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"title": "A Sparse Exhibition for a Crowded City at SOMArts",
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"content": "\u003cp>\u003ci>Is the floor of SOMArts always this glossy gray?\u003c/i> I asked as I stepped into the cavernous cultural center’s main gallery. Yes, the gallery attendant confirmed, it’s always this glossy gray. There’s just less stuff in the gallery, she explained, and the lighting (spotlights instead of overhead fluorescents) makes the space feel different.\u003c/p>\n\u003cp>\u003ci>Something (you can’t see, on the other side, of a wall from this side) casts a shadow\u003c/i> not only contains less work than your everyday SOMArts show (clocking in at just 17 artists), the art itself isn’t your ordinary fare. And by ordinary fare, I mean work by local, living practitioners. Only three of the 17 fall into that category.\u003c/p>\n\u003cp>Instead of sampling the current work of Bay Area artists, \u003ci>Something\u003c/i> is an exhibition that plucks its ingredients—carefully, purposefully—from different times and places to reflect on a very immediate and local question: How do bodies in a changing urban landscape challenge the forces that seek to erase them?\u003c/p>\n\u003cfigure id=\"attachment_13838129\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/Nengudi_1200.jpg\" alt=\"Senga Nengudi, 'R.S.V.P. Reverie-0,' 2015.\" width=\"1200\" height=\"795\" class=\"size-full wp-image-13838129\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Nengudi_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Nengudi_1200-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Nengudi_1200-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Nengudi_1200-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Nengudi_1200-1020x676.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Nengudi_1200-1180x782.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Nengudi_1200-960x636.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Nengudi_1200-240x159.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Nengudi_1200-375x248.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Nengudi_1200-520x345.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Senga Nengudi, ‘R.S.V.P. Reverie-0,’ 2015. \u003ccite>(Courtesy of Lévy Gorvy, New York and Thomas Erben Gallery, New York; Photo by Kevan Jenson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In an elegant and uncrowded installation, curator Juana Berrío (former artistic director of \u003ca href=\"https://www.kqed.org/arts/10475222/frames-felt-and-speculative-fiction-at-kiria-koula\" rel=\"noopener\" target=\"_blank\">Kiria Koula\u003c/a>, a now-closed gallery and bookstore in San Francisco’s Mission District) brings together photography, video, sculpture, conceptual art, graphic scores of improvised music and an artist-made walk to demonstrate the very different ways artists might respond to that question. \u003c/p>\n\u003cp>Gordon Parks’ 1952 silver gelatin print, a composite image of the New York skyline and the subterranean lightbulb-covered dwelling of Ralph Ellison’s \u003ci>Invisible Man\u003c/i>, provides the most literal illustration of the above, but for the most part \u003ci>Something\u003c/i> takes an oblique look at the Bay Area’s housing crisis, one that doesn’t presume to offer solutions, but rather introduces artistic tactics for humanizing the way we look at, move through and use urban space.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The show opens with an deeply empathetic consideration of all living things, courtesy of David Wojnarowicz’s \u003ci>What is this little guy’s job in the world\u003c/i>, a black-and-white photograph of a hand cradling a tiny frog. “Does the world feel this?” reads a block of text in the corner of the image. “If this little guy dies does the world get a little lighter?” \u003c/p>\n\u003cp>The print hangs on narrow monolith-like wall that supports, on its opposite side, a very small platinum print by Catherine Opie, a photographer better known for colorful portraits of queer communities. Bookending Wojnarowicz’s consideration of bodies large and small is Opie’s image of a freeway under construction, a structure that conveys bodies, but also destroys them, divides them and, in the case of the neighborhood around SOMArts, often shelters them.\u003c/p>\n\u003cfigure id=\"attachment_13838125\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/Cruzvillegas_1200.jpg\" alt=\"Abraham Cruzvillegas, 'Wright Imperial Hotel,' 2004.\" width=\"1200\" height=\"805\" class=\"size-full wp-image-13838125\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Cruzvillegas_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Cruzvillegas_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Cruzvillegas_1200-800x537.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Cruzvillegas_1200-768x515.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Cruzvillegas_1200-1020x684.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Cruzvillegas_1200-1180x792.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Cruzvillegas_1200-960x644.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Cruzvillegas_1200-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Cruzvillegas_1200-375x252.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Cruzvillegas_1200-520x349.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Abraham Cruzvillegas, ‘Wright Imperial Hotel,’ 2004. \u003ccite>(Courtesy of Abraham Cruzvillegas and KADIST; Photo by Kevan Jenson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This push and pull between human-scale concerns and the larger forces that attempt to exert control over humans continues throughout the exhibition. Abraham Cruzvillegas’ \u003ci>Wright Imperial Hotel\u003c/i> impales a São Paulo phone book—a futile attempt at representing an entire population—with wooden arrows, a nod to Brazil’s indigenous communities and all who might not have official addresses or phone numbers. In Zoe Leonard’s photograph \u003ci>Two trees\u003c/i>, she captures two tree trunks in New York that have grown through and around the chain-link fence meant to demarcate a human boundary.\u003c/p>\n\u003cp>Sculptures made from discarded or repurposed materials signal another kind of resistance against societal norms. Carl Hendrickson’s untitled wooden constructions look like they might have multiple, fanciful uses (hat rack or minimalist Christmas tree?), and Davina Semo’s wall piece of corrugated metal, titled \u003ci>MAYBE SHE FELT THE SAME, OR MAYBE HER HEAD WAS SOMEWHERE ELSE\u003c/i>, lends personality and agency to rough industrial materials. \u003c/p>\n\u003cfigure id=\"attachment_13838126\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/Hendrickson_1200.jpg\" alt=\"Installation view of 'Something (you can’t see, on the other side, of a wall from this side) casts a shadow,' with work by Carl Hendrickson in the foreground.\" width=\"1200\" height=\"776\" class=\"size-full wp-image-13838126\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Hendrickson_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Hendrickson_1200-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Hendrickson_1200-800x517.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Hendrickson_1200-768x497.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Hendrickson_1200-1020x660.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Hendrickson_1200-1180x763.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Hendrickson_1200-960x621.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Hendrickson_1200-240x155.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Hendrickson_1200-375x243.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Hendrickson_1200-520x336.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Something (you can’t see, on the other side, of a wall from this side) casts a shadow,’ with work by Carl Hendrickson in the foreground. \u003ccite>(Courtesy of Creative Growth; Photo by Kevan Jenson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>Something\u003c/i>’s palette is full of somber browns and grays, but that doesn’t mean the show itself if uniformly solemn. Stuart Sherman’s looping videos of the artist performing thematic “spectacles” with everyday objects are equal parts experimental theater and absurdist ritual. And David Wilson’s \u003ci>Walk to a Place\u003c/i>, a folded takeaway that charts the artist’s route from SOMArts to a Potrero Hill vista to the Dogpatch print shop where he made the photocopies for the show, is annotated with cheerful conversational text and breezy sketches. \u003c/p>\n\u003cp>Despite these more lighthearted interventions into everyday city life, it’s David Hammons’ \u003ci>Phat Free\u003c/i>, which provides the exhibition’s soundtrack and perhaps best captures the conflict at the center of \u003ci>Something\u003c/i>’s operating question. Feathery video shows the artist kicking a pail, with a grinding scrape and rattle, through the empty streets of nighttime New York City. He loudly, even confrontationally, claims the sidewalk and everything within earshot of his racket.\u003c/p>\n\u003cfigure id=\"attachment_13838127\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/Install_1200.jpg\" alt=\"Installation view of 'Something (you can’t see, on the other side, of a wall from this side) casts a shadow,' with video by Stuart Sherman in the center.\" width=\"1200\" height=\"723\" class=\"size-full wp-image-13838127\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Install_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Install_1200-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Install_1200-800x482.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Install_1200-768x463.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Install_1200-1020x615.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Install_1200-1180x711.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Install_1200-960x578.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Install_1200-240x145.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Install_1200-375x226.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Install_1200-520x313.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Something (you can’t see, on the other side, of a wall from this side) casts a shadow,’ with video by Stuart Sherman in the center. \u003ccite>(Photo by Kevan Jenson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There are few bodies represented in \u003ci>Something\u003c/i>, but maybe that’s because there are so many bodies outside of the gallery, across SoMA, San Francisco and the Bay Area, who exist where the city would rather they not. In Dodie Bellamy’s essay “In the Shadow of the Twitter Towers,” included in her collection \u003ci>When the Sick Rule the World\u003c/i> and part of the exhibition’s reading room, she writes about confronting the daily dissonance of observing San Francisco’s homeless population outside of luxury condos and Twitter HQ. \u003c/p>\n\u003cp>She describes each person she sees—on public transit, on Market Street, from her apartment window—as an individual (even the three men in oversized white shirts who might be the same man), refusing to let them become completely invisible. She quotes Brett McLeod, a man kicked out of the homeless encampment on Corona Heights, “What do they want us to do? Float in the air? Everybody’s got to be somewhere.”\u003c/p>\n\u003cp>Something you can’t see still casts a shadow.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>‘Something (you can’t see, on the other side, of a wall from this side) casts a shadow’ is on view at SOMArts Cultural Center through Aug. 14, 2018. \u003ca href=\"http://www.somarts.org/something/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>Is the floor of SOMArts always this glossy gray?\u003c/i> I asked as I stepped into the cavernous cultural center’s main gallery. Yes, the gallery attendant confirmed, it’s always this glossy gray. There’s just less stuff in the gallery, she explained, and the lighting (spotlights instead of overhead fluorescents) makes the space feel different.\u003c/p>\n\u003cp>\u003ci>Something (you can’t see, on the other side, of a wall from this side) casts a shadow\u003c/i> not only contains less work than your everyday SOMArts show (clocking in at just 17 artists), the art itself isn’t your ordinary fare. And by ordinary fare, I mean work by local, living practitioners. Only three of the 17 fall into that category.\u003c/p>\n\u003cp>Instead of sampling the current work of Bay Area artists, \u003ci>Something\u003c/i> is an exhibition that plucks its ingredients—carefully, purposefully—from different times and places to reflect on a very immediate and local question: How do bodies in a changing urban landscape challenge the forces that seek to erase them?\u003c/p>\n\u003cfigure id=\"attachment_13838129\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/Nengudi_1200.jpg\" alt=\"Senga Nengudi, 'R.S.V.P. Reverie-0,' 2015.\" width=\"1200\" height=\"795\" class=\"size-full wp-image-13838129\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Nengudi_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Nengudi_1200-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Nengudi_1200-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Nengudi_1200-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Nengudi_1200-1020x676.