SFMOMA Workers Urge the Museum to Support Palestinians in an Open Letter
SFMOMA’s Creative Growth Show Annexes ‘The House That Art Built’
An Amy Sherald Exhibition Is Coming to SFMOMA in November
Tierra Whack Brings Her Surreal Vision to SFMOMA
Sculptor Richard Serra, the ‘Poet of Iron,’ Dies at 85
At SFMOMA, Zanele Muholi Documents South African Queer Life with Intense Feeling
SFMOMA Announces 16 Finalists for the SECA Art Award
SFMOMA’s Free Family Day on Jan. 14: A Last Chance to See Two Great Shows
SFMOMA Eliminates 20 Positions, Citing 35% Decline in Attendance
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in 2021, the museum published a statement that reads “museums and cultural organizations are not (and shout not be) neutral.” Arguing that SFMOMA leadership’s silence on the humanitarian crisis in Gaza undermines their stated values, the employees wrote, “We believe the museum is losing credibility and relevance as a result.”\u003c/p>\n\u003cp>The letter asks SFMOMA to adopt four commitments: give a platform to Palestinian voices in commissions, collaborations and exhibitions, and vow not to censor pro-Palestinian work; create space for internal dialogue; call for an immediate and permanent ceasefire; and join the \u003ca href=\"https://bdsmovement.net/pacbi\">Palestinian Campaign for the Academic and Cultural Boycott of Israel\u003c/a> (PACBI).\u003c/p>\n\u003cp>PACBI is part of the Boycott, Divestment, Sanctions movement, which calls for a boycott of Israeli institutions until its government ends its siege and occupation of Gaza and the West Bank, gives equal rights to ethnically Palestinian citizens of Israel and allows Palestinian refugees to return to their homelands. The SFMOMA workers’ letter underscores that PACBI is not a boycott of individuals based on their identity, and that the workers also stand against antisemitism.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>KQED spoke with an SFMOMA worker who contributed to the letter, who asked that their name be withheld out of retaliation concerns. “We have been seeing unprecedented levels of censorship and cancellation across the art world,” the employee said. “We’ve seen shows of Palestinian artists canceled. We’ve seen shows and talks and panels of those supporting Palestinian resistance canceled. This quashes the opportunity for public to hear a diversity of perspectives, and I think it’s the duty of cultural workers to question why that is happening and then push back against it.”\u003c/p>\n\u003cp>SFMOMA’s director of communications did not respond to KQED’s requests for comment as of publication time.\u003c/p>\n\u003cp>SFMOMA workers are joining an international wave of artists and arts workers protesting in solidarity with Palestinians. In New York, Museum of Modern Art workers sent a similar letter to their leadership in February, as did those at the Met and the Brooklyn Museum. [aside postid='arts_13955613,arts_13954119']\u003c/p>\n\u003cp>Earlier this month, a block away from SFMOMA at the Contemporary Jewish Museum, a group of \u003ca href=\"https://www.kqed.org/arts/13955613/pro-palestinian-jewish-artists-withdraw-from-contemporary-jewish-museum-exhibit\">pro-Palestinian Jewish artists pulled out of a group exhibition\u003c/a> in protest after museum leaders declined to join PACBI and meet other demands. Yerba Buena Center for the Arts, across the street from SFMOMA, has been \u003ca href=\"https://www.kqed.org/arts/13954119/an-embattled-ybca-to-reopen-amid-censorship-accusations-ceos-resignation\">embroiled in censorship accusations\u003c/a> ever since the museum shut down for a month following a \u003ca href=\"https://www.kqed.org/arts/13952460/artists-deface-work-ybca-pro-palestine-protest\">February pro-Palestinian demonstration\u003c/a>, during which artists added protest messages to their exhibited works.\u003c/p>\n\u003cp>While most large arts institutions in the Bay Area and nationwide have been hesitant to make statements on the humanitarian crisis Gaza, several smaller organizations have \u003ca href=\"https://docs.google.com/document/d/1VZAto1GFIWTYvyrxsXymfvQpmADtHAH_RwsSc5JXNk4/edit\">vowed to join PACBI\u003c/a>, including experimental music venue The Lab and art space Galería de la Raza in San Francisco, and drag festival Oaklash and art center Eastside Arts Alliance in Oakland.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As of publication time, nearly 200 people have signed the SFMOMA workers’ letter, including artists, museum patrons and 50 current employees.\u003c/p>\n\n","blocks":[],"excerpt":"The letter calls on the museum to join an academic and cultural boycott of Israeli institutions. ","status":"publish","parent":0,"modified":1714002413,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":13,"wordCount":642},"headData":{"title":"SFMOMA Workers Urge Museum to Support Palestinians in Letter | KQED","description":"The letter calls on the museum to join an academic and cultural boycott of Israeli institutions. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","socialTitle":"SFMOMA Workers Urge Museum to Support Palestinians in Letter %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"SFMOMA Workers Urge the Museum to Support Palestinians in an Open Letter","datePublished":"2024-04-24T18:33:23.000Z","dateModified":"2024-04-24T23:46:53.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprStoryId":"kqed-13956575","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13956575/sfmoma-workers-open-letter-palestinians-gaza-pacbi","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>On Wednesday morning, a group of workers at the San Francisco Museum of Modern Art (SFMOMA) published \u003ca href=\"https://dearsfmoma.com/\">an open letter\u003c/a> to museum leadership, urging them to take a public stance in solidarity with Palestinians and join a boycott of Israeli institutions.\u003c/p>\n\u003cp>“We write as San Francisco Museum of Modern Art employees, in the absence of any statement from our institution’s leadership, to affirm our solidarity with the Palestinian people as they confront decades of violent oppression and apartheid and to condemn Israel’s devastating and ongoing siege of Gaza,” opens the letter addressed to Director Chris Bedford, the board of trustees and the executive committee.\u003c/p>\n\u003cp>The letter cites SFMOMA’s previous statements on diversity, equity and inclusion; in 2021, the museum published a statement that reads “museums and cultural organizations are not (and shout not be) neutral.” Arguing that SFMOMA leadership’s silence on the humanitarian crisis in Gaza undermines their stated values, the employees wrote, “We believe the museum is losing credibility and relevance as a result.”\u003c/p>\n\u003cp>The letter asks SFMOMA to adopt four commitments: give a platform to Palestinian voices in commissions, collaborations and exhibitions, and vow not to censor pro-Palestinian work; create space for internal dialogue; call for an immediate and permanent ceasefire; and join the \u003ca href=\"https://bdsmovement.net/pacbi\">Palestinian Campaign for the Academic and Cultural Boycott of Israel\u003c/a> (PACBI).\u003c/p>\n\u003cp>PACBI is part of the Boycott, Divestment, Sanctions movement, which calls for a boycott of Israeli institutions until its government ends its siege and occupation of Gaza and the West Bank, gives equal rights to ethnically Palestinian citizens of Israel and allows Palestinian refugees to return to their homelands. The SFMOMA workers’ letter underscores that PACBI is not a boycott of individuals based on their identity, and that the workers also stand against antisemitism.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>KQED spoke with an SFMOMA worker who contributed to the letter, who asked that their name be withheld out of retaliation concerns. “We have been seeing unprecedented levels of censorship and cancellation across the art world,” the employee said. “We’ve seen shows of Palestinian artists canceled. We’ve seen shows and talks and panels of those supporting Palestinian resistance canceled. This quashes the opportunity for public to hear a diversity of perspectives, and I think it’s the duty of cultural workers to question why that is happening and then push back against it.”\u003c/p>\n\u003cp>SFMOMA’s director of communications did not respond to KQED’s requests for comment as of publication time.\u003c/p>\n\u003cp>SFMOMA workers are joining an international wave of artists and arts workers protesting in solidarity with Palestinians. In New York, Museum of Modern Art workers sent a similar letter to their leadership in February, as did those at the Met and the Brooklyn Museum. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13955613,arts_13954119","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Earlier this month, a block away from SFMOMA at the Contemporary Jewish Museum, a group of \u003ca href=\"https://www.kqed.org/arts/13955613/pro-palestinian-jewish-artists-withdraw-from-contemporary-jewish-museum-exhibit\">pro-Palestinian Jewish artists pulled out of a group exhibition\u003c/a> in protest after museum leaders declined to join PACBI and meet other demands. Yerba Buena Center for the Arts, across the street from SFMOMA, has been \u003ca href=\"https://www.kqed.org/arts/13954119/an-embattled-ybca-to-reopen-amid-censorship-accusations-ceos-resignation\">embroiled in censorship accusations\u003c/a> ever since the museum shut down for a month following a \u003ca href=\"https://www.kqed.org/arts/13952460/artists-deface-work-ybca-pro-palestine-protest\">February pro-Palestinian demonstration\u003c/a>, during which artists added protest messages to their exhibited works.\u003c/p>\n\u003cp>While most large arts institutions in the Bay Area and nationwide have been hesitant to make statements on the humanitarian crisis Gaza, several smaller organizations have \u003ca href=\"https://docs.google.com/document/d/1VZAto1GFIWTYvyrxsXymfvQpmADtHAH_RwsSc5JXNk4/edit\">vowed to join PACBI\u003c/a>, including experimental music venue The Lab and art space Galería de la Raza in San Francisco, and drag festival Oaklash and art center Eastside Arts Alliance in Oakland.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As of publication time, nearly 200 people have signed the SFMOMA workers’ letter, including artists, museum patrons and 50 current employees.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13956575/sfmoma-workers-open-letter-palestinians-gaza-pacbi","authors":["11387"],"categories":["arts_1","arts_235","arts_70"],"tags":["arts_10278","arts_10422","arts_8838","arts_1381"],"featImg":"arts_13956649","label":"arts"},"arts_13955533":{"type":"posts","id":"arts_13955533","meta":{"index":"posts_1591205157","site":"arts","id":"13955533","score":null,"sort":[1712340538000]},"guestAuthors":[],"slug":"creative-growth-sfmoma-the-house-that-art-built-review","title":"SFMOMA’s Creative Growth Show Annexes ‘The House That Art Built’","publishDate":1712340538,"format":"standard","headTitle":"SFMOMA’s Creative Growth Show Annexes ‘The House That Art Built’ | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>It’s hard to fit a house inside a museum. Especially when that house is 50 years old, has acted as a studio to hundreds of artists and now contains tens of thousands of art pieces in its attic. (The house in this architectural metaphor is \u003ca href=\"https://creativegrowth.org/\">Creative Growth\u003c/a>, Oakland’s nonprofit center for artists with disabilities.)\u003c/p>\n\u003cp>[aside postID='arts_13955182']A museum may be large, but it is already very full with the trappings of art history — for so long, a very Western, male and ableist version of art history. Augmenting such collections is often a rather thin gesture, like slipping someone an I.O.U. But sometimes, a bolder approach, a glomming-on of a self-contained mass, can shift the balance of an entire institution.\u003c/p>\n\u003cp>\u003ci>\u003ca href=\"https://www.sfmoma.org/exhibition/creative-growth-the-house-that-art-built/\">Creative Growth: The House That Art Built\u003c/a>\u003c/i>, opening April 6 at the San Francisco Museum of Modern Art, is a celebration of both the art center’s innovative model and the museum’s recent acquisition of over 100 works by Creative Growth artists (more than 80 of which are on view in the show). Co-curated by Nancy Lim and Jenny Gheith, with curatorial assistant Auriel Garza, the show is one facet of a three-year partnership between the two institutions.\u003c/p>\n\u003cfigure id=\"attachment_13955545\" class=\"wp-caption aligncenter\" style=\"max-width: 1972px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955545\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/PS24.179_01_G02.jpg\" alt=\"sandwich board sculpture with figure holding tools and speech bubble\" width=\"1972\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/PS24.179_01_G02.jpg 1972w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/PS24.179_01_G02-800x811.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/PS24.179_01_G02-1020x1034.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/PS24.179_01_G02-160x162.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/PS24.179_01_G02-768x779.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/PS24.179_01_G02-1514x1536.jpg 1514w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/PS24.179_01_G02-1920x1947.jpg 1920w\" sizes=\"(max-width: 1972px) 100vw, 1972px\">\u003cfigcaption class=\"wp-caption-text\">John Martin, ‘Untitled,’ 2018; Acrylic paint on wood. \u003ccite>(Courtesy of SFMOMA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For the duration of the show, SFMOMA has condensed these additions to its holdings into three galleries on the museum’s second floor. But the idea is to spread the work throughout the collection, placing paintings, drawings, sculptures, video work and at least one dapper (and painted) suit not in the context of “a group show of artists with disabilities,” but in the context of art history.\u003c/p>\n\u003cp>The late artist Judith Scott’s 2004 \u003ci>Untitled\u003c/i>, a highlight of the exhibition, exemplifies the possibilities of heterogeneous amalgamation. At the center of the sculpture is a small chair. Through additive layers of yarn, strips of fabric, a wicker basket and a bicycle wheel, Scott turned it into a package, a bundle, an elegantly composed assemblage of color and tension.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This show is important, her sculpture says. It is also full of self-evidently beautiful things.