"https://en.wikipedia.org/wiki/Ukiyo-e\" target=\"_blank\" rel=\"noopener noreferrer\">Ukiyo-ë\u003c/a>.\u003c/p>\n\u003cp>Rice arrived in 1974. “When I came to Santa Cruz, it was because of the Press. I found exactly what I needed,” Rice says, whose work has been exhibited all over the world.\u003c/p>\n\u003cfigure id=\"attachment_11265765\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11265765 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/RS18189_codexbook-color-web-qut-800x537.jpg\" alt=\"Felicia Rice has done a lot of work with Chicano/a artists, including Codex Espangliensis, including performance texts and poems by Guillermo Gómez-Peña with collage imagery by Enrique Chagoya.\" width=\"800\" height=\"537\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/RS18189_codexbook-color-web-qut-800x537.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/RS18189_codexbook-color-web-qut-400x268.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/RS18189_codexbook-color-web-qut-768x515.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/RS18189_codexbook-color-web-qut-1180x792.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/RS18189_codexbook-color-web-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/RS18189_codexbook-color-web-qut-960x644.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Felicia Rice has done a lot of work with Chicano/a artists, including Codex Espangliensis, including performance texts and poems by Guillermo Gómez-Peña with collage imagery by Enrique Chagoya. \u003ccite>(Courtesy Felicia Rice)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Santa Cruz developed a book arts community, Rice says, that soon became a well-regarded hub nationally and internationally. Many students went on to work in book design in New York, and digital design in Silicon Valley.\u003c/p>\n\u003cp>“It was a very tight group of people who were anxious to teach and learn from each other,” Rice says.\u003c/p>\n\u003cp>[contextly_sidebar id=”C29qtkB1iei9oLJyF0FncB8UWTmdayFk”] Thanks to Silicon Valley, she says, fine-art printing has been revolutionized. “We were practicing an archaic craft, and over the years, as digital tools made more things possible to more people, everybody got involved.” She adds the craft has gone from being dominated by men to being dominated by women. “I was one of the few women doing it, and now that is not the case!”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Who’s coming up now through Cowell Press? Judge for yourself. \u003cem>Pressing On\u003c/em> features work from current students, as well as from the archives, and will be up at the Eloise Pickard Smith Gallery through March 4.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Back in the early 1970s, a couple of UC Santa Cruz students wanted to take a class in letterpress book printing. There being no such class, SB Masters and Tom Whitridge lined up a potential teacher, respected San Francisco typographer Jack Stauffacher, and then a grant to cover his pay. Soon after that, poet and printer William Everson began teaching at UCSC, too. Over time, the program grew to offer UCSC students all sorts of classes, in typography, design, printmaking and book making.\u003c/p>\n\u003cp>A new exhibit at the \u003ca href=\"http://cowell.ucsc.edu/smith-gallery/\" target=\"_blank\" rel=\"noopener noreferrer\">Eloise Pickard Smith Gallery\u003c/a> that opens this weekend called \u003ca href=\"https://events.ucsc.edu/event/3443\" target=\"_blank\" rel=\"noopener noreferrer\">Pressing On: Selected Works from the Cowell Press\u003c/a> explores the legacy of the UCSC program. On Saturday, there will be a panel discussion at the Page Smith Library that features the current head of the program, \u003ca href=\"http://www.gary-young.net/\" target=\"_blank\" rel=\"noopener noreferrer\">Gary Young\u003c/a>, and a couple of star alums, including \u003ca href=\"http://movingpartspress.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Felicia Rice\u003c/a> and \u003ca href=\"http://www.tomkillion.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Tom Killion\u003c/a>.\u003c/p>\n\u003cp>“That was a wonderful moment in time at UC Santa Cruz,” says Killion, whose work has been exhibited in California, New York and Europe. “There were all these wonderful professors who had come to participate in a world-class experiment.”\u003c/p>\n\u003cp>Killion hails from Marin County and currently lives near Point Reyes. But for many decades, he lived in Santa Cruz County, starting with a stint at UC Santa Cruz in the early 1970s. That’s where his career started — “inadvertently,” he says.\u003c/p>\n\u003cfigure id=\"attachment_11268205\" class=\"wp-caption aligncenter\" style=\"max-width: 701px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11268205 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Pogonip-701x600.jpeg\" alt=\"“Santa Cruz from the Pogonip,” more or less the view from Cowell College, UCSC, a multi-block woodcut print from 2002 by Tom Killion.