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Nengudi_1200-1180x782.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Nengudi_1200-960x636.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Nengudi_1200-240x159.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Nengudi_1200-375x248.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Nengudi_1200-520x345.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Senga Nengudi, ‘R.S.V.P. Reverie-0,’ 2015. \u003ccite>(Courtesy of Lévy Gorvy, New York and Thomas Erben Gallery, New York; Photo by Kevan Jenson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In an elegant and uncrowded installation, curator Juana Berrío (former artistic director of \u003ca href=\"https://www.kqed.org/arts/10475222/frames-felt-and-speculative-fiction-at-kiria-koula\" rel=\"noopener\" target=\"_blank\">Kiria Koula\u003c/a>, a now-closed gallery and bookstore in San Francisco’s Mission District) brings together photography, video, sculpture, conceptual art, graphic scores of improvised music and an artist-made walk to demonstrate the very different ways artists might respond to that question. \u003c/p>\n\u003cp>Gordon Parks’ 1952 silver gelatin print, a composite image of the New York skyline and the subterranean lightbulb-covered dwelling of Ralph Ellison’s \u003ci>Invisible Man\u003c/i>, provides the most literal illustration of the above, but for the most part \u003ci>Something\u003c/i> takes an oblique look at the Bay Area’s housing crisis, one that doesn’t presume to offer solutions, but rather introduces artistic tactics for humanizing the way we look at, move through and use urban space.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The show opens with an deeply empathetic consideration of all living things, courtesy of David Wojnarowicz’s \u003ci>What is this little guy’s job in the world\u003c/i>, a black-and-white photograph of a hand cradling a tiny frog. “Does the world feel this?” reads a block of text in the corner of the image. “If this little guy dies does the world get a little lighter?” \u003c/p>\n\u003cp>The print hangs on narrow monolith-like wall that supports, on its opposite side, a very small platinum print by Catherine Opie, a photographer better known for colorful portraits of queer communities. Bookending Wojnarowicz’s consideration of bodies large and small is Opie’s image of a freeway under construction, a structure that conveys bodies, but also destroys them, divides them and, in the case of the neighborhood around SOMArts, often shelters them.\u003c/p>\n\u003cfigure id=\"attachment_13838125\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/Cruzvillegas_1200.jpg\" alt=\"Abraham Cruzvillegas, 'Wright Imperial Hotel,' 2004.\" width=\"1200\" height=\"805\" class=\"size-full wp-image-13838125\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Cruzvillegas_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Cruzvillegas_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Cruzvillegas_1200-800x537.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Cruzvillegas_1200-768x515.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Cruzvillegas_1200-1020x684.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Cruzvillegas_1200-1180x792.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Cruzvillegas_1200-960x644.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Cruzvillegas_1200-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Cruzvillegas_1200-375x252.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Cruzvillegas_1200-520x349.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Abraham Cruzvillegas, ‘Wright Imperial Hotel,’ 2004. \u003ccite>(Courtesy of Abraham Cruzvillegas and KADIST; Photo by Kevan Jenson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This push and pull between human-scale concerns and the larger forces that attempt to exert control over humans continues throughout the exhibition. Abraham Cruzvillegas’ \u003ci>Wright Imperial Hotel\u003c/i> impales a São Paulo phone book—a futile attempt at representing an entire population—with wooden arrows, a nod to Brazil’s indigenous communities and all who might not have official addresses or phone numbers. In Zoe Leonard’s photograph \u003ci>Two trees\u003c/i>, she captures two tree trunks in New York that have grown through and around the chain-link fence meant to demarcate a human boundary.\u003c/p>\n\u003cp>Sculptures made from discarded or repurposed materials signal another kind of resistance against societal norms. Carl Hendrickson’s untitled wooden constructions look like they might have multiple, fanciful uses (hat rack or minimalist Christmas tree?), and Davina Semo’s wall piece of corrugated metal, titled \u003ci>MAYBE SHE FELT THE SAME, OR MAYBE HER HEAD WAS SOMEWHERE ELSE\u003c/i>, lends personality and agency to rough industrial materials. \u003c/p>\n\u003cfigure id=\"attachment_13838126\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/Hendrickson_1200.jpg\" alt=\"Installation view of 'Something (you can’t see, on the other side, of a wall from this side) casts a shadow,' with work by Carl Hendrickson in the foreground.\" width=\"1200\" height=\"776\" class=\"size-full wp-image-13838126\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Hendrickson_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Hendrickson_1200-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Hendrickson_1200-800x517.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Hendrickson_1200-768x497.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Hendrickson_1200-1020x660.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Hendrickson_1200-1180x763.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Hendrickson_1200-960x621.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Hendrickson_1200-240x155.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Hendrickson_1200-375x243.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Hendrickson_1200-520x336.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Something (you can’t see, on the other side, of a wall from this side) casts a shadow,’ with work by Carl Hendrickson in the foreground. \u003ccite>(Courtesy of Creative Growth; Photo by Kevan Jenson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>Something\u003c/i>’s palette is full of somber browns and grays, but that doesn’t mean the show itself if uniformly solemn. Stuart Sherman’s looping videos of the artist performing thematic “spectacles” with everyday objects are equal parts experimental theater and absurdist ritual. And David Wilson’s \u003ci>Walk to a Place\u003c/i>, a folded takeaway that charts the artist’s route from SOMArts to a Potrero Hill vista to the Dogpatch print shop where he made the photocopies for the show, is annotated with cheerful conversational text and breezy sketches. \u003c/p>\n\u003cp>Despite these more lighthearted interventions into everyday city life, it’s David Hammons’ \u003ci>Phat Free\u003c/i>, which provides the exhibition’s soundtrack and perhaps best captures the conflict at the center of \u003ci>Something\u003c/i>’s operating question. Feathery video shows the artist kicking a pail, with a grinding scrape and rattle, through the empty streets of nighttime New York City. He loudly, even confrontationally, claims the sidewalk and everything within earshot of his racket.\u003c/p>\n\u003cfigure id=\"attachment_13838127\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/Install_1200.jpg\" alt=\"Installation view of 'Something (you can’t see, on the other side, of a wall from this side) casts a shadow,' with video by Stuart Sherman in the center.\" width=\"1200\" height=\"723\" class=\"size-full wp-image-13838127\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Install_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Install_1200-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Install_1200-800x482.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Install_1200-768x463.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Install_1200-1020x615.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Install_1200-1180x711.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Install_1200-960x578.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Install_1200-240x145.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Install_1200-375x226.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Install_1200-520x313.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Something (you can’t see, on the other side, of a wall from this side) casts a shadow,’ with video by Stuart Sherman in the center. \u003ccite>(Photo by Kevan Jenson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There are few bodies represented in \u003ci>Something\u003c/i>, but maybe that’s because there are so many bodies outside of the gallery, across SoMA, San Francisco and the Bay Area, who exist where the city would rather they not. In Dodie Bellamy’s essay “In the Shadow of the Twitter Towers,” included in her collection \u003ci>When the Sick Rule the World\u003c/i> and part of the exhibition’s reading room, she writes about confronting the daily dissonance of observing San Francisco’s homeless population outside of luxury condos and Twitter HQ. \u003c/p>\n\u003cp>She describes each person she sees—on public transit, on Market Street, from her apartment window—as an individual (even the three men in oversized white shirts who might be the same man), refusing to let them become completely invisible. She quotes Brett McLeod, a man kicked out of the homeless encampment on Corona Heights, “What do they want us to do? Float in the air? Everybody’s got to be somewhere.”\u003c/p>\n\u003cp>Something you can’t see still casts a shadow.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Something (you can’t see, on the other side, of a wall from this side) casts a shadow’ is on view at SOMArts Cultural Center through Aug. 14, 2018. \u003ca href=\"http://www.somarts.org/something/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'The Third Muslim' Builds an Archive of Resistance to Stereotypes",
"headTitle": "‘The Third Muslim’ Builds an Archive of Resistance to Stereotypes | KQED",
"content": "\u003cp>What does it mean to be marginalized? How does it feel when a community that shares your religious beliefs in turn rejects you based on your race, gender identity, or physical ability?\u003c/p>\n\u003cp>These are two of the many questions posed by SOMArts’ \u003cem>\u003ca href=\"http://www.somarts.org/thirdmuslim/\" target=\"_blank\" rel=\"noopener\">The Third Muslim\u003c/a>\u003c/em>, an engaging multimedia installation of work by 15 artists who identify as queer, trans, and gender non-conforming. Curators \u003ca href=\"https://zulfikaralibhuttoart.com/\" target=\"_blank\" rel=\"noopener\">Zulfikar Ali Bhutto\u003c/a> and \u003ca href=\"https://www.colorlines.com/articles/post-pulse-massacre-moving-forward-means-rejecting-scarcity-and-fear\" target=\"_blank\" rel=\"noopener\">Yas Ahmed\u003c/a> marshal images and ideas that highlight Islam — along with homophobia, racism, and rejection in queer communities — and the potential for visual art to foster both individual and communal healing.\u003c/p>\n\u003cfigure id=\"attachment_13823129\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13823129\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/25102714157_d8ca77566e_o.jpg\" alt=\"Curators Zulfikar Ali Bhutto and Yas Ahmed at the opening of 'The Third Muslim.'\" width=\"2048\" height=\"1365\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/25102714157_d8ca77566e_o.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/25102714157_d8ca77566e_o-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/25102714157_d8ca77566e_o-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/25102714157_d8ca77566e_o-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/25102714157_d8ca77566e_o-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/25102714157_d8ca77566e_o-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/25102714157_d8ca77566e_o-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/25102714157_d8ca77566e_o-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/25102714157_d8ca77566e_o-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/25102714157_d8ca77566e_o-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/25102714157_d8ca77566e_o-520x347.jpg 520w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Curators Zulfikar Ali Bhutto and Yas Ahmed at the opening of ‘The Third Muslim.’ \u003ccite>(Chani Bockwinkel for SOMArts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A note of context may be helpful. Though it’s not stated outright, critical theorist \u003ca href=\"https://english.fas.harvard.edu/faculty/bhabha/\" target=\"_blank\" rel=\"noopener\">Homi K. Bhabha\u003c/a>’s concept of the \u003ca href=\"http://monumenttotransformation.org/atlas-of-transformation/html/c/cultural-diversity/cultural-diversity-and-cultural-differences-homi-k-bhabha.html\" target=\"_blank\" rel=\"noopener\">third space\u003c/a> offers a lens through which to consider \u003cem>The Third Muslim\u003c/em>. Briefly described, the third space opens up when two or more individuals or cultures interact. Under the best circumstances, those interactions help blend disparate experiences, and undermine the notion that culture is homogenized, or worse, “pure.”