\u003c/p>\n\u003cp>\u003ci>The House That Art Built\u003c/i> opens with a 32-foot-wide mural by William Scott, a dizzying representation of San Francisco that is semi-familiar and semi-fantastical. “Praise Frisco,” Scott’s utopian version of the city, is populated with younger versions of the artist and his mother, and filled with high-rise apartment towers, healthy restaurants and cultural centers.\u003c/p>\n\u003cfigure id=\"attachment_13955541\" class=\"wp-caption aligncenter\" style=\"max-width: 2100px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955541\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/William-Scott_Praise-Frisco-Peace-and-Love-in-the-City-installation-view-1-photo-by-Don-Ross-courtesy-SFMOMA.jpg\" alt=\"wide mural with detailed city and large figures smiling\" width=\"2100\" height=\"1292\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/William-Scott_Praise-Frisco-Peace-and-Love-in-the-City-installation-view-1-photo-by-Don-Ross-courtesy-SFMOMA.jpg 2100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/William-Scott_Praise-Frisco-Peace-and-Love-in-the-City-installation-view-1-photo-by-Don-Ross-courtesy-SFMOMA-800x492.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/William-Scott_Praise-Frisco-Peace-and-Love-in-the-City-installation-view-1-photo-by-Don-Ross-courtesy-SFMOMA-1020x628.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/William-Scott_Praise-Frisco-Peace-and-Love-in-the-City-installation-view-1-photo-by-Don-Ross-courtesy-SFMOMA-160x98.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/William-Scott_Praise-Frisco-Peace-and-Love-in-the-City-installation-view-1-photo-by-Don-Ross-courtesy-SFMOMA-768x473.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/William-Scott_Praise-Frisco-Peace-and-Love-in-the-City-installation-view-1-photo-by-Don-Ross-courtesy-SFMOMA-1536x945.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/William-Scott_Praise-Frisco-Peace-and-Love-in-the-City-installation-view-1-photo-by-Don-Ross-courtesy-SFMOMA-2048x1260.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/William-Scott_Praise-Frisco-Peace-and-Love-in-the-City-installation-view-1-photo-by-Don-Ross-courtesy-SFMOMA-1920x1181.jpg 1920w\" sizes=\"(max-width: 2100px) 100vw, 2100px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of William Scott’s mural ‘Praise Frisco: Peace and Love in the City,’ 2024 at SFMOMA. \u003ccite>(Photo by Don Ross; Courtesy of SFMOMA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Praise Frisco will be a good place to live, the best place to live,” Scott said in \u003ca href=\"https://www.sfmoma.org/read/painting-a-better-world-an-interview-with-william-scott/\">a recent interview\u003c/a> with the museum. “No bad people, no crimes, no killings, no homelessness.”\u003c/p>\n\u003cp>Scott’s precise lettering, beaming faces and graphically punchy compositions are concept art for a bright future that I, for one, would love to be a part of. Mayoral candidates, take note.\u003c/p>\n\u003cp>The work that follows Scott’s optimistic entryway spans mediums and artistic movements: densely layered drawings (Dan Miller); conceptual video art (Susan Janow); colorful abstract expressions in paint (Joseph Alef); found images appropriated and modified (Alice Wong and Ron Veasy); intricate yet flattened ceramic reliefs (John Martin).\u003c/p>\n\u003cfigure id=\"attachment_13955542\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955542\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/PS24.176_01_G02.jpg\" alt=\"Drawing of pills, money, coal and flames\" width=\"2000\" height=\"1493\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/PS24.176_01_G02.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/PS24.176_01_G02-800x597.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/PS24.176_01_G02-1020x761.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/PS24.176_01_G02-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/PS24.176_01_G02-768x573.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/PS24.176_01_G02-1536x1147.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/PS24.176_01_G02-1920x1433.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Camille Holvoet, ‘LOST COAT FIRES MONEY WORRYS. MEDICINES CHANGES,’ 1988; Oil pastel on paper. \u003ccite>(Courtesy of SFMOMA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Not to be missed is work on paper by Dwight Mackintosh, who joined Creative Growth when he was 72 years old and worked at the studio for 20 years. Mackintosh deployed strings of cursive lettering and rendered people in radiating loops. In one drawing adorning an 88th birthday announcement, fingers and toes emit rippling waves of energy — a body still busy with creative motion.\u003c/p>\n\u003cp>Less abstract, but no less affecting are Camille Holvoet’s oil pastels on paper, evocative renderings of banal (and very recognizable) slices of the artist’s life. Anyone who’s ever laid awake in the throes of insomnia will see themselves in \u003ci>OBSESSING CAN’T SLEEP AT NIGHT\u003c/i>, a drawing from 1988.\u003c/p>\n\u003cfigure id=\"attachment_13955543\" class=\"wp-caption aligncenter\" style=\"max-width: 2160px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955543\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Creative-Growth-comp.jpg\" alt=\"image of outside of brick building and image of many people cutting paper, making art on long table\" width=\"2160\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Creative-Growth-comp.jpg 2160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Creative-Growth-comp-800x556.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Creative-Growth-comp-1020x708.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Creative-Growth-comp-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Creative-Growth-comp-768x533.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Creative-Growth-comp-1536x1067.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Creative-Growth-comp-2048x1422.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Creative-Growth-comp-1920x1333.jpg 1920w\" sizes=\"(max-width: 2160px) 100vw, 2160px\">\u003cfigcaption class=\"wp-caption-text\">L: Creative Growth, photographed in 2017; R: A collage party at the art center in 2023. \u003ccite>(Diana Rothery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There is much to pore over in the galleries of \u003ci>The House That Art Built\u003c/i>, including a small section of ephemera tied to Creative Growth’s many fundraisers, exhibition announcements and artistic collaborations over its five decades. These are restrained hints at the activity and relationships contained within the physical place of all this art making. (It’s not the show’s fault that it’s inside a museum, a notoriously sterile and white-walled space.)\u003c/p>\n\u003cp>And so it’s crucial that the exhibition includes a wall-sized group portrait taken just a few weeks ago at Creative Growth, featuring dozens of artists and staff in the nonprofit’s cavernous Oakland studio, a former auto-repair shop. It’s a picture that you can’t help but smile back at, one that suggests a more present-tense scenario: a house that art builds.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Creative Growth: The House That Art Built’ is on view at San Francisco Museum of Modern Art April 6–Oct. 6, 2024. \u003ca href=\"https://www.sfmoma.org/exhibition/creative-growth-the-house-that-art-built/\">Click here for more information\u003c/a>.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"The show marks the nonprofit’s 50 years, and the museum’s major acquisition of work by artists with disabilities.","status":"publish","parent":0,"modified":1712593613,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":17,"wordCount":921},"headData":{"title":"SFMOMA Show of Creative Growth Artists Adds to Art History | KQED","description":"The show marks the nonprofit’s 50 years, and the museum’s major acquisition of work by artists with disabilities.","ogTitle":"SFMOMA’s Creative Growth Show Annexes ‘The House That Art Built’","ogDescription":"","ogImgId":"","twTitle":"SFMOMA’s Creative Growth Show Annexes ‘The House That Art Built’","twDescription":"","twImgId":"","socialTitle":"SFMOMA Show of Creative Growth Artists Adds to Art History %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"SFMOMA’s Creative Growth Show Annexes ‘The House That Art Built’","datePublished":"2024-04-05T18:08:58.000Z","dateModified":"2024-04-08T16:26:53.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13955533/creative-growth-sfmoma-the-house-that-art-built-review","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s hard to fit a house inside a museum. Especially when that house is 50 years old, has acted as a studio to hundreds of artists and now contains tens of thousands of art pieces in its attic. (The house in this architectural metaphor is \u003ca href=\"https://creativegrowth.org/\">Creative Growth\u003c/a>, Oakland’s nonprofit center for artists with disabilities.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13955182","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>A museum may be large, but it is already very full with the trappings of art history — for so long, a very Western, male and ableist version of art history. Augmenting such collections is often a rather thin gesture, like slipping someone an I.O.U. But sometimes, a bolder approach, a glomming-on of a self-contained mass, can shift the balance of an entire institution.\u003c/p>\n\u003cp>\u003ci>\u003ca href=\"https://www.sfmoma.org/exhibition/creative-growth-the-house-that-art-built/\">Creative Growth: The House That Art Built\u003c/a>\u003c/i>, opening April 6 at the San Francisco Museum of Modern Art, is a celebration of both the art center’s innovative model and the museum’s recent acquisition of over 100 works by Creative Growth artists (more than 80 of which are on view in the show). Co-curated by Nancy Lim and Jenny Gheith, with curatorial assistant Auriel Garza, the show is one facet of a three-year partnership between the two institutions.\u003c/p>\n\u003cfigure id=\"attachment_13955545\" class=\"wp-caption aligncenter\" style=\"max-width: 1972px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955545\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/PS24.179_01_G02.jpg\" alt=\"sandwich board sculpture with figure holding tools and speech bubble\" width=\"1972\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/PS24.179_01_G02.jpg 1972w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/PS24.179_01_G02-800x811.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/PS24.179_01_G02-1020x1034.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/PS24.179_01_G02-160x162.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/PS24.179_01_G02-768x779.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/PS24.179_01_G02-1514x1536.jpg 1514w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/PS24.179_01_G02-1920x1947.jpg 1920w\" sizes=\"(max-width: 1972px) 100vw, 1972px\">\u003cfigcaption class=\"wp-caption-text\">John Martin, ‘Untitled,’ 2018; Acrylic paint on wood. \u003ccite>(Courtesy of SFMOMA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For the duration of the show, SFMOMA has condensed these additions to its holdings into three galleries on the museum’s second floor. But the idea is to spread the work throughout the collection, placing paintings, drawings, sculptures, video work and at least one dapper (and painted) suit not in the context of “a group show of artists with disabilities,” but in the context of art history.\u003c/p>\n\u003cp>The late artist Judith Scott’s 2004 \u003ci>Untitled\u003c/i>, a highlight of the exhibition, exemplifies the possibilities of heterogeneous amalgamation. At the center of the sculpture is a small chair. Through additive layers of yarn, strips of fabric, a wicker basket and a bicycle wheel, Scott turned it into a package, a bundle, an elegantly composed assemblage of color and tension.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This show is important, her sculpture says. It is also full of self-evidently beautiful things.\u003c/p>\n\u003cp>\u003ci>The House That Art Built\u003c/i> opens with a 32-foot-wide mural by William Scott, a dizzying representation of San Francisco that is semi-familiar and semi-fantastical. “Praise Frisco,” Scott’s utopian version of the city, is populated with younger versions of the artist and his mother, and filled with high-rise apartment towers, healthy restaurants and cultural centers.\u003c/p>\n\u003cfigure id=\"attachment_13955541\" class=\"wp-caption aligncenter\" style=\"max-width: 2100px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955541\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/William-Scott_Praise-Frisco-Peace-and-Love-in-the-City-installation-view-1-photo-by-Don-Ross-courtesy-SFMOMA.jpg\" alt=\"wide mural with detailed city and large figures smiling\" width=\"2100\" height=\"1292\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/William-Scott_Praise-Frisco-Peace-and-Love-in-the-City-installation-view-1-photo-by-Don-Ross-courtesy-SFMOMA.jpg 2100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/William-Scott_Praise-Frisco-Peace-and-Love-in-the-City-installation-view-1-photo-by-Don-Ross-courtesy-SFMOMA-800x492.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/William-Scott_Praise-Frisco-Peace-and-Love-in-the-City-installation-view-1-photo-by-Don-Ross-courtesy-SFMOMA-1020x628.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/William-Scott_Praise-Frisco-Peace-and-Love-in-the-City-installation-view-1-photo-by-Don-Ross-courtesy-SFMOMA-160x98.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/William-Scott_Praise-Frisco-Peace-and-Love-in-the-City-installation-view-1-photo-by-Don-Ross-courtesy-SFMOMA-768x473.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/William-Scott_Praise-Frisco-Peace-and-Love-in-the-City-installation-view-1-photo-by-Don-Ross-courtesy-SFMOMA-1536x945.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/William-Scott_Praise-Frisco-Peace-and-Love-in-the-City-installation-view-1-photo-by-Don-Ross-courtesy-SFMOMA-2048x1260.