\" width=\"701\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Pogonip-701x600.jpeg 701w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Pogonip-400x342.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Pogonip.jpeg 720w\" sizes=\"(max-width: 701px) 100vw, 701px\">\u003cfigcaption class=\"wp-caption-text\">“Santa Cruz from the Pogonip,” more or less the view from Cowell College, UCSC, a multi-block woodcut print from 2002 by Tom Killion. \u003ccite>(Courtesy: Tom Killion)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He was a history major making a book of linoleum prints of Mt. Tamalpais in his spare time when a friend told him about a class taught by Stauffacher. “He had a Zen way of teaching. He didn’t show us how to print. So the students showed each other the technical aspects. He’d be talking about the great European type designers of the 20th century – which was way over our heads – but it got us inspired,” Killion says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Killion was hooked. He went on to spend the summer after he graduated making his book, \u003cem>28 views of Mount Tamalpais\u003c/em>, inspired by Hokusai’s \u003ca href=\"http://www.hokusaionline.co.uk/code/36_views_mount_fuji.html\" target=\"_blank\" rel=\"noopener noreferrer\">36 Views of Mount Fuji\u003c/a>. Thus began Killion’s long career celebrating the coastal landscape of California in a style adapted from the traditional Japanese aesthetic of \u003ca href=\"https://en.wikipedia.org/wiki/Ukiyo-e\" target=\"_blank\" rel=\"noopener noreferrer\">Ukiyo-ë\u003c/a>.\u003c/p>\n\u003cp>Rice arrived in 1974. “When I came to Santa Cruz, it was because of the Press. I found exactly what I needed,” Rice says, whose work has been exhibited all over the world.\u003c/p>\n\u003cfigure id=\"attachment_11265765\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11265765 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/RS18189_codexbook-color-web-qut-800x537.jpg\" alt=\"Felicia Rice has done a lot of work with Chicano/a artists, including Codex Espangliensis, including performance texts and poems by Guillermo Gómez-Peña with collage imagery by Enrique Chagoya.\" width=\"800\" height=\"537\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/RS18189_codexbook-color-web-qut-800x537.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/RS18189_codexbook-color-web-qut-400x268.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/RS18189_codexbook-color-web-qut-768x515.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/RS18189_codexbook-color-web-qut-1180x792.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/RS18189_codexbook-color-web-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/RS18189_codexbook-color-web-qut-960x644.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Felicia Rice has done a lot of work with Chicano/a artists, including Codex Espangliensis, including performance texts and poems by Guillermo Gómez-Peña with collage imagery by Enrique Chagoya. \u003ccite>(Courtesy Felicia Rice)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Santa Cruz developed a book arts community, Rice says, that soon became a well-regarded hub nationally and internationally. Many students went on to work in book design in New York, and digital design in Silicon Valley.\u003c/p>\n\u003cp>“It was a very tight group of people who were anxious to teach and learn from each other,” Rice says.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp> Thanks to Silicon Valley, she says, fine-art printing has been revolutionized. “We were practicing an archaic craft, and over the years, as digital tools made more things possible to more people, everybody got involved.” She adds the craft has gone from being dominated by men to being dominated by women. “I was one of the few women doing it, and now that is not the case!”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Who’s coming up now through Cowell Press? Judge for yourself. \u003cem>Pressing On\u003c/em> features work from current students, as well as from the archives, and will be up at the Eloise Pickard Smith Gallery through March 4.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "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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"marketplace": {
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"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.",
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"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"politicalbreakdown": {
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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"rss": "http://feeds.revealradio.org/revealpodcast"
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"order": 16
},
"link": "/podcasts/rightnowish",
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},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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},
"snap-judgment": {
"id": "snap-judgment",
"title": "Snap Judgment",
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