\u003c/p>\n\u003cp>With Bhabha’s work in mind, the third space concept may help us understand historical and contemporary cultural collisions like imbalances of power between developed and developing nations, the consequences of colonialism, and the negative effect of mainstream media portrayals on communities represented in \u003cem>The Third Muslim\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13823119\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13823119\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/25102723107_ce39534638_o.jpg\" alt=\"Taba Saj, Installation view of 'F**k It Veil' at SOMArts.\" width=\"2048\" height=\"1365\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/25102723107_ce39534638_o.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/25102723107_ce39534638_o-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/25102723107_ce39534638_o-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/25102723107_ce39534638_o-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/25102723107_ce39534638_o-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/25102723107_ce39534638_o-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/25102723107_ce39534638_o-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/25102723107_ce39534638_o-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/25102723107_ce39534638_o-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/25102723107_ce39534638_o-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/25102723107_ce39534638_o-520x347.jpg 520w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Taba Saj, Installation view of ‘F**k It Veil’ at SOMArts. \u003ccite>(Chani Bockwinkel for SOMArts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Clothing is a potent and prominent metaphor throughout the installation. Walking into the gallery, viewers are immediately faced with a subject that arouses passionate responses from women and men alike worldwide. \u003ca href=\"http://www.artbysaba.com/\" target=\"_blank\" rel=\"noopener\">Saba Taj\u003c/a>’s \u003cem>F**k It Veil\u003c/em> series presents three burqas, the modest garments worn by millions of Muslim women that are dismissed as sexist and culturally regressive by many in the West.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Taj’s textiles depart from the black or dark blue cotton generally used to make burqas. Colorful print and gold lamé trimming (a la Scarlett O’Hara and Carol Burnett) introduce a note of uneasy humor intensified by how the mannequins, situated on a low platform, rise over the viewer. These representations of Muslim women do not suggest subservience or those lacking personal agency. Instead, they demonstrate pride in one’s ethnicity and religious identity. Against a media landscape lousy with loud and ill-informed, if not outright xenophobic personalities who live to condemn what they don’t understand, these silent figures speak volumes.\u003c/p>\n\u003cfigure id=\"attachment_13823130\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13823130\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/39941676762_8589c03e6a_o-1.jpg\" alt=\"Hushidar Mortezaie, Installation view of 'Occupy Me: Topping from the Bottom.'\" width=\"2048\" height=\"1365\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/39941676762_8589c03e6a_o-1.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/39941676762_8589c03e6a_o-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/39941676762_8589c03e6a_o-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/39941676762_8589c03e6a_o-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/39941676762_8589c03e6a_o-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/39941676762_8589c03e6a_o-1-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/39941676762_8589c03e6a_o-1-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/39941676762_8589c03e6a_o-1-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/39941676762_8589c03e6a_o-1-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/39941676762_8589c03e6a_o-1-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/39941676762_8589c03e6a_o-1-520x347.jpg 520w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Hushidar Mortezaie, Installation view of ‘Occupy Me: Topping from the Bottom.’ \u003ccite>(Chani Bockwinkel for SOMArts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Iranian artist \u003ca href=\"https://www.instagram.com/hushi5/?hl=en\" target=\"_blank\" rel=\"noopener\">Hushidar Mortezaie\u003c/a>’s \u003cem>Occupy Me: Topping from the Bottom Up\u003c/em> addresses state-sponsored murder and hope for the future in a conceptual red carpet scene. In front of backpacks and jerseys emblazoned with the phrases “magic whiteness,” and “orientalism makes me barf,” Mortezaie positions three mannequins fitted with the likenesses of three men — teenagers Mahmoud Asgari and Ayaz Marhoni and actor Fereydoun Farrokhzad — whose deaths are popularly linked to their homosexuality.\u003c/p>\n\u003cp>By the artist’s hand, the souls of these men are celebrated, honored as symbols of resistance against perceived governmental and corporate exploitation. Facing out to the main gallery, the figures spur us to recognize a violent past and present reality in Iran, and work for a future that honors the lives that were lost.\u003c/p>\n\u003cfigure id=\"attachment_13823122\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13823122\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/27360329549_4b86c8f49e_o.jpg\" alt=\"Nabeela Vega, 'Visiting Thahab.'\" width=\"2048\" height=\"2048\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/27360329549_4b86c8f49e_o.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/27360329549_4b86c8f49e_o-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/27360329549_4b86c8f49e_o-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/27360329549_4b86c8f49e_o-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/27360329549_4b86c8f49e_o-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/27360329549_4b86c8f49e_o-1920x1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/27360329549_4b86c8f49e_o-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/27360329549_4b86c8f49e_o-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/27360329549_4b86c8f49e_o-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/27360329549_4b86c8f49e_o-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/27360329549_4b86c8f49e_o-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/27360329549_4b86c8f49e_o-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/27360329549_4b86c8f49e_o-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/27360329549_4b86c8f49e_o-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/27360329549_4b86c8f49e_o-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/27360329549_4b86c8f49e_o-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/27360329549_4b86c8f49e_o-150x150.jpg 150w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Nabeela Vega, ‘Visiting Thahab.’ \u003ccite>(Nabeela Vega)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to presenting the work of accomplished artists, Bhutto and Ahmed view the exhibition as the beginning of a physical and psychological space where these ideas can be sustained even after the installation closes. Building what they term a “multi-sensory archive” enables a marginalized community to represent itself, directly defying the negative media branding of queer Muslims.\u003c/p>\n\u003cp>While constructing and maintaining an archive is a fraught process, the endeavor will start to fill in missing or erased histories, and create a third space, as Bhabha theorized, for members of the wider queer community to discuss the issues — race, representation, access, and visibility — that have thus far divided them.\u003c/p>\n\u003cp>From this perspective, \u003ca href=\"http://queermuslimproject.tumblr.com/\" target=\"_blank\" rel=\"noopener\">Samra Habib\u003c/a>’s luminous portrait series \u003cem>Just Me and Allah\u003c/em>, \u003ca href=\"http://jamilhellu.net/projects\" target=\"_blank\" rel=\"noopener\">Jamil Hellu\u003c/a>’s \u003cem>Cloaked\u003c/em>, and \u003ca href=\"http://www.nabeelavega.com/\" target=\"_blank\" rel=\"noopener\">Nabeela Vega\u003c/a>’s \u003cem>Visiting Thahab\u003c/em> may serve as reference points for those seeking visual affirmation of their queer and Muslim identities. Likewise, Totally Radical Muslims’ (TRM) \u003ca href=\"http://www.poconlineclassroom.com/blog/2016/6/12/rad-reading-totally-radical-muslims-zine-2\" target=\"_blank\" rel=\"noopener\">radical zine\u003c/a> and Kaamila Mohamed’s poetic verse may offer textual reassurance to those who seek healing. Set against a social and political milieu that shrinks and narrows by the day, the space created by \u003cem>The Third Muslim\u003c/em> is exactly what we need.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Third Muslim is on view at San Francisco’s SOMArts Culture Center through Feb. 22, 2018. For more information, \u003ca href=\"http://www.somarts.org/thirdmuslim/\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "At SOMArts, a group exhibition of work by queer, trans, and gender non-conforming artists highlights Islam, and the potential for visual art to heal.",
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"description": "At SOMArts, a group exhibition of work by queer, trans, and gender non-conforming artists highlights Islam, and the potential for visual art to heal.",
"title": "'The Third Muslim' Builds an Archive of Resistance to Stereotypes | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>What does it mean to be marginalized? How does it feel when a community that shares your religious beliefs in turn rejects you based on your race, gender identity, or physical ability?\u003c/p>\n\u003cp>These are two of the many questions posed by SOMArts’ \u003cem>\u003ca href=\"http://www.somarts.org/thirdmuslim/\" target=\"_blank\" rel=\"noopener\">The Third Muslim\u003c/a>\u003c/em>, an engaging multimedia installation of work by 15 artists who identify as queer, trans, and gender non-conforming. Curators \u003ca href=\"https://zulfikaralibhuttoart.com/\" target=\"_blank\" rel=\"noopener\">Zulfikar Ali Bhutto\u003c/a> and \u003ca href=\"https://www.colorlines.com/articles/post-pulse-massacre-moving-forward-means-rejecting-scarcity-and-fear\" target=\"_blank\" rel=\"noopener\">Yas Ahmed\u003c/a> marshal images and ideas that highlight Islam — along with homophobia, racism, and rejection in queer communities — and the potential for visual art to foster both individual and communal healing.\u003c/p>\n\u003cfigure id=\"attachment_13823129\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13823129\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/25102714157_d8ca77566e_o.jpg\" alt=\"Curators Zulfikar Ali Bhutto and Yas Ahmed at the opening of 'The Third Muslim.'\" width=\"2048\" height=\"1365\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/25102714157_d8ca77566e_o.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/25102714157_d8ca77566e_o-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/25102714157_d8ca77566e_o-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/25102714157_d8ca77566e_o-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/25102714157_d8ca77566e_o-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/25102714157_d8ca77566e_o-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/25102714157_d8ca77566e_o-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/25102714157_d8ca77566e_o-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/25102714157_d8ca77566e_o-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/25102714157_d8ca77566e_o-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/25102714157_d8ca77566e_o-520x347.jpg 520w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Curators Zulfikar Ali Bhutto and Yas Ahmed at the opening of ‘The Third Muslim.’ \u003ccite>(Chani Bockwinkel for SOMArts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A note of context may be helpful. Though it’s not stated outright, critical theorist \u003ca href=\"https://english.fas.harvard.edu/faculty/bhabha/\" target=\"_blank\" rel=\"noopener\">Homi K. Bhabha\u003c/a>’s concept of the \u003ca href=\"http://monumenttotransformation.org/atlas-of-transformation/html/c/cultural-diversity/cultural-diversity-and-cultural-differences-homi-k-bhabha.html\" target=\"_blank\" rel=\"noopener\">third space\u003c/a> offers a lens through which to consider \u003cem>The Third Muslim\u003c/em>. Briefly described, the third space opens up when two or more individuals or cultures interact. Under the best circumstances, those interactions help blend disparate experiences, and undermine the notion that culture is homogenized, or worse, “pure.”\u003c/p>\n\u003cp>With Bhabha’s work in mind, the third space concept may help us understand historical and contemporary cultural collisions like imbalances of power between developed and developing nations, the consequences of colonialism, and the negative effect of mainstream media portrayals on communities represented in \u003cem>The Third Muslim\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13823119\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13823119\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/25102723107_ce39534638_o.jpg\" alt=\"Taba Saj, Installation view of 'F**k It Veil' at SOMArts.