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/William-Scott_Praise-Frisco-Peace-and-Love-in-the-City-installation-view-1-photo-by-Don-Ross-courtesy-SFMOMA-1920x1181.jpg 1920w\" sizes=\"(max-width: 2100px) 100vw, 2100px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of William Scott’s mural ‘Praise Frisco: Peace and Love in the City,’ 2024 at SFMOMA. \u003ccite>(Photo by Don Ross; Courtesy of SFMOMA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Praise Frisco will be a good place to live, the best place to live,” Scott said in \u003ca href=\"https://www.sfmoma.org/read/painting-a-better-world-an-interview-with-william-scott/\">a recent interview\u003c/a> with the museum. “No bad people, no crimes, no killings, no homelessness.”\u003c/p>\n\u003cp>Scott’s precise lettering, beaming faces and graphically punchy compositions are concept art for a bright future that I, for one, would love to be a part of. Mayoral candidates, take note.\u003c/p>\n\u003cp>The work that follows Scott’s optimistic entryway spans mediums and artistic movements: densely layered drawings (Dan Miller); conceptual video art (Susan Janow); colorful abstract expressions in paint (Joseph Alef); found images appropriated and modified (Alice Wong and Ron Veasy); intricate yet flattened ceramic reliefs (John Martin).\u003c/p>\n\u003cfigure id=\"attachment_13955542\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955542\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/PS24.176_01_G02.jpg\" alt=\"Drawing of pills, money, coal and flames\" width=\"2000\" height=\"1493\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/PS24.176_01_G02.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/PS24.176_01_G02-800x597.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/PS24.176_01_G02-1020x761.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/PS24.176_01_G02-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/PS24.176_01_G02-768x573.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/PS24.176_01_G02-1536x1147.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/PS24.176_01_G02-1920x1433.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Camille Holvoet, ‘LOST COAT FIRES MONEY WORRYS. MEDICINES CHANGES,’ 1988; Oil pastel on paper. \u003ccite>(Courtesy of SFMOMA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Not to be missed is work on paper by Dwight Mackintosh, who joined Creative Growth when he was 72 years old and worked at the studio for 20 years. Mackintosh deployed strings of cursive lettering and rendered people in radiating loops. In one drawing adorning an 88th birthday announcement, fingers and toes emit rippling waves of energy — a body still busy with creative motion.\u003c/p>\n\u003cp>Less abstract, but no less affecting are Camille Holvoet’s oil pastels on paper, evocative renderings of banal (and very recognizable) slices of the artist’s life. Anyone who’s ever laid awake in the throes of insomnia will see themselves in \u003ci>OBSESSING CAN’T SLEEP AT NIGHT\u003c/i>, a drawing from 1988.\u003c/p>\n\u003cfigure id=\"attachment_13955543\" class=\"wp-caption aligncenter\" style=\"max-width: 2160px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955543\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Creative-Growth-comp.jpg\" alt=\"image of outside of brick building and image of many people cutting paper, making art on long table\" width=\"2160\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Creative-Growth-comp.jpg 2160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Creative-Growth-comp-800x556.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Creative-Growth-comp-1020x708.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Creative-Growth-comp-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Creative-Growth-comp-768x533.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Creative-Growth-comp-1536x1067.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Creative-Growth-comp-2048x1422.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Creative-Growth-comp-1920x1333.jpg 1920w\" sizes=\"(max-width: 2160px) 100vw, 2160px\">\u003cfigcaption class=\"wp-caption-text\">L: Creative Growth, photographed in 2017; R: A collage party at the art center in 2023. \u003ccite>(Diana Rothery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There is much to pore over in the galleries of \u003ci>The House That Art Built\u003c/i>, including a small section of ephemera tied to Creative Growth’s many fundraisers, exhibition announcements and artistic collaborations over its five decades. These are restrained hints at the activity and relationships contained within the physical place of all this art making. (It’s not the show’s fault that it’s inside a museum, a notoriously sterile and white-walled space.)\u003c/p>\n\u003cp>And so it’s crucial that the exhibition includes a wall-sized group portrait taken just a few weeks ago at Creative Growth, featuring dozens of artists and staff in the nonprofit’s cavernous Oakland studio, a former auto-repair shop. It’s a picture that you can’t help but smile back at, one that suggests a more present-tense scenario: a house that art builds.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Creative Growth: The House That Art Built’ is on view at San Francisco Museum of Modern Art April 6–Oct. 6, 2024. \u003ca href=\"https://www.sfmoma.org/exhibition/creative-growth-the-house-that-art-built/\">Click here for more information\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13955533/creative-growth-sfmoma-the-house-that-art-built-review","authors":["61"],"programs":["arts_140"],"categories":["arts_1"],"tags":["arts_9693","arts_10278","arts_769","arts_1381","arts_585"],"featImg":"arts_13955544","label":"arts_140"},"arts_13955286":{"type":"posts","id":"arts_13955286","meta":{"index":"posts_1591205157","site":"arts","id":"13955286","score":null,"sort":[1712099206000]},"guestAuthors":[],"slug":"amy-sherald-sfmoma-american-sublime","title":"An Amy Sherald Exhibition Is Coming to SFMOMA in November","publishDate":1712099206,"format":"aside","headTitle":"An Amy Sherald Exhibition Is Coming to SFMOMA in November | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cfigure id=\"attachment_13955298\" class=\"wp-caption aligncenter\" style=\"max-width: 2039px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Amy-Sherald_Breonna-Taylor-scaled.jpg\" alt=\"portrait of woman in turquoise dress against turquoise background\" width=\"2039\" height=\"2560\" class=\"size-full wp-image-13955298\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Amy-Sherald_Breonna-Taylor-scaled.jpg 2039w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Amy-Sherald_Breonna-Taylor-800x1004.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Amy-Sherald_Breonna-Taylor-1020x1280.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Amy-Sherald_Breonna-Taylor-160x201.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Amy-Sherald_Breonna-Taylor-768x964.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Amy-Sherald_Breonna-Taylor-1224x1536.jpg 1224w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Amy-Sherald_Breonna-Taylor-1632x2048.jpg 1632w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Amy-Sherald_Breonna-Taylor-1920x2410.jpg 1920w\" sizes=\"(max-width: 2039px) 100vw, 2039px\">\u003cfigcaption class=\"wp-caption-text\">Amy Sherald, ‘Breonna Taylor,’ 2020. \u003ccite>(Photo by Joseph Hyde; Courtesy the artist and Hauser & Wirth)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even if you don’t know Amy Sherald’s name, you’ll immediately recognize her work: larger-than-life oil paintings of Black subjects set against colorful backgrounds, their skin rendered in shades of gray. \u003c/p>\n\u003cp>You’ll remember her \u003ca href=\"https://www.kqed.org/arts/13824229/paintings-of-barack-and-michelle-obama-unveiled-at-portrait-gallery\">official portrait of First Lady Michelle Obama\u003c/a> for the National Portrait Gallery, unveiled the same year Kehinde Wiley painted President Barack Obama. In it, the first lady is seated elegantly in a modernist-printed gown, calmly gazing directly out of the canvas.\u003c/p>\n\u003cp>Equally recognizable is \u003ca href=\"https://www.vanityfair.com/culture/2020/08/amy-sherald-on-making-breonna-taylors-cover-portrait\">her painting of Breonna Taylor\u003c/a>, which appeared on the September 2020 cover of \u003ci>Vanity Fair\u003c/i>, featuring Taylor in an ethereal turquoise dress designed specifically for this posthumous portrait.\u003c/p>\n\u003cp>Both those paintings — and about 50 others made since 2007 — will be included in \u003ci>Amy Sherald: American Sublime\u003c/i>, the New York artist’s first mid-career survey, on view at the \u003ca href=\"https://www.sfmoma.org/\">San Francisco Museum of Modern Art\u003c/a> Nov. 16, 2024–March 9, 2025. From San Francisco, the exhibition will travel on to the Whitney Museum of American Art in New York. \u003c/p>\n\u003cfigure id=\"attachment_13955290\" class=\"wp-caption aligncenter\" style=\"max-width: 1929px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Amy-Sherald_For-Love-and-for-Country-scaled.jpg\" alt=\"Two grayscale figures kiss in dramatic pose wearing sailor-like clothes against blue background\" width=\"1929\" height=\"2560\" class=\"size-full wp-image-13955290\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Amy-Sherald_For-Love-and-for-Country-scaled.jpg 1929w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Amy-Sherald_For-Love-and-for-Country-800x1062.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Amy-Sherald_For-Love-and-for-Country-1020x1354.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Amy-Sherald_For-Love-and-for-Country-160x212.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Amy-Sherald_For-Love-and-for-Country-768x1019.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Amy-Sherald_For-Love-and-for-Country-1157x1536.jpg 1157w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Amy-Sherald_For-Love-and-for-Country-1543x2048.jpg 1543w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Amy-Sherald_For-Love-and-for-Country-1920x2549.jpg 1920w\" sizes=\"(max-width: 1929px) 100vw, 1929px\">\u003cfigcaption class=\"wp-caption-text\">Amy Sherald, ‘For Love, and for Country,’ 2022. \u003ccite>(Photo by Joseph Hyde; Courtesy the artist and Hauser & Wirth)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Curated by Sarah Roberts, SFMOMA’s curator and head of painting and sculpture, the exhibition will contextualize Sherald’s work within the canon of American realist and figurative painting, touching on her references to photography, Romanticism and iconic images from U.S. history. (On that last point, Sherald has painted a version of Alfred Eisenstaedt’ 1945 photograph \u003ci>\u003ca href=\"https://en.wikipedia.org/wiki/V-J_Day_in_Times_Square\">V-J Day in Times Square\u003c/a>\u003c/i>, swapping the white heterosexual pair for a Black male couple in Navy-adjacent clothing.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>When I visited Sherald’s 2019 exhibition at Hauser & Wirth, the gallery was absolutely packed with visitors — all eager to take in her straightforward yet effortlessly meticulous paintings. Costuming is crucial to her work: figures are rendered in impeccably stylish outfits, then detached from reality against solid-hued backgrounds. Her buoyant use of color further emphasizes the \u003ca href=\"https://en.wikipedia.org/wiki/Grisaille\">grisaille tones\u003c/a> of her subjects’ skin. \u003c/p>\n\u003cp>This desaturation is the oddest of Sherald’s aesthetic moves, and the results are arresting. Part \u003ci>Pleasantville\u003c/i>, part hand-tinted photograph, it’s an effort on her part to highlight race as a construct, along with other calcified notions of gender, religion and social status. Come November, we’ll get plenty of opportunity to mull over all the issues her work touches on — and how she manages, with such care, to capture the essential qualities of her subjects.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Amy Sherald: American Sublime’ will be on view at the San Francisco Museum of Modern Art Nov. 16, 2024–March 9, 2025.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"The painter’s signature portraits of Black subjects will continue on to the Whitney Museum.","status":"publish","parent":0,"modified":1712099206,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":11,"wordCount":476},"headData":{"title":"An Amy Sherald Exhibition Is Coming to SFMOMA in November | KQED","description":"The painter’s signature portraits of Black subjects will continue on to the Whitney Museum.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"An Amy Sherald Exhibition Is Coming to SFMOMA in November","datePublished":"2024-04-02T23:06:46.000Z","dateModified":"2024-04-02T23:06:46.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13955286/amy-sherald-sfmoma-american-sublime","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13955298\" class=\"wp-caption aligncenter\" style=\"max-width: 2039px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Amy-Sherald_Breonna-Taylor-scaled.jpg\" alt=\"portrait of woman in turquoise dress against turquoise background\" width=\"2039\" height=\"2560\" class=\"size-full wp-image-13955298\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Amy-Sherald_Breonna-Taylor-scaled.jpg 2039w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Amy-Sherald_Breonna-Taylor-800x1004.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Amy-Sherald_Breonna-Taylor-1020x1280.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Amy-Sherald_Breonna-Taylor-160x201.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Amy-Sherald_Breonna-Taylor-768x964.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Amy-Sherald_Breonna-Taylor-1224x1536.jpg 1224w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Amy-Sherald_Breonna-Taylor-1632x2048.jpg 1632w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Amy-Sherald_Breonna-Taylor-1920x2410.jpg 1920w\" sizes=\"(max-width: 2039px) 100vw, 2039px\">\u003cfigcaption class=\"wp-caption-text\">Amy Sherald, ‘Breonna Taylor,’ 2020. \u003ccite>(Photo by Joseph Hyde; Courtesy the artist and Hauser & Wirth)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even if you don’t know Amy Sherald’s name, you’ll immediately recognize her work: larger-than-life oil paintings of Black subjects set against colorful backgrounds, their skin rendered in shades of gray. \u003c/p>\n\u003cp>You’ll remember her \u003ca href=\"https://www.kqed.org/arts/13824229/paintings-of-barack-and-michelle-obama-unveiled-at-portrait-gallery\">official portrait of First Lady Michelle Obama\u003c/a> for the National Portrait Gallery, unveiled the same year Kehinde Wiley painted President Barack Obama. In it, the first lady is seated elegantly in a modernist-printed gown, calmly gazing directly out of the canvas.