\" width=\"2048\" height=\"1365\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/25102723107_ce39534638_o.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/25102723107_ce39534638_o-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/25102723107_ce39534638_o-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/25102723107_ce39534638_o-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/25102723107_ce39534638_o-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/25102723107_ce39534638_o-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/25102723107_ce39534638_o-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/25102723107_ce39534638_o-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/25102723107_ce39534638_o-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/25102723107_ce39534638_o-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/25102723107_ce39534638_o-520x347.jpg 520w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Taba Saj, Installation view of ‘F**k It Veil’ at SOMArts. \u003ccite>(Chani Bockwinkel for SOMArts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Clothing is a potent and prominent metaphor throughout the installation. Walking into the gallery, viewers are immediately faced with a subject that arouses passionate responses from women and men alike worldwide. \u003ca href=\"http://www.artbysaba.com/\" target=\"_blank\" rel=\"noopener\">Saba Taj\u003c/a>’s \u003cem>F**k It Veil\u003c/em> series presents three burqas, the modest garments worn by millions of Muslim women that are dismissed as sexist and culturally regressive by many in the West.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Taj’s textiles depart from the black or dark blue cotton generally used to make burqas. Colorful print and gold lamé trimming (a la Scarlett O’Hara and Carol Burnett) introduce a note of uneasy humor intensified by how the mannequins, situated on a low platform, rise over the viewer. These representations of Muslim women do not suggest subservience or those lacking personal agency. Instead, they demonstrate pride in one’s ethnicity and religious identity. Against a media landscape lousy with loud and ill-informed, if not outright xenophobic personalities who live to condemn what they don’t understand, these silent figures speak volumes.\u003c/p>\n\u003cfigure id=\"attachment_13823130\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13823130\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/39941676762_8589c03e6a_o-1.jpg\" alt=\"Hushidar Mortezaie, Installation view of 'Occupy Me: Topping from the Bottom.'\" width=\"2048\" height=\"1365\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/39941676762_8589c03e6a_o-1.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/39941676762_8589c03e6a_o-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/39941676762_8589c03e6a_o-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/39941676762_8589c03e6a_o-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/39941676762_8589c03e6a_o-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/39941676762_8589c03e6a_o-1-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/39941676762_8589c03e6a_o-1-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/39941676762_8589c03e6a_o-1-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/39941676762_8589c03e6a_o-1-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/39941676762_8589c03e6a_o-1-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/39941676762_8589c03e6a_o-1-520x347.jpg 520w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Hushidar Mortezaie, Installation view of ‘Occupy Me: Topping from the Bottom.’ \u003ccite>(Chani Bockwinkel for SOMArts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Iranian artist \u003ca href=\"https://www.instagram.com/hushi5/?hl=en\" target=\"_blank\" rel=\"noopener\">Hushidar Mortezaie\u003c/a>’s \u003cem>Occupy Me: Topping from the Bottom Up\u003c/em> addresses state-sponsored murder and hope for the future in a conceptual red carpet scene. In front of backpacks and jerseys emblazoned with the phrases “magic whiteness,” and “orientalism makes me barf,” Mortezaie positions three mannequins fitted with the likenesses of three men — teenagers Mahmoud Asgari and Ayaz Marhoni and actor Fereydoun Farrokhzad — whose deaths are popularly linked to their homosexuality.\u003c/p>\n\u003cp>By the artist’s hand, the souls of these men are celebrated, honored as symbols of resistance against perceived governmental and corporate exploitation. Facing out to the main gallery, the figures spur us to recognize a violent past and present reality in Iran, and work for a future that honors the lives that were lost.\u003c/p>\n\u003cfigure id=\"attachment_13823122\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13823122\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/27360329549_4b86c8f49e_o.jpg\" alt=\"Nabeela Vega, 'Visiting Thahab.'\" width=\"2048\" height=\"2048\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/27360329549_4b86c8f49e_o.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/27360329549_4b86c8f49e_o-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/27360329549_4b86c8f49e_o-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/27360329549_4b86c8f49e_o-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/27360329549_4b86c8f49e_o-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/27360329549_4b86c8f49e_o-1920x1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/27360329549_4b86c8f49e_o-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/27360329549_4b86c8f49e_o-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/27360329549_4b86c8f49e_o-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/27360329549_4b86c8f49e_o-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/27360329549_4b86c8f49e_o-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/27360329549_4b86c8f49e_o-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/27360329549_4b86c8f49e_o-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/27360329549_4b86c8f49e_o-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/27360329549_4b86c8f49e_o-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/27360329549_4b86c8f49e_o-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/27360329549_4b86c8f49e_o-150x150.jpg 150w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Nabeela Vega, ‘Visiting Thahab.’ \u003ccite>(Nabeela Vega)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to presenting the work of accomplished artists, Bhutto and Ahmed view the exhibition as the beginning of a physical and psychological space where these ideas can be sustained even after the installation closes. Building what they term a “multi-sensory archive” enables a marginalized community to represent itself, directly defying the negative media branding of queer Muslims.\u003c/p>\n\u003cp>While constructing and maintaining an archive is a fraught process, the endeavor will start to fill in missing or erased histories, and create a third space, as Bhabha theorized, for members of the wider queer community to discuss the issues — race, representation, access, and visibility — that have thus far divided them.\u003c/p>\n\u003cp>From this perspective, \u003ca href=\"http://queermuslimproject.tumblr.com/\" target=\"_blank\" rel=\"noopener\">Samra Habib\u003c/a>’s luminous portrait series \u003cem>Just Me and Allah\u003c/em>, \u003ca href=\"http://jamilhellu.net/projects\" target=\"_blank\" rel=\"noopener\">Jamil Hellu\u003c/a>’s \u003cem>Cloaked\u003c/em>, and \u003ca href=\"http://www.nabeelavega.com/\" target=\"_blank\" rel=\"noopener\">Nabeela Vega\u003c/a>’s \u003cem>Visiting Thahab\u003c/em> may serve as reference points for those seeking visual affirmation of their queer and Muslim identities. Likewise, Totally Radical Muslims’ (TRM) \u003ca href=\"http://www.poconlineclassroom.com/blog/2016/6/12/rad-reading-totally-radical-muslims-zine-2\" target=\"_blank\" rel=\"noopener\">radical zine\u003c/a> and Kaamila Mohamed’s poetic verse may offer textual reassurance to those who seek healing. Set against a social and political milieu that shrinks and narrows by the day, the space created by \u003cem>The Third Muslim\u003c/em> is exactly what we need.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Third Muslim is on view at San Francisco’s SOMArts Culture Center through Feb. 22, 2018. For more information, \u003ca href=\"http://www.somarts.org/thirdmuslim/\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Power of Sports Enacted and on Display in 'Game Recognize Game'",
"headTitle": "Power of Sports Enacted and on Display in ‘Game Recognize Game’ | KQED",
"content": "\u003cp>Since he first took a knee during the 2016 pre-season to protest ongoing police brutality and racial inequality in this country, former San Francisco 49er quarterback and social justice advocate Colin Kaepernick has lost his job and attracted the vitriol of sports fans, coaches, and franchise owners… and, of course, a certain occupant of the White House.\u003c/p>\n\u003cp>But he’s also graced the cover of \u003ca href=\"https://www.gq.com/story/colin-kaepernick-cover-men-of-the-year\" target=\"_blank\" rel=\"noopener\">GQ Magazine\u003c/a> as their 2017 Citizen of the Year. Just a few days ago, he was awarded \u003cem>Sports Illustrated\u003c/em>’s \u003ca href=\"https://www.billboard.com/articles/news/8061697/beyonce-surprises-colin-kaepernick-sports-illustrated-awards\" target=\"_blank\" rel=\"noopener\">Muhammad Ali Legacy Award\u003c/a>, presented by \u003ca href=\"https://www.youtube.com/watch?v=Yp5R84V1bDU\" target=\"_blank\" rel=\"noopener\">none other than Beyoncé\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13816790\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13816790\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/37920998026_0fdbe8d866_o-1-e1512596288481.jpg\" alt=\"Ed Ntiri, 'Knights Kneel,' 2017.\" width=\"1200\" height=\"800\">\u003cfigcaption class=\"wp-caption-text\">Ed Ntiri, ‘Knights Kneel,’ 2017. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>More important than all of that, his peaceful and powerful protest has revived a debate about sports as a venue for personal and political action. Artist and sports educator Dania Cabello takes up sports’ intersectional potential in \u003ca href=\"http://www.somarts.org/game/\" target=\"_blank\" rel=\"noopener\">\u003ci>Game Recognize Game\u003c/i>\u003c/a>, on view through Jan. 10 at San Francisco’s SOMArts Cultural Center.\u003c/p>\n\u003cp>Kaepernick isn’t the first to commit his celebrity status in support of social justice. Track and field phenom \u003ca href=\"https://www.biography.com/people/jesse-owens-9431142\" target=\"_blank\" rel=\"noopener\">Jesse Owens\u003c/a>’ historic success at the 1936 Berlin Olympics defied Adolf Hitler’s racist ideological position that Aryan (read: white, male, Germanic) athletes were superior based on their ethnicity.\u003c/p>\n\u003cp>In 1968, Olympians \u003ca href=\"https://www.washingtonpost.com/news/retropolis/wp/2017/09/24/they-didnt-takeaknee-the-black-power-protest-salute-that-shook-the-world-in-1968/?utm_term=.2e92b5003c35\" target=\"_blank\" rel=\"noopener\">Tommie Smith and John Carlos\u003c/a> stood atop the medals podium in Mexico City, lowered their heads and raised their gloved fists in solidarity with the Black Power movement’s fight for civil rights and those protesting the Vietnam War in the United States.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Like Kaepernick, Owens, Smith and Carlos weathered rejection for speaking truth to power simply because they were black. These historic moments form the (admittedly) American yet still-rich social and visual context in which Cabello’s exhibition is situated.\u003c/p>\n\u003cfigure id=\"attachment_13816904\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13816904\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/Warriors1200.jpg\" alt=\"During the opening reception of 'Game Recognize Game' at SOMArts.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Warriors1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Warriors1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Warriors1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Warriors1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Warriors1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Warriors1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Warriors1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Warriors1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Warriors1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Warriors1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">During the opening reception of ‘Game Recognize Game’ at SOMArts. \u003ccite>(Photo by Emily De La Torre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>SOMArts’ main gallery presents a challenge for its size. An exhibition comprising seven artists’ work could appear underwhelming, but Cabello and exhibition designer Matt McKinley settled on a smart strategy: reserve half the gallery for visitors to play.\u003c/p>\n\u003cp>With balls made available at the front desk, visitors are invited to play basketball with the crate “hoop” — enacting a joyous ritual as old as the Aztec figure in \u003ca href=\"http://www.miguelbounceperez.com/\" target=\"_blank\" rel=\"noopener\">Miguel “Bounce” Perez\u003c/a>’s mixed media mural — as a projection of the Golden State Warriors shows at their feet, or take shots at the border walls that represent division in Mexico and Palestine in Cabello and Yvan Iturriaga’s installation \u003cem>Nepantla\u003c/em>. A Nahuatl word meaning “in-between-ness,” \u003ca href=\"http://www.chicanoart.org/nepantla.html\" target=\"_blank\" rel=\"noopener\">nepantla\u003c/a> in this context may be understood as a physical and psychological space that gives rise to both resistance and play, worldwide.\u003c/p>\n\u003cp>Kaepernick — and before him Carlos, Owens and the late, great Muhammad Ali — is the African-American male athlete onto whose body is projected all manner of meaning, who is first praised for his physical accomplishments and then condemned for expressing dissenting opinions that trouble professional sports’ supposed neutrality. Cabello widens that critical field by including female athletes — both famous and anonymous — to honor challenges made to globalization and cultural erasure. These inclusions also pointedly expose gender-based expectations against which the athletes compete and play.\u003c/p>\n\u003cfigure id=\"attachment_13816886\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13816886\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/CarpioInstall_640.jpg\" alt='SOMArts visitors play in front of Miguel \"Bounce\" Perez’s mixed media mural.' width=\"640\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CarpioInstall_640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CarpioInstall_640-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CarpioInstall_640-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CarpioInstall_640-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CarpioInstall_640-520x780.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">SOMArts visitors play in front of Miguel “Bounce” Perez’s mixed media mural. \u003ccite>(Photo by Emily De La Torre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"http://cececarpio.com/bio/\" target=\"_blank\" rel=\"noopener\">Cece Carpio\u003c/a>’s installation \u003cem>Huktingan (The Royal Rumble)\u003c/em> elevates play in the lives of women representing the Churubamba village in Peru, Tarahumara (Rarámuri) people in northern Mexico, and the Ifugao women in the Philippines’ Cordillera region. This vibrant triptych/altar honors sport as a lifelong pursuit; one that does not relent as external cultures threaten to overwhelm indigenous ways of life, does not fade as the body ages, and does not require branded footwear or clothing to order to participate.\u003c/p>\n\u003cp>SOMArts’ anteroom is almost always reserved for multimedia or video installation, and that tradition is maintained in \u003cem>Game Recognize Game\u003c/em> with Iturriaga and Cabello’s collaborative video \u003cem>Dime cómo juegas y te diré quién eres\u003c/em> (Tell me how you play and I’ll tell you who you are). Contrasting images of children at play, professional sports competitions, historical and contemporary sports marketing campaigns, and worldwide military conflict, this six-minute video effectively condenses the themes that Cabello articulates throughout the exhibition: sport is more than a pastime or a path to wealth. It is a language, an experience, an opportunity to exchange ideas, a metaphor for challenging the worst in our species in order to nurture what is best.\u003c/p>\n\u003cfigure id=\"attachment_13816891\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13816891\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/Video1200.jpg\" alt=\"Yvan Iturriaga and Dania Cabello’s collaborative video 'Dime cómo juegas y te diré quién eres' (Tell me how you play and I’ll tell you who you are).\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Video1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Video1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Video1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Video1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Video1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Video1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Video1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Video1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Video1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Video1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Yvan Iturriaga and Dania Cabello’s collaborative video ‘Dime cómo juegas y te diré quién eres’ (Tell me how you play and I’ll tell you who you are). \u003ccite>(Photo by Emily De La Torre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In describing the video as a glimpse of the “dark side” of sport, Iturriaga rightly notes the systems of socio-economic and cultural exploitation that feed it and, by extension, the world we inhabit. That, however, is not the dominant note of \u003cem>Game Recognize Game\u003c/em>. Cabello and the participating artists emphasize, through the joyful universality play, how the -isms that plague us (racism, sexism, classism, xeno- and homophobia) overlap and may be exposed and defeated. This is intersectionality. This is the hard work that will continue, as Kaepernick said upon receiving the Ali Legacy Award, regardless of platform or payment. The work will continue one goal at a time, one three-point shot at a time, so long as there are athletes of any age who want to play.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Game Recognize Game’ is on view at SOMArts Cultural Center through Jan. 10, 2018. For more information, \u003ca href=\"http://www.somarts.org/game/\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Since he first took a knee during the 2016 pre-season to protest ongoing police brutality and racial inequality in this country, former San Francisco 49er quarterback and social justice advocate Colin Kaepernick has lost his job and attracted the vitriol of sports fans, coaches, and franchise owners… and, of course, a certain occupant of the White House.\u003c/p>\n\u003cp>But he’s also graced the cover of \u003ca href=\"https://www.gq.com/story/colin-kaepernick-cover-men-of-the-year\" target=\"_blank\" rel=\"noopener\">GQ Magazine\u003c/a> as their 2017 Citizen of the Year. Just a few days ago, he was awarded \u003cem>Sports Illustrated\u003c/em>’s \u003ca href=\"https://www.billboard.com/articles/news/8061697/beyonce-surprises-colin-kaepernick-sports-illustrated-awards\" target=\"_blank\" rel=\"noopener\">Muhammad Ali Legacy Award\u003c/a>, presented by \u003ca href=\"https://www.youtube.com/watch?v=Yp5R84V1bDU\" target=\"_blank\" rel=\"noopener\">none other than Beyoncé\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13816790\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13816790\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/37920998026_0fdbe8d866_o-1-e1512596288481.jpg\" alt=\"Ed Ntiri, 'Knights Kneel,' 2017.\" width=\"1200\" height=\"800\">\u003cfigcaption class=\"wp-caption-text\">Ed Ntiri, ‘Knights Kneel,’ 2017. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>More important than all of that, his peaceful and powerful protest has revived a debate about sports as a venue for personal and political action. Artist and sports educator Dania Cabello takes up sports’ intersectional potential in \u003ca href=\"http://www.somarts.org/game/\" target=\"_blank\" rel=\"noopener\">\u003ci>Game Recognize Game\u003c/i>\u003c/a>, on view through Jan. 10 at San Francisco’s SOMArts Cultural Center.\u003c/p>\n\u003cp>Kaepernick isn’t the first to commit his celebrity status in support of social justice. Track and field phenom \u003ca href=\"https://www.biography.com/people/jesse-owens-9431142\" target=\"_blank\" rel=\"noopener\">Jesse Owens\u003c/a>’ historic success at the 1936 Berlin Olympics defied Adolf Hitler’s racist ideological position that Aryan (read: white, male, Germanic) athletes were superior based on their ethnicity.\u003c/p>\n\u003cp>In 1968, Olympians \u003ca href=\"https://www.washingtonpost.com/news/retropolis/wp/2017/09/24/they-didnt-takeaknee-the-black-power-protest-salute-that-shook-the-world-in-1968/?utm_term=.2e92b5003c35\" target=\"_blank\" rel=\"noopener\">Tommie Smith and John Carlos\u003c/a> stood atop the medals podium in Mexico City, lowered their heads and raised their gloved fists in solidarity with the Black Power movement’s fight for civil rights and those protesting the Vietnam War in the United States.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Like Kaepernick, Owens, Smith and Carlos weathered rejection for speaking truth to power simply because they were black. These historic moments form the (admittedly) American yet still-rich social and visual context in which Cabello’s exhibition is situated.\u003c/p>\n\u003cfigure id=\"attachment_13816904\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13816904\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/Warriors1200.jpg\" alt=\"During the opening reception of 'Game Recognize Game' at SOMArts.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Warriors1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Warriors1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Warriors1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Warriors1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Warriors1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Warriors1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Warriors1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Warriors1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Warriors1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Warriors1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">During the opening reception of ‘Game Recognize Game’ at SOMArts. \u003ccite>(Photo by Emily De La Torre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>SOMArts’ main gallery presents a challenge for its size. An exhibition comprising seven artists’ work could appear underwhelming, but Cabello and exhibition designer Matt McKinley settled on a smart strategy: reserve half the gallery for visitors to play.\u003c/p>\n\u003cp>With balls made available at the front desk, visitors are invited to play basketball with the crate “hoop” — enacting a joyous ritual as old as the Aztec figure in \u003ca href=\"http://www.miguelbounceperez.com/\" target=\"_blank\" rel=\"noopener\">Miguel “Bounce” Perez\u003c/a>’s mixed media mural — as a projection of the Golden State Warriors shows at their feet, or take shots at the border walls that represent division in Mexico and Palestine in Cabello and Yvan Iturriaga’s installation \u003cem>Nepantla\u003c/em>. A Nahuatl word meaning “in-between-ness,” \u003ca href=\"http://www.chicanoart.org/nepantla.html\" target=\"_blank\" rel=\"noopener\">nepantla\u003c/a> in this context may be understood as a physical and psychological space that gives rise to both resistance and play, worldwide.\u003c/p>\n\u003cp>Kaepernick — and before him Carlos, Owens and the late, great Muhammad Ali — is the African-American male athlete onto whose body is projected all manner of meaning, who is first praised for his physical accomplishments and then condemned for expressing dissenting opinions that trouble professional sports’ supposed neutrality. Cabello widens that critical field by including female athletes — both famous and anonymous — to honor challenges made to globalization and cultural erasure. These inclusions also pointedly expose gender-based expectations against which the athletes compete and play.\u003c/p>\n\u003cfigure id=\"attachment_13816886\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13816886\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/CarpioInstall_640.jpg\" alt='SOMArts visitors play in front of Miguel \"Bounce\" Perez’s mixed media mural.' width=\"640\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CarpioInstall_640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CarpioInstall_640-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CarpioInstall_640-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CarpioInstall_640-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CarpioInstall_640-520x780.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">SOMArts visitors play in front of Miguel “Bounce” Perez’s mixed media mural. \u003ccite>(Photo by Emily De La Torre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"http://cececarpio.com/bio/\" target=\"_blank\" rel=\"noopener\">Cece Carpio\u003c/a>’s installation \u003cem>Huktingan (The Royal Rumble)\u003c/em> elevates play in the lives of women representing the Churubamba village in Peru, Tarahumara (Rarámuri) people in northern Mexico, and the Ifugao women in the Philippines’ Cordillera region. This vibrant triptych/altar honors sport as a lifelong pursuit; one that does not relent as external cultures threaten to overwhelm indigenous ways of life, does not fade as the body ages, and does not require branded footwear or clothing to order to participate.