\u003c/p>\n\u003cp>Equally recognizable is \u003ca href=\"https://www.vanityfair.com/culture/2020/08/amy-sherald-on-making-breonna-taylors-cover-portrait\">her painting of Breonna Taylor\u003c/a>, which appeared on the September 2020 cover of \u003ci>Vanity Fair\u003c/i>, featuring Taylor in an ethereal turquoise dress designed specifically for this posthumous portrait.\u003c/p>\n\u003cp>Both those paintings — and about 50 others made since 2007 — will be included in \u003ci>Amy Sherald: American Sublime\u003c/i>, the New York artist’s first mid-career survey, on view at the \u003ca href=\"https://www.sfmoma.org/\">San Francisco Museum of Modern Art\u003c/a> Nov. 16, 2024–March 9, 2025. From San Francisco, the exhibition will travel on to the Whitney Museum of American Art in New York. \u003c/p>\n\u003cfigure id=\"attachment_13955290\" class=\"wp-caption aligncenter\" style=\"max-width: 1929px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Amy-Sherald_For-Love-and-for-Country-scaled.jpg\" alt=\"Two grayscale figures kiss in dramatic pose wearing sailor-like clothes against blue background\" width=\"1929\" height=\"2560\" class=\"size-full wp-image-13955290\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Amy-Sherald_For-Love-and-for-Country-scaled.jpg 1929w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Amy-Sherald_For-Love-and-for-Country-800x1062.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Amy-Sherald_For-Love-and-for-Country-1020x1354.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Amy-Sherald_For-Love-and-for-Country-160x212.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Amy-Sherald_For-Love-and-for-Country-768x1019.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Amy-Sherald_For-Love-and-for-Country-1157x1536.jpg 1157w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Amy-Sherald_For-Love-and-for-Country-1543x2048.jpg 1543w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Amy-Sherald_For-Love-and-for-Country-1920x2549.jpg 1920w\" sizes=\"(max-width: 1929px) 100vw, 1929px\">\u003cfigcaption class=\"wp-caption-text\">Amy Sherald, ‘For Love, and for Country,’ 2022. \u003ccite>(Photo by Joseph Hyde; Courtesy the artist and Hauser & Wirth)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Curated by Sarah Roberts, SFMOMA’s curator and head of painting and sculpture, the exhibition will contextualize Sherald’s work within the canon of American realist and figurative painting, touching on her references to photography, Romanticism and iconic images from U.S. history. (On that last point, Sherald has painted a version of Alfred Eisenstaedt’ 1945 photograph \u003ci>\u003ca href=\"https://en.wikipedia.org/wiki/V-J_Day_in_Times_Square\">V-J Day in Times Square\u003c/a>\u003c/i>, swapping the white heterosexual pair for a Black male couple in Navy-adjacent clothing.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When I visited Sherald’s 2019 exhibition at Hauser & Wirth, the gallery was absolutely packed with visitors — all eager to take in her straightforward yet effortlessly meticulous paintings. Costuming is crucial to her work: figures are rendered in impeccably stylish outfits, then detached from reality against solid-hued backgrounds. Her buoyant use of color further emphasizes the \u003ca href=\"https://en.wikipedia.org/wiki/Grisaille\">grisaille tones\u003c/a> of her subjects’ skin. \u003c/p>\n\u003cp>This desaturation is the oddest of Sherald’s aesthetic moves, and the results are arresting. Part \u003ci>Pleasantville\u003c/i>, part hand-tinted photograph, it’s an effort on her part to highlight race as a construct, along with other calcified notions of gender, religion and social status. Come November, we’ll get plenty of opportunity to mull over all the issues her work touches on — and how she manages, with such care, to capture the essential qualities of her subjects.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Amy Sherald: American Sublime’ will be on view at the San Francisco Museum of Modern Art Nov. 16, 2024–March 9, 2025.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13955286/amy-sherald-sfmoma-american-sublime","authors":["61"],"programs":["arts_140"],"categories":["arts_1","arts_70"],"tags":["arts_1146","arts_1381","arts_585","arts_901"],"featImg":"arts_13955291","label":"arts_140"},"arts_13954914":{"type":"posts","id":"arts_13954914","meta":{"index":"posts_1591205157","site":"arts","id":"13954914","score":null,"sort":[1711653203000]},"guestAuthors":[],"slug":"tierra-whack-sfmoma-art-bash","title":"Tierra Whack Brings Her Surreal Vision to SFMOMA","publishDate":1711653203,"format":"standard","headTitle":"Tierra Whack Brings Her Surreal Vision to SFMOMA | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>If there’s anyone who should perform in an art museum, it’s \u003ca href=\"https://www.instagram.com/tierrawhack/?hl=en\">Tierra Whack\u003c/a>. The North Philly singer and rapper introduced fans to her multiverse with 2018’s \u003cem>Whack World\u003c/em>, where each 30-second song builds out a world of off-kilter characters that — like a Pixar movie for adults — embody a full spectrum of emotion. This month, her long-awaited debut album, \u003cem>World Wide Whack\u003c/em>, cemented her as one of this generation’s most fiercely original songwriters. Whack hasn’t yet announced an official tour, but Bay Area fans have a chance to see her early at SFMOMA’s Art Bash, where she’s performing an hour-long set on April 24.\u003c/p>\n\u003cp>A bit more intimate than your standard concert setting, \u003ca href=\"https://www.sfmoma.org/event/series/art-bash/\">Art Bash\u003c/a> is a fundraiser party for San Francisco’s contemporary art museum. And if you’re not a well-heeled art patron who can afford to donate thousands of dollars, the museum offers lower-tier ticket prices comparable to the cost of an arena concert. A $250 party ticket will get you in to see Whack’s entire set, and a $95 late-night party ticket will allow you to see the second half of her performance and then catch the rest of the entertainment.\u003c/p>\n\u003cp>Among art activations created specifically for the event, the offerings include a drag stage curated by storied LGBTQ+ club Oasis and DJ sets from some of the Bay’s best selectors: experimental online radio station Lower Grand Radio and genre-defying Latin music party Sazon Libre.\u003c/p>\n\u003cp>https://youtu.be/g3DfekebzW8?si=ZgSGU92WDTN7PeIv\u003c/p>\n\u003cp>On \u003cem>World Wide Whack\u003c/em>, Whack strips away the personas and lays bare her real, human struggles. Though her flows and song arrangements remain playful, she reveals the \u003ca href=\"https://www.npr.org/2024/03/23/1240368835/tierra-whack-world-wide-whack-interview\">mental health challenges that accompanied her rapid ascent\u003c/a>, and opens up about overcoming suicidal ideation and impostor syndrome. The archetype of the sad clown is ever-present. In the colorful, stylized music video for “27 CLUB,” off-puttingly happy cheerleaders dance around her as she takes off masks and sings about a deep depression. And in the visual for “TWO NIGHT,” she becomes an inflatable parade float crashing through a city while getting damaged and abused by townsfolk.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In a music industry that often flouts glamour, sex and success, \u003cem>World Wide Whack\u003c/em> feels refreshingly inventive and honest. It’ll be a treat to see Whack in an intimate setting that celebrates imagination.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>SFMOMA’s Art Bash takes place on April 24, 5 p.m.–1 a.m. Tierra Whack performs 9:30–10:30 p.m. \u003ca href=\"https://www.sfmoma.org/event/series/art-bash/\">Full program and tickets here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>For confidential mental health support, contact the \u003ca href=\"https://988lifeline.org/\">988 Suicide & Crisis Lifeline\u003c/a> by dialing 9-8-8, or the \u003ca href=\"http://www.crisistextline.org/\">Crisis Text Line\u003c/a> by texting HOME to 741741.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"The ‘World Wide Whack’ rapper will headline the museum’s Art Bash on April 24.","status":"publish","parent":0,"modified":1711653203,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":10,"wordCount":484},"headData":{"title":"Tierra Whack Brings Her Surreal Vision to SFMOMA | KQED","description":"The ‘World Wide Whack’ rapper will headline the museum’s Art Bash on April 24.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Tierra Whack Brings Her Surreal Vision to SFMOMA","datePublished":"2024-03-28T19:13:23.000Z","dateModified":"2024-03-28T19:13:23.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13954914/tierra-whack-sfmoma-art-bash","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>If there’s anyone who should perform in an art museum, it’s \u003ca href=\"https://www.instagram.com/tierrawhack/?hl=en\">Tierra Whack\u003c/a>. The North Philly singer and rapper introduced fans to her multiverse with 2018’s \u003cem>Whack World\u003c/em>, where each 30-second song builds out a world of off-kilter characters that — like a Pixar movie for adults — embody a full spectrum of emotion. This month, her long-awaited debut album, \u003cem>World Wide Whack\u003c/em>, cemented her as one of this generation’s most fiercely original songwriters. Whack hasn’t yet announced an official tour, but Bay Area fans have a chance to see her early at SFMOMA’s Art Bash, where she’s performing an hour-long set on April 24.\u003c/p>\n\u003cp>A bit more intimate than your standard concert setting, \u003ca href=\"https://www.sfmoma.org/event/series/art-bash/\">Art Bash\u003c/a> is a fundraiser party for San Francisco’s contemporary art museum. And if you’re not a well-heeled art patron who can afford to donate thousands of dollars, the museum offers lower-tier ticket prices comparable to the cost of an arena concert. A $250 party ticket will get you in to see Whack’s entire set, and a $95 late-night party ticket will allow you to see the second half of her performance and then catch the rest of the entertainment.\u003c/p>\n\u003cp>Among art activations created specifically for the event, the offerings include a drag stage curated by storied LGBTQ+ club Oasis and DJ sets from some of the Bay’s best selectors: experimental online radio station Lower Grand Radio and genre-defying Latin music party Sazon Libre.\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/g3DfekebzW8'\n title='//www.youtube.com/embed/g3DfekebzW8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>On \u003cem>World Wide Whack\u003c/em>, Whack strips away the personas and lays bare her real, human struggles. Though her flows and song arrangements remain playful, she reveals the \u003ca href=\"https://www.npr.org/2024/03/23/1240368835/tierra-whack-world-wide-whack-interview\">mental health challenges that accompanied her rapid ascent\u003c/a>, and opens up about overcoming suicidal ideation and impostor syndrome. The archetype of the sad clown is ever-present. In the colorful, stylized music video for “27 CLUB,” off-puttingly happy cheerleaders dance around her as she takes off masks and sings about a deep depression. And in the visual for “TWO NIGHT,” she becomes an inflatable parade float crashing through a city while getting damaged and abused by townsfolk.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In a music industry that often flouts glamour, sex and success, \u003cem>World Wide Whack\u003c/em> feels refreshingly inventive and honest. It’ll be a treat to see Whack in an intimate setting that celebrates imagination.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>SFMOMA’s Art Bash takes place on April 24, 5 p.m.–1 a.m. Tierra Whack performs 9:30–10:30 p.m. \u003ca href=\"https://www.sfmoma.org/event/series/art-bash/\">Full program and tickets here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>For confidential mental health support, contact the \u003ca href=\"https://988lifeline.org/\">988 Suicide & Crisis Lifeline\u003c/a> by dialing 9-8-8, or the \u003ca href=\"http://www.crisistextline.org/\">Crisis Text Line\u003c/a> by texting HOME to 741741.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13954914/tierra-whack-sfmoma-art-bash","authors":["11387"],"programs":["arts_140"],"categories":["arts_1","arts_69"],"tags":["arts_10278","arts_831","arts_1381","arts_585"],"featImg":"arts_13863664","label":"arts_140"},"arts_13954850":{"type":"posts","id":"arts_13954850","meta":{"index":"posts_1591205157","site":"arts","id":"13954850","score":null,"sort":[1711561386000]},"guestAuthors":[],"slug":"sculptor-richard-serra-the-poet-of-iron-dies-at-85","title":"Sculptor Richard Serra, the ‘Poet of Iron,’ Dies at 85","publishDate":1711561386,"format":"standard","headTitle":"Sculptor Richard Serra, the ‘Poet of Iron,’ Dies at 85 | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Famed American artist and sculptor Richard Serra, known for turning curving walls of rusting steel and other malleable materials into large-scale pieces of outdoor artwork that are now dotted across the world, died Tuesday at his home in Long Island, New York. He was 85.\u003c/p>\n\u003cp>Considered one of his generation’s most preeminent sculptors, the San Francisco native originally studied painting at Yale University but turned to sculpting in the 1960s, inspired by trips to Europe.\u003c/p>\n\u003cp>His death was confirmed Tuesday night by his lawyer, John Silberman, whose firm is based in New York. He said the cause of death was pneumonia.\u003c/p>\n\u003cp>Known by his colleagues as the “poet of iron,” Serra became world-renowned for his large-scale steel structures, such as monumental arcs, spirals and ellipses. He was closely identified with the minimalist movement of the 1970s.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>\u003ca href=\"https://ww2.kqed.org/spark/richard-serra/\">\u003c/a>\u003ca href=\"https://ww2.kqed.org/spark/richard-serra/\">Watch Richard Serra construct a huge sculpture in San Francisco’s Mission Bay\u003c/a> and at \u003ca href=\"https://www.youtube.com/watch?v=GnWljMmmWMw\">Sonoma County’s Oliver Ranch\u003c/a> in \u003ca href=\"https://ww2.kqed.org/spark/richard-serra/\">this KQED episode\u003c/a> of ‘Spark’.