\u003c/p>\n\u003cp>SOMArts’ anteroom is almost always reserved for multimedia or video installation, and that tradition is maintained in \u003cem>Game Recognize Game\u003c/em> with Iturriaga and Cabello’s collaborative video \u003cem>Dime cómo juegas y te diré quién eres\u003c/em> (Tell me how you play and I’ll tell you who you are). Contrasting images of children at play, professional sports competitions, historical and contemporary sports marketing campaigns, and worldwide military conflict, this six-minute video effectively condenses the themes that Cabello articulates throughout the exhibition: sport is more than a pastime or a path to wealth. It is a language, an experience, an opportunity to exchange ideas, a metaphor for challenging the worst in our species in order to nurture what is best.\u003c/p>\n\u003cfigure id=\"attachment_13816891\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13816891\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/Video1200.jpg\" alt=\"Yvan Iturriaga and Dania Cabello’s collaborative video 'Dime cómo juegas y te diré quién eres' (Tell me how you play and I’ll tell you who you are).\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Video1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Video1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Video1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Video1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Video1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Video1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Video1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Video1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Video1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Video1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Yvan Iturriaga and Dania Cabello’s collaborative video ‘Dime cómo juegas y te diré quién eres’ (Tell me how you play and I’ll tell you who you are). \u003ccite>(Photo by Emily De La Torre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In describing the video as a glimpse of the “dark side” of sport, Iturriaga rightly notes the systems of socio-economic and cultural exploitation that feed it and, by extension, the world we inhabit. That, however, is not the dominant note of \u003cem>Game Recognize Game\u003c/em>. Cabello and the participating artists emphasize, through the joyful universality play, how the -isms that plague us (racism, sexism, classism, xeno- and homophobia) overlap and may be exposed and defeated. This is intersectionality. This is the hard work that will continue, as Kaepernick said upon receiving the Ali Legacy Award, regardless of platform or payment. The work will continue one goal at a time, one three-point shot at a time, so long as there are athletes of any age who want to play.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Game Recognize Game’ is on view at SOMArts Cultural Center through Jan. 10, 2018. For more information, \u003ca href=\"http://www.somarts.org/game/\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Día de los Muertos Altars Honor Victims of the Ghost Ship Fire",
"headTitle": "Día de los Muertos Altars Honor Victims of the Ghost Ship Fire | KQED",
"content": "\u003cp>As the Bay Area prepares for the painful one-year anniversary of the Dec. 2 \u003ca href=\"https://ww2.kqed.org/arts/programs/oakland-warehouse-memorial/\" rel=\"noopener\" target=\"_blank\">Ghost Ship warehouse fire\u003c/a>, many have taken to existing local traditions for rituals of remembrance. \u003c/p>\n\u003cp>At San Francisco’s SOMArts, two of the altars in the institution’s 18th annual Día de los Muertos exhibition, \u003ci>\u003ca href=\"http://www.somarts.org/remembrance/\" rel=\"noopener\" target=\"_blank\">Remembrance and Resistance\u003c/a>\u003c/i>, are dedicated to victims of the fire. And at the Oakland Museum of California, an altar made by Peter Foucault and Chris Treggiari for the museum’s \u003ca href=\"http://museumca.org/exhibit/days-of-the-dead-2017\" rel=\"noopener\" target=\"_blank\">Days of the Dead biennial\u003c/a> bears the names of the 36 Ghost Ship victims, along with four names of those who lost their lives in the West Oakland apartment fire on March 27. \u003c/p>\n\u003cfigure id=\"attachment_13813562\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/OMCA_1200.jpg\" alt=\"Chris Treggiari and Peter Foucault's Ghost Ship altar at OMCA's 'Metamorphosis & Migration: Days of the Dead.'\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13813562\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Chris Treggiari and Peter Foucault’s Ghost Ship altar at OMCA’s ‘Metamorphosis & Migration: Days of the Dead.’ \u003ccite>(Courtesy of the Oakland Museum of California; photo by Odell Hussey Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Foucault and Treggiari’s altar started taking shape soon after Dec. 2, 2016, at one of OMCA’s Friday Nights. They’d lost a collaborator in the fire: \u003ca href=\"https://ww2.kqed.org/arts/2016/12/06/alex-ghassan/\" rel=\"noopener\" target=\"_blank\">Alex Ghassan\u003c/a>, a filmmaker who produced three videos for Treggiari’s \u003ci>\u003ca href=\"http://museumca.org/exhibit/oakland-i-want-you-to-know\" rel=\"noopener\" target=\"_blank\">Oakland, I want you to know…\u003c/a>\u003c/i> exhibition (and also worked frequently as an on-call producer for KQED Arts). As Oakland reeled in the wake of the event, OMCA invited visitors to fill out a cards “in memory of those lost.” \u003c/p>\n\u003cp>“A lot of that was just real, raw emotion,” says Evelyn Orantes, who curated \u003ci>\u003ca href=\"http://museumca.org/exhibit/oakland-i-want-you-to-know\" rel=\"noopener\" target=\"_blank\">Oakland, I want you to know…\u003c/a>\u003c/i> and the museum’s current Days of the Dead exhibition, \u003ci>Metamorphosis & Migration\u003c/i>. “It was a week after the fire happened, and it was a rough period.”\u003c/p>\n\u003cfigure id=\"attachment_13813563\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/OMCA_FridayNights_1200.jpg\" alt=\"First installation of Chris Treggiari and Peter Foucault's Ghost Ship altar, at OMCA's Friday Nights.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13813563\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_FridayNights_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_FridayNights_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_FridayNights_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_FridayNights_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_FridayNights_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_FridayNights_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_FridayNights_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_FridayNights_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_FridayNights_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_FridayNights_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">First installation of Chris Treggiari and Peter Foucault’s Ghost Ship altar, at OMCA’s Friday Nights. \u003ccite>(Courtesy of the Oakland Museum of California)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nearly a year later, the altar now on view in the museum bears the names of the 40 victims of both fires in stitched thread — a painstaking undertaking completed in over 200 hours by Shannon Foucault, Peter’s wife. Notes written since the show opened on Oct. 18 are now joining last year’s messages. \u003c/p>\n\u003cfigure id=\"attachment_13813566\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/SOMA_GhostShip_640.jpg\" alt=\"Susan Matthews, 'Ghost Ship Memorial,' 2017.\" width=\"640\" height=\"960\" class=\"size-full wp-image-13813566\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SOMA_GhostShip_640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SOMA_GhostShip_640-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SOMA_GhostShip_640-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SOMA_GhostShip_640-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SOMA_GhostShip_640-520x780.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Susan Matthews, ‘Ghost Ship Memorial,’ 2017. \u003ccite>(Courtesy of SOMArts; photo by Danial Aziz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“People are contributing, but they’re also reading,” Orantes says. “There’s a dialogue that’s going in through the spoken, the written, and the visual, and we want to be able to have a site where that exchange can happen. We hope this expands the dialogue in a meaningful way.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At SOMArts, Susan Matthew’s installation \u003ci>Ghost Ship Memorial\u003c/i> is also punctuated by notes of remembrance and mourning. A replica of the painting that once adorned the Ghost Ship warehouse’s exterior — a skull with windswept hair — hovers over hand-painted hearts bearing the names of each victim of the fire. Beneath Cash Askew’s name, someone has written “Love you Cash.” Post-it notes with personal messages surround the altar.\u003c/p>\n\u003cp>Nearby, \u003ci>Likeness\u003c/i>, an altar dedicated to Ghost Ship fire victim \u003ca href=\"https://ww2.kqed.org/arts/2016/12/13/jason-jsun-mccarty-boundary-pushing-sound-artist-and-illustrator/\" rel=\"noopener\" target=\"_blank\">Jason “JSUN” McCarty\u003c/a>, includes McCarty’s own art and work by six of his friends. At the top of the pink foil-covered space is a painted portrait of McCarty, with colorful images — including some of McCarty’s signature plaid jacket — lining the walls below.\u003c/p>\n\u003cfigure id=\"attachment_13813567\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/SOMA_Jsun.jpg\" alt=\"Jsun Adrian McCarty, Linda Trunzo, Rosario Sotelo, Gera Lozano, Werc Alvarez, Michael Daddona and Jeremiah Jenkins, 'Likeness,' 2017.\" width=\"1200\" height=\"928\" class=\"size-full wp-image-13813567\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SOMA_Jsun.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SOMA_Jsun-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SOMA_Jsun-800x619.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SOMA_Jsun-768x594.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SOMA_Jsun-1020x789.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SOMA_Jsun-1180x913.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SOMA_Jsun-960x742.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SOMA_Jsun-240x186.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SOMA_Jsun-375x290.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SOMA_Jsun-520x402.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jsun Adrian McCarty, Linda Trunzo, Rosario Sotelo, Gera Lozano, Werc Alvarez, Michael Daddona and Jeremiah Jenkins, ‘Likeness,’ 2017. \u003ccite>(Sarah Hotchkiss/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Traditional celebrations recognize Día de los Muertos as a day for the dead to visit the living, and for the living to celebrate and remember the dead. For Angelica Rodriguez, gallery coordinator at the Mission Cultural Center (which this year hosts its 30th annual Día de los Muertos exhibition, titled \u003ci>\u003ca href=\"http://www.missionculturalcenter.org/day-of-the-dead.html\" rel=\"noopener\" target=\"_blank\">En El Cielo Como En La Tierra\u003c/a>\u003c/i>), getting comfortable with talking about death is part of the event. Leading 60 to 80 tours each year through the MCC’s exhibition, she talks about death on near-daily basis. \u003c/p>\n\u003cp>“Having to remember and having to grieve about death puts you in the space where you see your own life reflected,” she says. “I think that’s one of the most powerful things; to use that time and space to contemplate death is very healthy. Death is very much part of American culture, but we don’t allow ourselves to feel and express that.” \u003c/p>\n\u003cp>That’s why, she says, there’s such an appeal to Día de los Muertos as a celebration — and not just for the Latinx community. “If it wasn’t healthy, people wouldn’t gravitate towards it,” she says.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003ci>‘Metamorphosis & Migration: Days of the Dead’ is on view at the Oakland Museum of California through Jan. 14, 2018. For more information, \u003ca href=\"http://museumca.org/exhibit/days-of-the-dead-2017\" rel=\"noopener\" target=\"_blank\">click here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>\u003ci>‘Remembrance and Resistance’ is on view at SOMArts through Nov. 9, 2017. For more information, \u003ca href=\"http://www.somarts.org/remembrance/\" rel=\"noopener\" target=\"_blank\">click here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>\u003ci>‘En El Cielo Como En La Tierra’ is on view at the Mission Cultural Center through Nov. 17, 2017. For more information, \u003ca href=\"http://www.missionculturalcenter.org/day-of-the-dead.html\" rel=\"noopener\" target=\"_blank\">click here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>\u003ci>The Marigold Project’s annual Festival of Altars takes place in San Francisco’s Garfield Park on Thursday, Nov. 2, 2017, 4-11pm with a procession beginning at 7pm at 22nd and Bryant Streets. For more information, \u003ca href=\"https://dayofthedeadsf.org/informacion-general-general-information/\" rel=\"noopener\" target=\"_blank\">click here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Joshua Bote contributed research to this story.\u003c/em>\u003c/p>\n\n",
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"excerpt": "As the one-year anniversary of the Ghost Ship warehouse fire nears, many look to existing local traditions for rituals of remembrance. ",
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"description": "As the one-year anniversary of the Ghost Ship warehouse fire nears, many look to existing local traditions for rituals of remembrance. ",
"title": "Día de los Muertos Altars Honor Victims of the Ghost Ship Fire | KQED",
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"headline": "Día de los Muertos Altars Honor Victims of the Ghost Ship Fire",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As the Bay Area prepares for the painful one-year anniversary of the Dec. 2 \u003ca href=\"https://ww2.kqed.org/arts/programs/oakland-warehouse-memorial/\" rel=\"noopener\" target=\"_blank\">Ghost Ship warehouse fire\u003c/a>, many have taken to existing local traditions for rituals of remembrance. \u003c/p>\n\u003cp>At San Francisco’s SOMArts, two of the altars in the institution’s 18th annual Día de los Muertos exhibition, \u003ci>\u003ca href=\"http://www.somarts.org/remembrance/\" rel=\"noopener\" target=\"_blank\">Remembrance and Resistance\u003c/a>\u003c/i>, are dedicated to victims of the fire. And at the Oakland Museum of California, an altar made by Peter Foucault and Chris Treggiari for the museum’s \u003ca href=\"http://museumca.org/exhibit/days-of-the-dead-2017\" rel=\"noopener\" target=\"_blank\">Days of the Dead biennial\u003c/a> bears the names of the 36 Ghost Ship victims, along with four names of those who lost their lives in the West Oakland apartment fire on March 27. \u003c/p>\n\u003cfigure id=\"attachment_13813562\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/OMCA_1200.jpg\" alt=\"Chris Treggiari and Peter Foucault's Ghost Ship altar at OMCA's 'Metamorphosis & Migration: Days of the Dead.'\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13813562\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Chris Treggiari and Peter Foucault’s Ghost Ship altar at OMCA’s ‘Metamorphosis & Migration: Days of the Dead.’ \u003ccite>(Courtesy of the Oakland Museum of California; photo by Odell Hussey Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Foucault and Treggiari’s altar started taking shape soon after Dec. 2, 2016, at one of OMCA’s Friday Nights. They’d lost a collaborator in the fire: \u003ca href=\"https://ww2.kqed.org/arts/2016/12/06/alex-ghassan/\" rel=\"noopener\" target=\"_blank\">Alex Ghassan\u003c/a>, a filmmaker who produced three videos for Treggiari’s \u003ci>\u003ca href=\"http://museumca.org/exhibit/oakland-i-want-you-to-know\" rel=\"noopener\" target=\"_blank\">Oakland, I want you to know…\u003c/a>\u003c/i> exhibition (and also worked frequently as an on-call producer for KQED Arts). As Oakland reeled in the wake of the event, OMCA invited visitors to fill out a cards “in memory of those lost.” \u003c/p>\n\u003cp>“A lot of that was just real, raw emotion,” says Evelyn Orantes, who curated \u003ci>\u003ca href=\"http://museumca.org/exhibit/oakland-i-want-you-to-know\" rel=\"noopener\" target=\"_blank\">Oakland, I want you to know…\u003c/a>\u003c/i> and the museum’s current Days of the Dead exhibition, \u003ci>Metamorphosis & Migration\u003c/i>. “It was a week after the fire happened, and it was a rough period.”\u003c/p>\n\u003cfigure id=\"attachment_13813563\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/OMCA_FridayNights_1200.jpg\" alt=\"First installation of Chris Treggiari and Peter Foucault's Ghost Ship altar, at OMCA's Friday Nights.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13813563\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_FridayNights_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_FridayNights_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_FridayNights_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_FridayNights_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_FridayNights_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_FridayNights_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_FridayNights_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_FridayNights_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_FridayNights_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_FridayNights_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">First installation of Chris Treggiari and Peter Foucault’s Ghost Ship altar, at OMCA’s Friday Nights. \u003ccite>(Courtesy of the Oakland Museum of California)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nearly a year later, the altar now on view in the museum bears the names of the 40 victims of both fires in stitched thread — a painstaking undertaking completed in over 200 hours by Shannon Foucault, Peter’s wife. Notes written since the show opened on Oct. 18 are now joining last year’s messages. \u003c/p>\n\u003cfigure id=\"attachment_13813566\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/SOMA_GhostShip_640.jpg\" alt=\"Susan Matthews, 'Ghost Ship Memorial,' 2017.\" width=\"640\" height=\"960\" class=\"size-full wp-image-13813566\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SOMA_GhostShip_640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SOMA_GhostShip_640-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SOMA_GhostShip_640-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SOMA_GhostShip_640-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SOMA_GhostShip_640-520x780.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Susan Matthews, ‘Ghost Ship Memorial,’ 2017. \u003ccite>(Courtesy of SOMArts; photo by Danial Aziz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“People are contributing, but they’re also reading,” Orantes says. “There’s a dialogue that’s going in through the spoken, the written, and the visual, and we want to be able to have a site where that exchange can happen. We hope this expands the dialogue in a meaningful way.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At SOMArts, Susan Matthew’s installation \u003ci>Ghost Ship Memorial\u003c/i> is also punctuated by notes of remembrance and mourning. A replica of the painting that once adorned the Ghost Ship warehouse’s exterior — a skull with windswept hair — hovers over hand-painted hearts bearing the names of each victim of the fire. Beneath Cash Askew’s name, someone has written “Love you Cash.” Post-it notes with personal messages surround the altar.\u003c/p>\n\u003cp>Nearby, \u003ci>Likeness\u003c/i>, an altar dedicated to Ghost Ship fire victim \u003ca href=\"https://ww2.kqed.org/arts/2016/12/13/jason-jsun-mccarty-boundary-pushing-sound-artist-and-illustrator/\" rel=\"noopener\" target=\"_blank\">Jason “JSUN” McCarty\u003c/a>, includes McCarty’s own art and work by six of his friends. At the top of the pink foil-covered space is a painted portrait of McCarty, with colorful images — including some of McCarty’s signature plaid jacket — lining the walls below.\u003c/p>\n\u003cfigure id=\"attachment_13813567\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/SOMA_Jsun.jpg\" alt=\"Jsun Adrian McCarty, Linda Trunzo, Rosario Sotelo, Gera Lozano, Werc Alvarez, Michael Daddona and Jeremiah Jenkins, 'Likeness,' 2017.\" width=\"1200\" height=\"928\" class=\"size-full wp-image-13813567\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SOMA_Jsun.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SOMA_Jsun-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SOMA_Jsun-800x619.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SOMA_Jsun-768x594.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SOMA_Jsun-1020x789.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SOMA_Jsun-1180x913.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SOMA_Jsun-960x742.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SOMA_Jsun-240x186.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SOMA_Jsun-375x290.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SOMA_Jsun-520x402.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jsun Adrian McCarty, Linda Trunzo, Rosario Sotelo, Gera Lozano, Werc Alvarez, Michael Daddona and Jeremiah Jenkins, ‘Likeness,’ 2017. \u003ccite>(Sarah Hotchkiss/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Traditional celebrations recognize Día de los Muertos as a day for the dead to visit the living, and for the living to celebrate and remember the dead. For Angelica Rodriguez, gallery coordinator at the Mission Cultural Center (which this year hosts its 30th annual Día de los Muertos exhibition, titled \u003ci>\u003ca href=\"http://www.missionculturalcenter.org/day-of-the-dead.html\" rel=\"noopener\" target=\"_blank\">En El Cielo Como En La Tierra\u003c/a>\u003c/i>), getting comfortable with talking about death is part of the event. Leading 60 to 80 tours each year through the MCC’s exhibition, she talks about death on near-daily basis. \u003c/p>\n\u003cp>“Having to remember and having to grieve about death puts you in the space where you see your own life reflected,” she says. “I think that’s one of the most powerful things; to use that time and space to contemplate death is very healthy. Death is very much part of American culture, but we don’t allow ourselves to feel and express that.” \u003c/p>\n\u003cp>That’s why, she says, there’s such an appeal to Día de los Muertos as a celebration — and not just for the Latinx community. “If it wasn’t healthy, people wouldn’t gravitate towards it,” she says.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003ci>‘Metamorphosis & Migration: Days of the Dead’ is on view at the Oakland Museum of California through Jan. 14, 2018. For more information, \u003ca href=\"http://museumca.org/exhibit/days-of-the-dead-2017\" rel=\"noopener\" target=\"_blank\">click here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>\u003ci>‘Remembrance and Resistance’ is on view at SOMArts through Nov. 9, 2017. For more information, \u003ca href=\"http://www.somarts.org/remembrance/\" rel=\"noopener\" target=\"_blank\">click here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>\u003ci>‘En El Cielo Como En La Tierra’ is on view at the Mission Cultural Center through Nov. 17, 2017. For more information, \u003ca href=\"http://www.missionculturalcenter.org/day-of-the-dead.html\" rel=\"noopener\" target=\"_blank\">click here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>\u003ci>The Marigold Project’s annual Festival of Altars takes place in San Francisco’s Garfield Park on Thursday, Nov. 2, 2017, 4-11pm with a procession beginning at 7pm at 22nd and Bryant Streets. For more information, \u003ca href=\"https://dayofthedeadsf.org/informacion-general-general-information/\" rel=\"noopener\" target=\"_blank\">click here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Joshua Bote contributed research to this story.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "an-expanded-vision-of-healing-and-divine-black-femininity",
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"content": "\u003cp>For the past seven years, \u003cem>Night Light\u003c/em> has reigned as SOMArts Cultural Center’s annual audiovisual experience, where installations, live performance, and sound blanket the center as over 800 people witness the postindustrial space transform into a physical and digital manifestation of the application of light in art.\u003c/p>\n\u003cp>This year, for the first time, the immersive festival extends to \u003ca href=\"http://www.somarts.org/nightlight2017/\" target=\"_blank\" rel=\"noopener\">two days running Aug. 25–26\u003c/a>. In an interesting twist, it responds to themes central to SOMArts’ current exhibit, \u003cem>The Black Woman Is God: Divine Revolution\u003c/em>.\u003c/p>\n\u003cp>Co-curated by Karen Seneferu and Melorra Green, \u003cem>The Black Woman is God\u003c/em> returns for its second year at SOMArts to celebrate the black female presence as the highest spiritual form, and to challenge racist and patriarchal perceptions devaluing the black woman’s contributions to society. Founded in 2013, \u003cem>The Black Woman Is God\u003c/em> was originally conceived as a corrective to the dearth of African-American representation — especially of female African-American representation — in the art world, according to founder and co-curator Seneferu.\u003c/p>\n\u003cp>“I recognized that there was a void and that there were certain artists [within the African diaspora] being selected to speak on behalf of black artists. Or [to act] as a vehicle for the white establishment,” explains Seneferu.\u003c/p>\n\u003cfigure id=\"attachment_13806477\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Azin.jpg\" alt=\"Azin Seraj's 'The Abyss,' a video installation on view at 'Night Light.'\" width=\"1100\" height=\"711\" class=\"size-full wp-image-13806477\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Azin.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Azin-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Azin-800x517.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Azin-768x496.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Azin-1020x659.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Azin-960x621.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Azin-240x155.