\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Serra’s work started to gain public attention in 1981, when he installed a 120-foot-long (36.5-meter-long) and 12-foot-high (3.6-meter-high) curving wall of raw steel that splits the Federal Plaza in New York City. The sculpture, called “Tilted Arc,” generated swift backlash from people who work there and a fierce demand that it should be removed. The sculpture was later taken down, but Serra’s popularity in the New York art scene had been cemented.\u003c/p>\n\u003cfigure id=\"attachment_13954852\" class=\"wp-caption aligncenter\" style=\"max-width: 1440px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/serra.jpg\" alt=\"\" width=\"1440\" height=\"960\" class=\"size-full wp-image-13954852\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/serra.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/serra-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/serra-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/serra-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/serra-768x512.jpg 768w\" sizes=\"(max-width: 1440px) 100vw, 1440px\">\u003cfigcaption class=\"wp-caption-text\">Famed American sculptor Richard Serra poses next to ‘Sequence’ during the press preview of “Richard Serra Sculpture: Forty Years” at the Museum of Modern Art, May 29, 2007, in New York. Serra, known for turning curving walls of rusting steel and other malleable materials into large-scale pieces of outdoor artwork that are now dotted across the world, died Tuesday, March 26, 2024, at his home in Long Island, N.Y. He was 85. \u003ccite>(AP Photo/Mary Altaffer, File)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Most of Serra’s large-scale works are welded in Cor-Ten steel, but he also worked with other nontraditional materials such as rubber, latex, neon — as well as molten lead, which Serra threw against a wall or floor to create his “Splash” series in his early career.\u003c/p>\n\u003cp>His works have been installed in landscapes and included in the collections of museums across the world, from The Museum of Modern Art in New York to the deserts of Qatar. From 2016 to 2018, his interactive, labyrinth-like sculpture \u003cem>Sequence\u003c/em> resided in a publicly accessible ground floor of San Francisco’s Museum of Modern Art. \u003c/p>\n\u003cp>In 2005, eight major works by Serra were installed permanently at the Guggenheim Museum in Spain. Carmen Jimenez, the exhibition organizer, said Serra was “beyond doubt the most important living sculptor.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Born to a Russian-Jewish mother and a Spanish father in San Francisco, Serra was the second of three sons in the family. He started drawing at a young age and was inspired by the time he spent at a shipyard where his father worked as a pipefitter. Before his turn to sculpting, Serra worked in steel foundries to help finance his education at the Berkeley and Santa Barbara campuses of the University of California. He then went on to Yale, where he graduated in 1964.\u003c/p>\n\n","blocks":[],"excerpt":"Born in San Francisco, Serra became world-renowned for his large-scale steel structures.","status":"publish","parent":0,"modified":1711563845,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":12,"wordCount":574},"headData":{"title":"Sculptor Richard Serra, the ‘Poet of Iron,’ Dies at 85 | KQED","description":"Born in San Francisco, Serra became world-renowned for his large-scale steel structures.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Sculptor Richard Serra, the ‘Poet of Iron,’ Dies at 85","datePublished":"2024-03-27T17:43:06.000Z","dateModified":"2024-03-27T18:24:05.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Susan Haigh and Trân Nguyễn, Associated Press","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13954850/sculptor-richard-serra-the-poet-of-iron-dies-at-85","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Famed American artist and sculptor Richard Serra, known for turning curving walls of rusting steel and other malleable materials into large-scale pieces of outdoor artwork that are now dotted across the world, died Tuesday at his home in Long Island, New York. He was 85.\u003c/p>\n\u003cp>Considered one of his generation’s most preeminent sculptors, the San Francisco native originally studied painting at Yale University but turned to sculpting in the 1960s, inspired by trips to Europe.\u003c/p>\n\u003cp>His death was confirmed Tuesday night by his lawyer, John Silberman, whose firm is based in New York. He said the cause of death was pneumonia.\u003c/p>\n\u003cp>Known by his colleagues as the “poet of iron,” Serra became world-renowned for his large-scale steel structures, such as monumental arcs, spirals and ellipses. He was closely identified with the minimalist movement of the 1970s.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>\u003ca href=\"https://ww2.kqed.org/spark/richard-serra/\">\u003c/a>\u003ca href=\"https://ww2.kqed.org/spark/richard-serra/\">Watch Richard Serra construct a huge sculpture in San Francisco’s Mission Bay\u003c/a> and at \u003ca href=\"https://www.youtube.com/watch?v=GnWljMmmWMw\">Sonoma County’s Oliver Ranch\u003c/a> in \u003ca href=\"https://ww2.kqed.org/spark/richard-serra/\">this KQED episode\u003c/a> of ‘Spark’.\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Serra’s work started to gain public attention in 1981, when he installed a 120-foot-long (36.5-meter-long) and 12-foot-high (3.6-meter-high) curving wall of raw steel that splits the Federal Plaza in New York City. The sculpture, called “Tilted Arc,” generated swift backlash from people who work there and a fierce demand that it should be removed. The sculpture was later taken down, but Serra’s popularity in the New York art scene had been cemented.\u003c/p>\n\u003cfigure id=\"attachment_13954852\" class=\"wp-caption aligncenter\" style=\"max-width: 1440px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/serra.jpg\" alt=\"\" width=\"1440\" height=\"960\" class=\"size-full wp-image-13954852\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/serra.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/serra-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/serra-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/serra-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/serra-768x512.jpg 768w\" sizes=\"(max-width: 1440px) 100vw, 1440px\">\u003cfigcaption class=\"wp-caption-text\">Famed American sculptor Richard Serra poses next to ‘Sequence’ during the press preview of “Richard Serra Sculpture: Forty Years” at the Museum of Modern Art, May 29, 2007, in New York. Serra, known for turning curving walls of rusting steel and other malleable materials into large-scale pieces of outdoor artwork that are now dotted across the world, died Tuesday, March 26, 2024, at his home in Long Island, N.Y. He was 85. \u003ccite>(AP Photo/Mary Altaffer, File)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Most of Serra’s large-scale works are welded in Cor-Ten steel, but he also worked with other nontraditional materials such as rubber, latex, neon — as well as molten lead, which Serra threw against a wall or floor to create his “Splash” series in his early career.\u003c/p>\n\u003cp>His works have been installed in landscapes and included in the collections of museums across the world, from The Museum of Modern Art in New York to the deserts of Qatar. From 2016 to 2018, his interactive, labyrinth-like sculpture \u003cem>Sequence\u003c/em> resided in a publicly accessible ground floor of San Francisco’s Museum of Modern Art. \u003c/p>\n\u003cp>In 2005, eight major works by Serra were installed permanently at the Guggenheim Museum in Spain. Carmen Jimenez, the exhibition organizer, said Serra was “beyond doubt the most important living sculptor.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Born to a Russian-Jewish mother and a Spanish father in San Francisco, Serra was the second of three sons in the family. He started drawing at a young age and was inspired by the time he spent at a shipyard where his father worked as a pipefitter. Before his turn to sculpting, Serra worked in steel foundries to help finance his education at the Berkeley and Santa Barbara campuses of the University of California. He then went on to Yale, where he graduated in 1964.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13954850/sculptor-richard-serra-the-poet-of-iron-dies-at-85","authors":["byline_arts_13954850"],"categories":["arts_1","arts_235","arts_70"],"tags":["arts_1091","arts_22041","arts_4894","arts_1381"],"featImg":"arts_13954853","label":"arts"},"arts_13952117":{"type":"posts","id":"arts_13952117","meta":{"index":"posts_1591205157","site":"arts","id":"13952117","score":null,"sort":[1707853207000]},"guestAuthors":[],"slug":"zanele-muholi-sfmoma-eye-me-queer-south-african-photography","title":"At SFMOMA, Zanele Muholi Documents South African Queer Life with Intense Feeling","publishDate":1707853207,"format":"standard","headTitle":"At SFMOMA, Zanele Muholi Documents South African Queer Life with Intense Feeling | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Walking through the initial galleries of the SFMOMA’s stunning new exhibit by queer South African photographer \u003ca href=\"https://www.sfmoma.org/exhibition/zanele-muholi-eye-me/\">Zanele Muholi, \u003cem>Eye Me\u003c/em>\u003c/a>, one immediately notices Muholi’s capacity to wring emotions from their subjects’ hands.\u003c/p>\n\u003cp>There’s care implicit in how the subject of “ID Crisis” handles the bandage binding their breasts. The hands grasping before the subject’s genitals in “Aftermath” suggest fearfulness and self-protection — appropriate for an image built around a large upper thigh scar that was the result of a hate crime. And the hands in a series called “Brave Beauties” draw on the coquettish postures of fashion photography to stylize and dignify their trans women subjects. [ad fullwidth]\u003c/p>\n\u003cp>The way Muholi brings out personality and feeling through gestures speaks to the photographer’s gift for conveying emotional complexity. For 20 years, Muholi has practiced what they refer to as “visual activism” by exhaustively documenting queer Black life and culture in their native South Africa. They are known for developing lengthy relationships with their subjects — often photographing individuals again and again through their lives — and for working to empower subjects both during photo shoots and afterwards.\u003c/p>\n\u003cp>Quotes from the artist scattered throughout \u003cem>Eye Me\u003c/em> speak to Muholi’s aspirations to create a bounty of images for the queer community’s benefit: “This work is done to ensure that the next generation will be able to draw on a diverse, and queer, archive of images.”\u003c/p>\n\u003cfigure id=\"attachment_13952139\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952139\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/01_Zanele-Muholi_Hate-Crimes-Survivor-I_2004-scaled.jpg\" alt=\"A black-and-white photo of hands with hospital bracelets over plaied\" width=\"2560\" height=\"1778\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/01_Zanele-Muholi_Hate-Crimes-Survivor-I_2004-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/01_Zanele-Muholi_Hate-Crimes-Survivor-I_2004-800x556.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/01_Zanele-Muholi_Hate-Crimes-Survivor-I_2004-1020x708.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/01_Zanele-Muholi_Hate-Crimes-Survivor-I_2004-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/01_Zanele-Muholi_Hate-Crimes-Survivor-I_2004-768x533.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/01_Zanele-Muholi_Hate-Crimes-Survivor-I_2004-1536x1067.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/01_Zanele-Muholi_Hate-Crimes-Survivor-I_2004-2048x1422.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/01_Zanele-Muholi_Hate-Crimes-Survivor-I_2004-1920x1334.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Zanele Muholi, ‘Hate Crimes Survivor I,’ from the series ‘Only Half the Picture,’ 2004. \u003ccite>(Courtesy of the artist and Yancey Richardson, New York; © Zanele Muholi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Eye Me\u003c/em> is arranged in sections to cover five of the eight major photo series that Muholi has created to date. These images often tie to themes of coercion and violence against LGBTQ+ individuals — either centering the lives of survivors of sexual assault and hate crimes, or showing the ways queer and trans people experience joy and love in spite of efforts to deny them both. Although Muholi does photograph men, they focus mostly on women and femmes, and \u003cem>Eye Me\u003c/em> wafts with the fragrances of a multi-layered femininity, be it a lover’s protective, warning stare, two naked women in joking play or partners standing in a large bucket bathing themselves together. [aside postid='arts_13951888']\u003c/p>\n\u003cp>Muholi is drawn to patterns made by embracing bodies and entwined limbs. Their portrait of queer couple Musa Ngubane and Mabongi Ndlovu shows a hug in which hands and arms seem almost preternaturally connected. The shot of Katlego Mashiloane and Nosipho Lavuta bent over, bathing together, makes the pair’s backs look as though they are merging together into one.\u003c/p>\n\u003cp>This sense of cohesion makes these images feel so intimate, emotionally raw and powerful. \u003cem>Eye Me\u003c/em> can at times be an overwhelming experience for the intensity and quantity of emotions that permeate from virtually every shot in the show.\u003c/p>\n\u003cfigure id=\"attachment_13952142\" class=\"wp-caption aligncenter\" style=\"max-width: 2222px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952142\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/11_Zanele-Muholi_Somnyama-Ngonyama-II_Oslo_2015-scaled.jpg\" alt=\"A black-and-white self-portrait of the artist with elaborate fabric framing their face.\" width=\"2222\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/11_Zanele-Muholi_Somnyama-Ngonyama-II_Oslo_2015-scaled.jpg 2222w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/11_Zanele-Muholi_Somnyama-Ngonyama-II_Oslo_2015-800x922.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/11_Zanele-Muholi_Somnyama-Ngonyama-II_Oslo_2015-1020x1175.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/11_Zanele-Muholi_Somnyama-Ngonyama-II_Oslo_2015-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/11_Zanele-Muholi_Somnyama-Ngonyama-II_Oslo_2015-768x885.