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Azin-375x242.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Azin-520x336.jpg 520w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">Azin Seraj’s ‘The Abyss,’ a video installation on view at ‘Night Light.’ \u003ccite>(Courtesy SOMArts Cultural Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Seneferu and Green’s first collaboration in the inaugural exhibit of \u003cem>The Black Woman Is God\u003c/em>, at the African American Art and Culture Complex in 2013, drew an overwhelmingly positive response from the local community. Four years later, \u003cem>Divine Revolution\u003c/em> acts as “a mirror reflection of ideal representations of beauty, of divinity, of power, of resilience. A reclaiming of historical narrative that, within the African cosmology, the black woman has always been seen as a deity,” says Seneferu. “It’s outside of that cosmology where the black woman’s body becomes a vehicle or a tool of oppression — and we wanted to reclaim that.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Green adds, “We started having conversations about rest, about self-care. Various things that anyone can take on, but in particular [to] black women it becomes… a revolutionary act. It’s different in the Bay Area [where] you have high rents and blatant racism. You think, ‘What can I do that can be revolutionary?’ And sometimes it’s simply being able to have 10 minutes to just have a seat.”\u003c/p>\n\u003cp>\u003cem>Night Light\u003c/em> opens up the floor to over 60 mixed-media artists — including men and other artists of color — to contribute to the themes central to \u003cem>Divine Revolution\u003c/em>, which has been on view since late July and closes after this weekend. \u003c/p>\n\u003cp>“For someone who’s so used to the world of curation and public programming, my values always center around being audacious with space,” Green shares. “’Where can we do this? Who’s gonna hold this? Who’s gonna break the container?’ I’m always seeing what voices we can expand, what space we can bring this movement to. I’m always committed that artists of color have a voice.”\u003c/p>\n\u003cfigure id=\"attachment_13806478\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Rayla.jpg\" alt=\"Night Light 2016 performance.\" width=\"1100\" height=\"729\" class=\"size-full wp-image-13806478\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Rayla.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Rayla-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Rayla-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Rayla-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Rayla-1020x676.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Rayla-960x636.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Rayla-240x159.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Rayla-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Rayla-520x345.jpg 520w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">Rayla Meshawn’s\u003cbr>Night Light 2016 performance. \u003ccite>(Liam Brooks / Courtesy SOMArts Cultural Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of those artists is Rayla Meshawn, a dancer and multimedia artist who works to reclaim “the rights to healing” through a unity of sound and movement.\u003c/p>\n\u003cp>“There was a time in which Black people were banned from openly practicing their beliefs and dancing as they pleased in public,” Meshawn says, with hopes that her performance of ritual practices will reclaim the physical expression previously denied to her ancestors.\u003c/p>\n\u003cp>Alternatively, a geodesic “healing dome” from the Macro Waves Collective responds to the theme of self-care: a space for people to meditate and find peace away from the turbulent political landscape. Upon entering the inviting space — fuzzy white pillows decorate the dome’s tranquil interior — participants are asked to wear biofeedback sensors, which trigger the installation’s visual and sonic ambiance. The interactive installation is an echo of member Jeffrey Yip’s notion that every revolution starts within.\u003c/p>\n\u003cp>“It starts with the individual,” he says. “And what better way to do that than to meditate and self-heal?”\u003c/p>\n\u003cp>“\u003cem>The Black Woman Is God\u003c/em> exhibit itself is a revolutionary act,” Seneferu states. “But to have people of color entering into that narrative and reflecting about how they see [divine revolution] in the various mediums of art available to [their] communities is so powerful.”\u003c/p>\n\u003cp>She takes a short breath, as if to punctuate the importance.\u003c/p>\n\u003cp>“There’s nothing like what’s about to happen this August 25th and 26th,” she says. “Nothing like it.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Night Light’ runs Aug. 25–26 at SOMArts Cultural Center in San Francisco. \u003ca href=\"http://www.somarts.org/nightlight2017/\" target=\"_blank\" rel=\"noopener\">More details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"title": "An Expanded Vision of Healing and Divine Black Femininity | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For the past seven years, \u003cem>Night Light\u003c/em> has reigned as SOMArts Cultural Center’s annual audiovisual experience, where installations, live performance, and sound blanket the center as over 800 people witness the postindustrial space transform into a physical and digital manifestation of the application of light in art.\u003c/p>\n\u003cp>This year, for the first time, the immersive festival extends to \u003ca href=\"http://www.somarts.org/nightlight2017/\" target=\"_blank\" rel=\"noopener\">two days running Aug. 25–26\u003c/a>. In an interesting twist, it responds to themes central to SOMArts’ current exhibit, \u003cem>The Black Woman Is God: Divine Revolution\u003c/em>.\u003c/p>\n\u003cp>Co-curated by Karen Seneferu and Melorra Green, \u003cem>The Black Woman is God\u003c/em> returns for its second year at SOMArts to celebrate the black female presence as the highest spiritual form, and to challenge racist and patriarchal perceptions devaluing the black woman’s contributions to society. Founded in 2013, \u003cem>The Black Woman Is God\u003c/em> was originally conceived as a corrective to the dearth of African-American representation — especially of female African-American representation — in the art world, according to founder and co-curator Seneferu.\u003c/p>\n\u003cp>“I recognized that there was a void and that there were certain artists [within the African diaspora] being selected to speak on behalf of black artists. Or [to act] as a vehicle for the white establishment,” explains Seneferu.\u003c/p>\n\u003cfigure id=\"attachment_13806477\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Azin.jpg\" alt=\"Azin Seraj's 'The Abyss,' a video installation on view at 'Night Light.'\" width=\"1100\" height=\"711\" class=\"size-full wp-image-13806477\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Azin.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Azin-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Azin-800x517.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Azin-768x496.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Azin-1020x659.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Azin-960x621.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Azin-240x155.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Azin-375x242.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Azin-520x336.jpg 520w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">Azin Seraj’s ‘The Abyss,’ a video installation on view at ‘Night Light.’ \u003ccite>(Courtesy SOMArts Cultural Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Seneferu and Green’s first collaboration in the inaugural exhibit of \u003cem>The Black Woman Is God\u003c/em>, at the African American Art and Culture Complex in 2013, drew an overwhelmingly positive response from the local community. Four years later, \u003cem>Divine Revolution\u003c/em> acts as “a mirror reflection of ideal representations of beauty, of divinity, of power, of resilience. A reclaiming of historical narrative that, within the African cosmology, the black woman has always been seen as a deity,” says Seneferu. “It’s outside of that cosmology where the black woman’s body becomes a vehicle or a tool of oppression — and we wanted to reclaim that.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Green adds, “We started having conversations about rest, about self-care. Various things that anyone can take on, but in particular [to] black women it becomes… a revolutionary act. It’s different in the Bay Area [where] you have high rents and blatant racism. You think, ‘What can I do that can be revolutionary?’ And sometimes it’s simply being able to have 10 minutes to just have a seat.”\u003c/p>\n\u003cp>\u003cem>Night Light\u003c/em> opens up the floor to over 60 mixed-media artists — including men and other artists of color — to contribute to the themes central to \u003cem>Divine Revolution\u003c/em>, which has been on view since late July and closes after this weekend. \u003c/p>\n\u003cp>“For someone who’s so used to the world of curation and public programming, my values always center around being audacious with space,” Green shares. “’Where can we do this? Who’s gonna hold this? Who’s gonna break the container?’ I’m always seeing what voices we can expand, what space we can bring this movement to. I’m always committed that artists of color have a voice.”\u003c/p>\n\u003cfigure id=\"attachment_13806478\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Rayla.jpg\" alt=\"Night Light 2016 performance.\" width=\"1100\" height=\"729\" class=\"size-full wp-image-13806478\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Rayla.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Rayla-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Rayla-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Rayla-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Rayla-1020x676.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Rayla-960x636.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Rayla-240x159.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Rayla-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Rayla-520x345.jpg 520w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">Rayla Meshawn’s\u003cbr>Night Light 2016 performance. \u003ccite>(Liam Brooks / Courtesy SOMArts Cultural Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of those artists is Rayla Meshawn, a dancer and multimedia artist who works to reclaim “the rights to healing” through a unity of sound and movement.\u003c/p>\n\u003cp>“There was a time in which Black people were banned from openly practicing their beliefs and dancing as they pleased in public,” Meshawn says, with hopes that her performance of ritual practices will reclaim the physical expression previously denied to her ancestors.\u003c/p>\n\u003cp>Alternatively, a geodesic “healing dome” from the Macro Waves Collective responds to the theme of self-care: a space for people to meditate and find peace away from the turbulent political landscape. Upon entering the inviting space — fuzzy white pillows decorate the dome’s tranquil interior — participants are asked to wear biofeedback sensors, which trigger the installation’s visual and sonic ambiance. The interactive installation is an echo of member Jeffrey Yip’s notion that every revolution starts within.\u003c/p>\n\u003cp>“It starts with the individual,” he says. “And what better way to do that than to meditate and self-heal?”\u003c/p>\n\u003cp>“\u003cem>The Black Woman Is God\u003c/em> exhibit itself is a revolutionary act,” Seneferu states. “But to have people of color entering into that narrative and reflecting about how they see [divine revolution] in the various mediums of art available to [their] communities is so powerful.”\u003c/p>\n\u003cp>She takes a short breath, as if to punctuate the importance.\u003c/p>\n\u003cp>“There’s nothing like what’s about to happen this August 25th and 26th,” she says. “Nothing like it.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Night Light’ runs Aug. 25–26 at SOMArts Cultural Center in San Francisco. \u003ca href=\"http://www.somarts.org/nightlight2017/\" target=\"_blank\" rel=\"noopener\">More details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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},
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"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
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"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"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. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
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"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
"fresh-air": {
"id": "fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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},
"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"meta": {
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"source": "WaitWhat"
},
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
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"source": "pbs"
},
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