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/11_Zanele-Muholi_Somnyama-Ngonyama-II_Oslo_2015-1333x1536.jpg 1333w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/11_Zanele-Muholi_Somnyama-Ngonyama-II_Oslo_2015-1777x2048.jpg 1777w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/11_Zanele-Muholi_Somnyama-Ngonyama-II_Oslo_2015-1920x2212.jpg 1920w\" sizes=\"(max-width: 2222px) 100vw, 2222px\">\u003cfigcaption class=\"wp-caption-text\">Zanele Muholi, ‘Somnyama Ngonyama II,’ Oslo, 2015. \u003ccite>(Courtesy of the artist and Yancey Richardson, New York; © Zanele Muholi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The largest gallery in \u003cem>Eye Me\u003c/em> is reserved for work from Muholi’s magisterial series “Somnyama Ngonyama,” in which they took 365 self-portraits as a vast array of alter egos in locations around the world, from Kyoto to Charlottesville to Nuoro, Italy. Striking in their intricacy (see the dozens of combs carefully arrayed in Muholi’s hair for “Qiniso”) as well as provocative (for “Faniswa,” Muholi painted a uterus on their shoulder), the photographs show the artist often adopting postures of coiled power and great intensity.\u003c/p>\n\u003cp>For the exhibit, SFMOMA reproduced several of the images from this series to mural size, and the effect is electrifying. In a piece like “Manzi I,” the larger size gives audiences the chance to fully appreciate Muholi’s intricate interplay of textures and masterful arrangement of tones, and their facial expression of wariness, fatigue and resistance hits all the harder. [aside postid='arts_13950490']\u003c/p>\n\u003cp>No matter how abstract or timeless it aspires to be, all art is created and viewed within a cultural context. It feels complicated to experience \u003cem>Eye Me\u003c/em> in San Francisco — a part of the United States that remains relatively safe while much of the country unleashes a tide of anti-LGBTQ+ hatred. Even though South Africa is among the most progressive African nations when it comes to queer rights — in 1996 it became the first country in the world to put legal protections for LGBTQ+ people into its constitution — violence, poverty and fragility are basic constituents of Muholi’s artistic palette. It is hard not to wonder what everyday life is like for their subjects. Such questions lead inevitably back to thoughts of how Blackness and queerness are increasingly the subject of violence and depredation here in the U.S.\u003c/p>\n\u003cfigure id=\"attachment_13952144\" class=\"wp-caption aligncenter\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952144\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/04_Zanele-Muholi_Yaya-Mavundla-Parktown-Johannesburg_2014-scaled.jpg\" alt=\"\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/04_Zanele-Muholi_Yaya-Mavundla-Parktown-Johannesburg_2014-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/04_Zanele-Muholi_Yaya-Mavundla-Parktown-Johannesburg_2014-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/04_Zanele-Muholi_Yaya-Mavundla-Parktown-Johannesburg_2014-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/04_Zanele-Muholi_Yaya-Mavundla-Parktown-Johannesburg_2014-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/04_Zanele-Muholi_Yaya-Mavundla-Parktown-Johannesburg_2014-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/04_Zanele-Muholi_Yaya-Mavundla-Parktown-Johannesburg_2014-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/04_Zanele-Muholi_Yaya-Mavundla-Parktown-Johannesburg_2014-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/04_Zanele-Muholi_Yaya-Mavundla-Parktown-Johannesburg_2014-1920x2880.jpg 1920w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">Zanele Muholi, ‘Yaya Mavundla, Parktown, Johannesburg,’ from the series ‘Brave Beauties,’ 2014. \u003ccite>(Courtesy of the artist and Yancey Richardson, New York; © Zanele Muholi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Although Muholi tends to shoot their photos in ways that abstract away the surrounding world, there is still a powerful sense of being granted glimpses into a community in which the hope for safety and dignity resonates. This is in part because Muholi so assiduously manages the signifiers of Blackness and queerness in their photos — for instance, in “Yaya Mavundla I,” a trans woman stands proud and elegant in a bra and miniskirt made from layers and layers of Saran Wrap. The sense of defiance in the face of invalidation and vulnerability is familiar, even as Mavundla’s body feels part of a queerness that hits very differently from what viewers in San Francisco might be accustomed to. This mixture makes \u003cem>Eye Me\u003c/em> feel necessary and vital.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.sfmoma.org/exhibition/zanele-muholi-eye-me/\">Zanele Muholi’s ‘Eye Me’\u003c/a> is on view at SFMOMA through Aug. 11, 2024. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n","blocks":[],"excerpt":"Stylized portraits, spanning decades, show their subjects' care, love, self-protection and dignity. ","status":"publish","parent":0,"modified":1707853207,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":14,"wordCount":1010},"headData":{"title":"At SFMOMA, Zanele Muholi Documents South African Queer Life with Intense Feeling | KQED","description":"Stylized portraits, spanning decades, show their subjects' care, love, self-protection and dignity. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"At SFMOMA, Zanele Muholi Documents South African Queer Life with Intense Feeling","datePublished":"2024-02-13T19:40:07.000Z","dateModified":"2024-02-13T19:40:07.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Veronica Esposito ","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13952117/zanele-muholi-sfmoma-eye-me-queer-south-african-photography","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Walking through the initial galleries of the SFMOMA’s stunning new exhibit by queer South African photographer \u003ca href=\"https://www.sfmoma.org/exhibition/zanele-muholi-eye-me/\">Zanele Muholi, \u003cem>Eye Me\u003c/em>\u003c/a>, one immediately notices Muholi’s capacity to wring emotions from their subjects’ hands.\u003c/p>\n\u003cp>There’s care implicit in how the subject of “ID Crisis” handles the bandage binding their breasts. The hands grasping before the subject’s genitals in “Aftermath” suggest fearfulness and self-protection — appropriate for an image built around a large upper thigh scar that was the result of a hate crime. And the hands in a series called “Brave Beauties” draw on the coquettish postures of fashion photography to stylize and dignify their trans women subjects. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The way Muholi brings out personality and feeling through gestures speaks to the photographer’s gift for conveying emotional complexity. For 20 years, Muholi has practiced what they refer to as “visual activism” by exhaustively documenting queer Black life and culture in their native South Africa. They are known for developing lengthy relationships with their subjects — often photographing individuals again and again through their lives — and for working to empower subjects both during photo shoots and afterwards.\u003c/p>\n\u003cp>Quotes from the artist scattered throughout \u003cem>Eye Me\u003c/em> speak to Muholi’s aspirations to create a bounty of images for the queer community’s benefit: “This work is done to ensure that the next generation will be able to draw on a diverse, and queer, archive of images.”\u003c/p>\n\u003cfigure id=\"attachment_13952139\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952139\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/01_Zanele-Muholi_Hate-Crimes-Survivor-I_2004-scaled.jpg\" alt=\"A black-and-white photo of hands with hospital bracelets over plaied\" width=\"2560\" height=\"1778\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/01_Zanele-Muholi_Hate-Crimes-Survivor-I_2004-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/01_Zanele-Muholi_Hate-Crimes-Survivor-I_2004-800x556.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/01_Zanele-Muholi_Hate-Crimes-Survivor-I_2004-1020x708.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/01_Zanele-Muholi_Hate-Crimes-Survivor-I_2004-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/01_Zanele-Muholi_Hate-Crimes-Survivor-I_2004-768x533.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/01_Zanele-Muholi_Hate-Crimes-Survivor-I_2004-1536x1067.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/01_Zanele-Muholi_Hate-Crimes-Survivor-I_2004-2048x1422.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/01_Zanele-Muholi_Hate-Crimes-Survivor-I_2004-1920x1334.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Zanele Muholi, ‘Hate Crimes Survivor I,’ from the series ‘Only Half the Picture,’ 2004. \u003ccite>(Courtesy of the artist and Yancey Richardson, New York; © Zanele Muholi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Eye Me\u003c/em> is arranged in sections to cover five of the eight major photo series that Muholi has created to date. These images often tie to themes of coercion and violence against LGBTQ+ individuals — either centering the lives of survivors of sexual assault and hate crimes, or showing the ways queer and trans people experience joy and love in spite of efforts to deny them both. Although Muholi does photograph men, they focus mostly on women and femmes, and \u003cem>Eye Me\u003c/em> wafts with the fragrances of a multi-layered femininity, be it a lover’s protective, warning stare, two naked women in joking play or partners standing in a large bucket bathing themselves together. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13951888","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Muholi is drawn to patterns made by embracing bodies and entwined limbs. Their portrait of queer couple Musa Ngubane and Mabongi Ndlovu shows a hug in which hands and arms seem almost preternaturally connected. The shot of Katlego Mashiloane and Nosipho Lavuta bent over, bathing together, makes the pair’s backs look as though they are merging together into one.\u003c/p>\n\u003cp>This sense of cohesion makes these images feel so intimate, emotionally raw and powerful. \u003cem>Eye Me\u003c/em> can at times be an overwhelming experience for the intensity and quantity of emotions that permeate from virtually every shot in the show.\u003c/p>\n\u003cfigure id=\"attachment_13952142\" class=\"wp-caption aligncenter\" style=\"max-width: 2222px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952142\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/11_Zanele-Muholi_Somnyama-Ngonyama-II_Oslo_2015-scaled.jpg\" alt=\"A black-and-white self-portrait of the artist with elaborate fabric framing their face.\" width=\"2222\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/11_Zanele-Muholi_Somnyama-Ngonyama-II_Oslo_2015-scaled.jpg 2222w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/11_Zanele-Muholi_Somnyama-Ngonyama-II_Oslo_2015-800x922.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/11_Zanele-Muholi_Somnyama-Ngonyama-II_Oslo_2015-1020x1175.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/11_Zanele-Muholi_Somnyama-Ngonyama-II_Oslo_2015-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/11_Zanele-Muholi_Somnyama-Ngonyama-II_Oslo_2015-768x885.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/11_Zanele-Muholi_Somnyama-Ngonyama-II_Oslo_2015-1333x1536.jpg 1333w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/11_Zanele-Muholi_Somnyama-Ngonyama-II_Oslo_2015-1777x2048.jpg 1777w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/11_Zanele-Muholi_Somnyama-Ngonyama-II_Oslo_2015-1920x2212.jpg 1920w\" sizes=\"(max-width: 2222px) 100vw, 2222px\">\u003cfigcaption class=\"wp-caption-text\">Zanele Muholi, ‘Somnyama Ngonyama II,’ Oslo, 2015. \u003ccite>(Courtesy of the artist and Yancey Richardson, New York; © Zanele Muholi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The largest gallery in \u003cem>Eye Me\u003c/em> is reserved for work from Muholi’s magisterial series “Somnyama Ngonyama,” in which they took 365 self-portraits as a vast array of alter egos in locations around the world, from Kyoto to Charlottesville to Nuoro, Italy. Striking in their intricacy (see the dozens of combs carefully arrayed in Muholi’s hair for “Qiniso”) as well as provocative (for “Faniswa,” Muholi painted a uterus on their shoulder), the photographs show the artist often adopting postures of coiled power and great intensity.\u003c/p>\n\u003cp>For the exhibit, SFMOMA reproduced several of the images from this series to mural size, and the effect is electrifying. In a piece like “Manzi I,” the larger size gives audiences the chance to fully appreciate Muholi’s intricate interplay of textures and masterful arrangement of tones, and their facial expression of wariness, fatigue and resistance hits all the harder. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13950490","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>No matter how abstract or timeless it aspires to be, all art is created and viewed within a cultural context. It feels complicated to experience \u003cem>Eye Me\u003c/em> in San Francisco — a part of the United States that remains relatively safe while much of the country unleashes a tide of anti-LGBTQ+ hatred. Even though South Africa is among the most progressive African nations when it comes to queer rights — in 1996 it became the first country in the world to put legal protections for LGBTQ+ people into its constitution — violence, poverty and fragility are basic constituents of Muholi’s artistic palette. It is hard not to wonder what everyday life is like for their subjects. Such questions lead inevitably back to thoughts of how Blackness and queerness are increasingly the subject of violence and depredation here in the U.S.\u003c/p>\n\u003cfigure id=\"attachment_13952144\" class=\"wp-caption aligncenter\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952144\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/04_Zanele-Muholi_Yaya-Mavundla-Parktown-Johannesburg_2014-scaled.jpg\" alt=\"\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/04_Zanele-Muholi_Yaya-Mavundla-Parktown-Johannesburg_2014-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/04_Zanele-Muholi_Yaya-Mavundla-Parktown-Johannesburg_2014-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/04_Zanele-Muholi_Yaya-Mavundla-Parktown-Johannesburg_2014-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/04_Zanele-Muholi_Yaya-Mavundla-Parktown-Johannesburg_2014-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/04_Zanele-Muholi_Yaya-Mavundla-Parktown-Johannesburg_2014-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/04_Zanele-Muholi_Yaya-Mavundla-Parktown-Johannesburg_2014-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/04_Zanele-Muholi_Yaya-Mavundla-Parktown-Johannesburg_2014-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/04_Zanele-Muholi_Yaya-Mavundla-Parktown-Johannesburg_2014-1920x2880.jpg 1920w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">Zanele Muholi, ‘Yaya Mavundla, Parktown, Johannesburg,’ from the series ‘Brave Beauties,’ 2014. \u003ccite>(Courtesy of the artist and Yancey Richardson, New York; © Zanele Muholi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Although Muholi tends to shoot their photos in ways that abstract away the surrounding world, there is still a powerful sense of being granted glimpses into a community in which the hope for safety and dignity resonates. This is in part because Muholi so assiduously manages the signifiers of Blackness and queerness in their photos — for instance, in “Yaya Mavundla I,” a trans woman stands proud and elegant in a bra and miniskirt made from layers and layers of Saran Wrap. The sense of defiance in the face of invalidation and vulnerability is familiar, even as Mavundla’s body feels part of a queerness that hits very differently from what viewers in San Francisco might be accustomed to. This mixture makes \u003cem>Eye Me\u003c/em> feel necessary and vital.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.sfmoma.org/exhibition/zanele-muholi-eye-me/\">Zanele Muholi’s ‘Eye Me’\u003c/a> is on view at SFMOMA through Aug. 11, 2024. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13952117/zanele-muholi-sfmoma-eye-me-queer-south-african-photography","authors":["byline_arts_13952117"],"categories":["arts_1","arts_70"],"tags":["arts_3226","arts_822","arts_769","arts_1381"],"featImg":"arts_13952138","label":"arts"},"arts_13940467":{"type":"posts","id":"arts_13940467","meta":{"index":"posts_1591205157","site":"arts","id":"13940467","score":null,"sort":[1705424416000]},"guestAuthors":[],"slug":"sfmoma-announces-16-finalists-for-the-seca-art-award","title":"SFMOMA Announces 16 Finalists for the SECA Art Award","publishDate":1705424416,"format":"standard","headTitle":"SFMOMA Announces 16 Finalists for the SECA Art Award | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>The San Francisco Museum of Modern art has announced the names of 16 finalists for their 2024 SECA Art Award. For those unfamiliar with the \u003ca href=\"https://www.sfmoma.org/membership/seca/\">Society for the Encouragement of Contemporary Art\u003c/a> (a membership group within the museum), its biennial award process culminates in an SFMOMA exhibition for a handful of Bay Area artists who haven’t previously received “substantial recognition” from a major institution. \u003c/p>\n\u003cp>This is a fuzzy definition, since many of these names will be familiar to those who follow the Museum of the African Diaspora’s \u003ca href=\"https://www.moadsf.org/projects/emerging-artists-program\">Emerging Artists Program\u003c/a>, have visited Yerba Buena Center for the Arts’ \u003ci>\u003ca href=\"https://ybca.org/event/bay-area-now-9/\">Bay Area Now 9\u003c/a>\u003c/i> or, um, frequent \u003ca href=\"https://www.icasf.org/\">any\u003c/a> of the \u003ca href=\"https://www.icasanjose.org/\">ICAs\u003c/a> around the region. Quibbles aside, advancing to this stage of the awards cycle is a true accomplishment — a big congratulations to everyone listed below!\u003c/p>\n\u003cp>\u003cstrong>The 2024 SECA finalists:\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"https://arcega.us/home.html\">Michael Arcega\u003c/a>\u003cbr>\n\u003ca href=\"http://www.miguelarzabe.net\">Miguel Arzabe\u003c/a>\u003cbr>\n\u003ca href=\"http://www.libbyblack.com\">Libby Black\u003c/a>\u003cbr>\n\u003ca href=\"http://www.laurendamato.com\">Lauren D’Amato\u003c/a>\u003cbr>\n\u003ca href=\"http://www.oliverdicicco.com\">Oliver Dicicco\u003c/a>\u003cbr>\n\u003ca href=\"https://pazgstudio.com/\">Paz G.\u003c/a>\u003cbr>\n\u003ca href=\"http://www.nimahgobir.com\">Nimah Gobir\u003c/a>\u003cbr>\n\u003ca href=\"https://jamilhellu.net\">Jamil Hellu\u003c/a>\u003cbr>\n\u003ca href=\"http://www.angelahennessy.com\">Angela Hennessy\u003c/a>\u003cbr>\n\u003ca href=\"https://www.rhondaholberton.com/\">Rhonda Holberton\u003c/a>\u003cbr>\n\u003ca href=\"https://www.creativityexplored.org/artists/camille-holvoet\">Camille Holvoet\u003c/a>\u003cbr>\n\u003ca href=\"http://www.a-z-lee.com\">Ahn Lee\u003c/a>\u003cbr>\n\u003ca href=\"http://www.merylpataky.com\">Meryl Pataky\u003c/a>\u003cbr>\n\u003ca href=\"https://www.trinamrobinson.com\">Trina Michelle Robinson\u003c/a>\u003cbr>\n\u003ca href=\"http://www.rupyctut.com\">Rupy C. Tut\u003c/a>\u003cbr>\n\u003ca href=\"http://www.correavalencia.com\">Arleene Correa Valencia\u003c/a>\u003c/p>\n\u003cp>As usual, the assembled list of artists represent a range of generations, mediums and subject matter. This year’s finalists work in sound art, ceramics, photography, performance and installation — and neon! — to name just a few of the more categorizable practices. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>SFMOMA curators Maria Castro and Shana Lopes will conduct studio visits with the artists in February and March and ultimately select a handful of locals (\u003ca href=\"https://www.kqed.org/arts/13923804/2022-seca-art-award-exhibition-sfmoma-review\">2022’s SECA show\u003c/a> included five artists) for a December 2024 exhibition. The SECA show will run through May 2025, and will include a publication edited by the two curators.\u003c/p>\n\n","blocks":[],"excerpt":"The museum named 16 artists as finalists for an award that culminates in a museum exhibition in December 2024.","status":"publish","parent":0,"modified":1705450258,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":8,"wordCount":284},"headData":{"title":"SFMOMA Announces 16 Finalists for the SECA Art Award | KQED","description":"The museum named 16 artists as finalists for an award that culminates in a museum exhibition in December 2024.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"SFMOMA Announces 16 Finalists for the SECA Art Award","datePublished":"2024-01-16T17:00:16.000Z","dateModified":"2024-01-17T00:10:58.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13940467/sfmoma-announces-16-finalists-for-the-seca-art-award","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The San Francisco Museum of Modern art has announced the names of 16 finalists for their 2024 SECA Art Award. For those unfamiliar with the \u003ca href=\"https://www.sfmoma.org/membership/seca/\">Society for the Encouragement of Contemporary Art\u003c/a> (a membership group within the museum), its biennial award process culminates in an SFMOMA exhibition for a handful of Bay Area artists who haven’t previously received “substantial recognition” from a major institution. \u003c/p>\n\u003cp>This is a fuzzy definition, since many of these names will be familiar to those who follow the Museum of the African Diaspora’s \u003ca href=\"https://www.moadsf.org/projects/emerging-artists-program\">Emerging Artists Program\u003c/a>, have visited Yerba Buena Center for the Arts’ \u003ci>\u003ca href=\"https://ybca.org/event/bay-area-now-9/\">Bay Area Now 9\u003c/a>\u003c/i> or, um, frequent \u003ca href=\"https://www.icasf.org/\">any\u003c/a> of the \u003ca href=\"https://www.icasanjose.org/\">ICAs\u003c/a> around the region. Quibbles aside, advancing to this stage of the awards cycle is a true accomplishment — a big congratulations to everyone listed below!\u003c/p>\n\u003cp>\u003cstrong>The 2024 SECA finalists:\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"https://arcega.us/home.html\">Michael Arcega\u003c/a>\u003cbr>\n\u003ca href=\"http://www.miguelarzabe.net\">Miguel Arzabe\u003c/a>\u003cbr>\n\u003ca href=\"http://www.libbyblack.com\">Libby Black\u003c/a>\u003cbr>\n\u003ca href=\"http://www.laurendamato.com\">Lauren D’Amato\u003c/a>\u003cbr>\n\u003ca href=\"http://www.oliverdicicco.com\">Oliver Dicicco\u003c/a>\u003cbr>\n\u003ca href=\"https://pazgstudio.com/\">Paz G.\u003c/a>\u003cbr>\n\u003ca href=\"http://www.nimahgobir.com\">Nimah Gobir\u003c/a>\u003cbr>\n\u003ca href=\"https://jamilhellu.net\">Jamil Hellu\u003c/a>\u003cbr>\n\u003ca href=\"http://www.angelahennessy.com\">Angela Hennessy\u003c/a>\u003cbr>\n\u003ca href=\"https://www.rhondaholberton.com/\">Rhonda Holberton\u003c/a>\u003cbr>\n\u003ca href=\"https://www.creativityexplored.org/artists/camille-holvoet\">Camille Holvoet\u003c/a>\u003cbr>\n\u003ca href=\"http://www.a-z-lee.com\">Ahn Lee\u003c/a>\u003cbr>\n\u003ca href=\"http://www.merylpataky.com\">Meryl Pataky\u003c/a>\u003cbr>\n\u003ca href=\"https://www.trinamrobinson.com\">Trina Michelle Robinson\u003c/a>\u003cbr>\n\u003ca href=\"http://www.rupyctut.com\">Rupy C. Tut\u003c/a>\u003cbr>\n\u003ca href=\"http://www.correavalencia.com\">Arleene Correa Valencia\u003c/a>\u003c/p>\n\u003cp>As usual, the assembled list of artists represent a range of generations, mediums and subject matter. This year’s finalists work in sound art, ceramics, photography, performance and installation — and neon! — to name just a few of the more categorizable practices. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>SFMOMA curators Maria Castro and Shana Lopes will conduct studio visits with the artists in February and March and ultimately select a handful of locals (\u003ca href=\"https://www.kqed.org/arts/13923804/2022-seca-art-award-exhibition-sfmoma-review\">2022’s SECA show\u003c/a> included five artists) for a December 2024 exhibition. The SECA show will run through May 2025, and will include a publication edited by the two curators.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13940467/sfmoma-announces-16-finalists-for-the-seca-art-award","authors":["61"],"categories":["arts_1","arts_70"],"tags":["arts_10278","arts_1381","arts_901"],"featImg":"arts_13950351","label":"arts"},"arts_13940225":{"type":"posts","id":"arts_13940225","meta":{"index":"posts_1591205157","site":"arts","id":"13940225","score":null,"sort":[1704838514000]},"guestAuthors":[],"slug":"sfmoma-free-family-day-jan-14-pacita-abad-diego-rivera","title":"SFMOMA’s Free Family Day on Jan. 14: A Last Chance to See Two Great Shows","publishDate":1704838514,"format":"standard","headTitle":"SFMOMA’s Free Family Day on Jan. 14: A Last Chance to See Two Great Shows | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>Museum tickets (like most things) have gotten more and more expensive, which is why it’s become altogether necessary to keep track of \u003ca href=\"https://www.kqed.org/news/11943906/how-to-find-free-museum-tickets-in-the-bay-area\">various local institutions’ free days\u003c/a>. In a perfect world, museum collections, part of our region’s cultural fabric, would be freely accessible — but until that day comes, we have to cling tightly to opportunities like SFMOMA’s upcoming Free Family Day. [aside postID='news_11943906']\u003c/p>\n\u003cp>While visitors 18 and under always receive free admission to the museum, on Sunday, Jan. 14, up to four adults accompanying a child or teen can also enjoy SFMOMA without stressing over a $30 ticket. And while there are plenty of current shows which might appeal to younger audiences (\u003ca href=\"https://www.sfmoma.org/exhibition/wolfgang-tillmans-to-look-without-fear/\">Wolfgang Tillmans\u003c/a> for the budding photographer, \u003ci>\u003ca href=\"https://www.kqed.org/arts/13933658/sitting-on-chrome-sfmoma-review\">Sitting on Chrome\u003c/a>\u003c/i> for those who love a bit of sparkle, \u003ci>\u003ca href=\"https://www.sfmoma.org/exhibition/ragnar-kjartansson-the-visitors/\">The Visitors\u003c/a>\u003c/i> for the musically inclined), Sunday will be one of the last opportunities to see two very important ones.\u003c/p>\n\u003cp>The first is the monumental installation of Diego Rivera’s \u003ci>\u003ca href=\"https://www.sfmoma.org/exhibition/pan-american-unity/\">Pan American Unity\u003c/a>\u003c/i> mural, which has been on display in the Roberts Family Gallery since June 2021. If you haven’t seen it yet, I’m not sure what you’ve been doing, but this dense, truly awe-inspiring fresco leaves public view after Jan. 21. Given the ongoing legal dispute between SFMOMA and City College of San Francisco over expenses related to the mural’s relocation and storage, combined with the fact that the building it’s meant to live in has yet to be built, I’m not sure when we’ll next get a chance to bask in its presence.\u003c/p>\n\u003cfigure id=\"attachment_13825831\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/PanamericanUnity.jpg\" alt=\"Pan American Unity mural by Diego Rivera\" width=\"2048\" height=\"611\" class=\"size-full wp-image-13825831\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/PanamericanUnity.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/PanamericanUnity-160x48.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/PanamericanUnity-800x239.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/PanamericanUnity-768x229.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/PanamericanUnity-1020x304.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/PanamericanUnity-1920x573.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/PanamericanUnity-1180x352.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/PanamericanUnity-960x286.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/PanamericanUnity-240x72.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/PanamericanUnity-375x112.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/PanamericanUnity-520x155.jpg 520w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Diego Rivera, ‘Pan American Unity,’ 1940. \u003ccite>(Courtesy of City College of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The second show is \u003ci>\u003ca href=\"https://www.kqed.org/arts/13936714/pacita-abad-sfmoma-review\">Pacita Abad\u003c/a>\u003c/i>, closing Jan. 28. Do not miss this beautiful retrospective of the Philippines-born artist who drew materials and methods from her international travels, which allowed her to fully absorb the traditional craft practices she met along the way. There is nothing stuffy about this exhibition — painted textiles hang from the ceiling, the walls zing with bright shades of paint and Abad’s thrilling combinations of color and texture show the process of their making.\u003c/p>\n\u003cp>In that spirit, Sunday’s family day will have a number of opportunities for hands-on art making in the museum’s fourth floor “white box,” and a partnership with SOMA Pilipinas will bring performances and a scavenger hunt to the museum. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>SFMOMA’s \u003ca href=\"https://www.sfmoma.org/visit/free-family-day-faq/\">Free Family Day\u003c/a> is Jan. 14, 10 a.m.–6 p.m. You can \u003ca href=\"https://tickets.sfmoma.org/tickets/type=all\">reserve tickets\u003c/a> in advance.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"The museum welcomes up to four adults with a child or teen for a day of family-friendly programming. ","status":"publish","parent":0,"modified":1705002912,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":8,"wordCount":446},"headData":{"title":"SFMOMA Hosts a Free Family Day on Jan. 14 | KQED","description":"The museum welcomes up to four adults with a child or teen for a day of family-friendly programming. ","ogTitle":"SFMOMA Free Family Day on Jan. 14: A Last Chance to See Two Great Shows","ogDescription":"","ogImgId":"","twTitle":"SFMOMA Free Family Day on Jan. 14: A Last Chance to See Two Great Shows","twDescription":"","twImgId":"","socialTitle":"SFMOMA Hosts a Free Family Day on Jan. 14 %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"SFMOMA’s Free Family Day on Jan. 14: A Last Chance to See Two Great Shows","datePublished":"2024-01-09T22:15:14.000Z","dateModified":"2024-01-11T19:55:12.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13940225/sfmoma-free-family-day-jan-14-pacita-abad-diego-rivera","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Museum tickets (like most things) have gotten more and more expensive, which is why it’s become altogether necessary to keep track of \u003ca href=\"https://www.kqed.org/news/11943906/how-to-find-free-museum-tickets-in-the-bay-area\">various local institutions’ free days\u003c/a>. In a perfect world, museum collections, part of our region’s cultural fabric, would be freely accessible — but until that day comes, we have to cling tightly to opportunities like SFMOMA’s upcoming Free Family Day. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"news_11943906","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>While visitors 18 and under always receive free admission to the museum, on Sunday, Jan. 14, up to four adults accompanying a child or teen can also enjoy SFMOMA without stressing over a $30 ticket. And while there are plenty of current shows which might appeal to younger audiences (\u003ca href=\"https://www.sfmoma.org/exhibition/wolfgang-tillmans-to-look-without-fear/\">Wolfgang Tillmans\u003c/a> for the budding photographer, \u003ci>\u003ca href=\"https://www.kqed.org/arts/13933658/sitting-on-chrome-sfmoma-review\">Sitting on Chrome\u003c/a>\u003c/i> for those who love a bit of sparkle, \u003ci>\u003ca href=\"https://www.sfmoma.org/exhibition/ragnar-kjartansson-the-visitors/\">The Visitors\u003c/a>\u003c/i> for the musically inclined), Sunday will be one of the last opportunities to see two very important ones.\u003c/p>\n\u003cp>The first is the monumental installation of Diego Rivera’s \u003ci>\u003ca href=\"https://www.sfmoma.org/exhibition/pan-american-unity/\">Pan American Unity\u003c/a>\u003c/i> mural, which has been on display in the Roberts Family Gallery since June 2021. If you haven’t seen it yet, I’m not sure what you’ve been doing, but this dense, truly awe-inspiring fresco leaves public view after Jan. 21. Given the ongoing legal dispute between SFMOMA and City College of San Francisco over expenses related to the mural’s relocation and storage, combined with the fact that the building it’s meant to live in has yet to be built, I’m not sure when we’ll next get a chance to bask in its presence.\u003c/p>\n\u003cfigure id=\"attachment_13825831\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/PanamericanUnity.jpg\" alt=\"Pan American Unity mural by Diego Rivera\" width=\"2048\" height=\"611\" class=\"size-full wp-image-13825831\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/PanamericanUnity.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/PanamericanUnity-160x48.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/PanamericanUnity-800x239.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/PanamericanUnity-768x229.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/PanamericanUnity-1020x304.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/PanamericanUnity-1920x573.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/PanamericanUnity-1180x352.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/PanamericanUnity-960x286.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/PanamericanUnity-240x72.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/PanamericanUnity-375x112.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/PanamericanUnity-520x155.jpg 520w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Diego Rivera, ‘Pan American Unity,’ 1940. \u003ccite>(Courtesy of City College of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The second show is \u003ci>\u003ca href=\"https://www.kqed.org/arts/13936714/pacita-abad-sfmoma-review\">Pacita Abad\u003c/a>\u003c/i>, closing Jan. 28. Do not miss this beautiful retrospective of the Philippines-born artist who drew materials and methods from her international travels, which allowed her to fully absorb the traditional craft practices she met along the way. There is nothing stuffy about this exhibition — painted textiles hang from the ceiling, the walls zing with bright shades of paint and Abad’s thrilling combinations of color and texture show the process of their making.\u003c/p>\n\u003cp>In that spirit, Sunday’s family day will have a number of opportunities for hands-on art making in the museum’s fourth floor “white box,” and a partnership with SOMA Pilipinas will bring performances and a scavenger hunt to the museum. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>SFMOMA’s \u003ca href=\"https://www.sfmoma.org/visit/free-family-day-faq/\">Free Family Day\u003c/a> is Jan. 14, 10 a.m.–6 p.m. You can \u003ca href=\"https://tickets.sfmoma.org/tickets/type=all\">reserve tickets\u003c/a> in advance.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13940225/sfmoma-free-family-day-jan-14-pacita-abad-diego-rivera","authors":["61"],"programs":["arts_140"],"categories":["arts_1","arts_235","arts_70"],"tags":["arts_2647","arts_1381","arts_8836","arts_585","arts_901"],"featImg":"arts_13936721","label":"arts_140"},"arts_13937967":{"type":"posts","id":"arts_13937967","meta":{"index":"posts_1591205157","site":"arts","id":"13937967","score":null,"sort":[1699926604000]},"guestAuthors":[],"slug":"sfmoma-layoffs-2023-decline-in-attendance","title":"SFMOMA Eliminates 20 Positions, Citing 35% Decline in Attendance","publishDate":1699926604,"format":"standard","headTitle":"SFMOMA Eliminates 20 Positions, Citing 35% Decline in Attendance | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>The San Francisco Museum of Modern art quietly announced the layoff of seven staff members on Nov. 10 via a “\u003ca href=\"https://www.sfmoma.org/press-release/letter-to-the-community/\">Letter to the Community\u003c/a>” signed by museum director Chris Bedford. Further cuts include 13 open positions that will not be refilled.\u003c/p>\n\u003cp>The letter, posted to the museum’s press page on Friday, was also sent as an email to SFMOMA staff. In it, Bedford explained that the museum’s visitorship still has not recovered to pre-pandemic levels. Attendance for fiscal year 2023 was about 65% of 2019 attendance, “mirroring reduced foot traffic in San Francisco’s Downtown Core and our city’s broader economic issues,” Bedford wrote.\u003c/p>\n\u003cp>Unlike previous \u003ca href=\"https://www.kqed.org/arts/13877653/sfmoma-to-lay-off-or-furlough-over-300-museum-staff\">staff\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13900017/sfmoma-cuts-several-programs-and-staff-positions-citing-declining-attendance\">program cuts\u003c/a>, Friday’s layoffs came as a surprise and were effective immediately, according to a source inside the museum. Bedford’s letter said SFMOMA is making changes that are “part of an ongoing holistic approach that embraces both revenue-generating and cost-saving measures.”\u003c/p>\n\u003cp>[aside postID='arts_13935810']Some of those revenue-generating measures include increases to ticket prices and membership rates, along with programmatic changes that “prioritize those exhibitions that have the greatest impact for our audiences,” according to Friday’s announcement. On Oct. 14, adult ticket prices increased from $25 to $30, coinciding with the opening of \u003ci>\u003ca href=\"https://www.kqed.org/arts/13935810/yayoi-kusama-sfmoma-infinite-love-review\">Yayoi Kusama: Infinite Love\u003c/a>\u003c/i>, a show with a $10 surcharge and timed entry.\u003c/p>\n\u003cp>The museum confirmed that the eliminated positions do not contain any frontline staff roles and include a cross-section of departments and management levels. SFMOMA currently has about 350 people on staff. The seven layoffs include union members and represent a reduction of approximately 2%.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"The museum laid off seven staff members on Nov. 10 and will not refill 13 open positions. ","status":"publish","parent":0,"modified":1705003104,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":7,"wordCount":286},"headData":{"title":"SFMOMA Eliminates 20 Positions, Cites 35% Drop in Attendance | KQED","description":"The museum laid off seven staff members on Nov. 10 and will not refill 13 open positions. ","ogTitle":"SFMOMA Eliminates 20 Positions, Citing 35% Decline in Attendance","ogDescription":"","ogImgId":"","twTitle":"SFMOMA Eliminates 20 Positions, Citing 35% Decline in Attendance","twDescription":"","twImgId":"","socialTitle":"SFMOMA Eliminates 20 Positions, Cites 35% Drop in Attendance %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"SFMOMA Eliminates 20 Positions, Citing 35% Decline in Attendance","datePublished":"2023-11-14T01:50:04.000Z","dateModified":"2024-01-11T19:58:24.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13937967/sfmoma-layoffs-2023-decline-in-attendance","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The San Francisco Museum of Modern art quietly announced the layoff of seven staff members on Nov. 10 via a “\u003ca href=\"https://www.sfmoma.org/press-release/letter-to-the-community/\">Letter to the Community\u003c/a>” signed by museum director Chris Bedford. Further cuts include 13 open positions that will not be refilled.\u003c/p>\n\u003cp>The letter, posted to the museum’s press page on Friday, was also sent as an email to SFMOMA staff. In it, Bedford explained that the museum’s visitorship still has not recovered to pre-pandemic levels. Attendance for fiscal year 2023 was about 65% of 2019 attendance, “mirroring reduced foot traffic in San Francisco’s Downtown Core and our city’s broader economic issues,” Bedford wrote.\u003c/p>\n\u003cp>Unlike previous \u003ca href=\"https://www.kqed.org/arts/13877653/sfmoma-to-lay-off-or-furlough-over-300-museum-staff\">staff\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13900017/sfmoma-cuts-several-programs-and-staff-positions-citing-declining-attendance\">program cuts\u003c/a>, Friday’s layoffs came as a surprise and were effective immediately, according to a source inside the museum. Bedford’s letter said SFMOMA is making changes that are “part of an ongoing holistic approach that embraces both revenue-generating and cost-saving measures.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13935810","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Some of those revenue-generating measures include increases to ticket prices and membership rates, along with programmatic changes that “prioritize those exhibitions that have the greatest impact for our audiences,” according to Friday’s announcement. On Oct. 14, adult ticket prices increased from $25 to $30, coinciding with the opening of \u003ci>\u003ca href=\"https://www.kqed.org/arts/13935810/yayoi-kusama-sfmoma-infinite-love-review\">Yayoi Kusama: Infinite Love\u003c/a>\u003c/i>, a show with a $10 surcharge and timed entry.\u003c/p>\n\u003cp>The museum confirmed that the eliminated positions do not contain any frontline staff roles and include a cross-section of departments and management levels. SFMOMA currently has about 350 people on staff. The seven layoffs include union members and represent a reduction of approximately 2%.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13937967/sfmoma-layoffs-2023-decline-in-attendance","authors":["61"],"categories":["arts_1","arts_235"],"tags":["arts_10342","arts_10278","arts_1381"],"featImg":"arts_13853236","label":"arts"}},"programsReducer":{"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. 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Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.","airtime":"SUN 2pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.possible.fm/","meta":{"site":"news","source":"Possible"},"link":"/radio/program/possible","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/possible/id1677184070","spotify":"https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"}},"1a":{"id":"1a","title":"1A","info":"1A is home to the national conversation. 1A brings on great guests and frames the best debate in ways that make you think, share and engage.","airtime":"MON-THU 11pm-12am","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/1a.jpg","officialWebsiteLink":"https://the1a.org/","meta":{"site":"news","source":"npr"},"link":"/radio/program/1a","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=1188724250&at=11l79Y&ct=nprdirectory","tuneIn":"https://tunein.com/radio/1A-p947376/","rss":"https://feeds.npr.org/510316/podcast.xml"}},"all-things-considered":{"id":"all-things-considered","title":"All Things Considered","info":"Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. 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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 />","airtime":"SUN 9pm-10pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg","meta":{"site":"radio","source":"npr"},"link":"/radio/program/code-switch-life-kit","subscribe":{"apple":"https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy","spotify":"https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV","rss":"https://feeds.npr.org/510312/podcast.xml"}},"commonwealth-club":{"id":"commonwealth-club","title":"Commonwealth Club of California Podcast","info":"The Commonwealth Club of California is the nation's oldest and largest public affairs forum. 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