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"content": "\u003cp>On Oct. 5, 1891, the San Francisco \u003cem>Morning Call\u003c/em> newspaper featured an \u003ca href=\"https://cdnc.ucr.edu/?a=d&d=SFC18911005.2.65&e=-------en--20--1--txt-txIN--------1\" target=\"_blank\" rel=\"noopener noreferrer\">in-depth report\u003c/a> about “the shadow of misfortune” that was, at that time, hanging over Nob Hill’s most prestigious homes. The article focused on the abandoned mansions of the prominent Stanford, Crocker, Colton, Hopkins and Flood families. “Lifeless and forlorn,” the newspaper stated, “they tell no story but of pride ungratified and happiness that could not be purchased. So the shadows seem to rest on Nob Hill.”\u003c/p>\n\u003cp>The trail of misery was undeniable.\u003c/p>\n\u003cp>Leland and Jane Stanford abandoned their 50-room mansion on the corner of Powell and California Streets after their son died at 15 years old. In 1883, after the senator and his wife held Leland Jr.’s funeral in the 41,000 square-foot house, they moved to Menlo Park, leaving the mansion as a sort of shrine to their son. One particularly macabre feature was left visible for passersby. “In [Leland Jr.’s] old room, looking out over the bay,” \u003cem>The Morning Call\u003c/em> observed, “all the belongings of his boyhood cluster undisturbed. His picture hangs before a window, the blinds of which are never drawn. To this room, a mother comes to weep. It is the shrine of her grief.”\u003c/p>\n\u003cfigure id=\"attachment_13904177\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13904177\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/20211004_134556-800x588.jpg\" alt=\"\" width=\"800\" height=\"588\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/20211004_134556-800x588.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/20211004_134556-1020x749.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/20211004_134556-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/20211004_134556-768x564.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/20211004_134556-1536x1128.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/20211004_134556-2048x1504.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/20211004_134556-1920x1410.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Stanford mansion in 1883. Behind it, at the top of the hill, is the Hopkins mansion. \u003ccite>(The Bancroft Library)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Many of the Stanfords’ neighbors were struck with similar misfortunes.\u003c/p>\n\u003cp>Charles Crocker, a co-founder of the Central Pacific Railroad, as well as the bank that later became Wells Fargo, had built his 25,000 square-foot home at the peak of Nob Hill (then called California Hill). His intention was to acquire and demolish the 13 houses already on the land and build on the vacant plot. He succeeded in buying 12. When the owner of the final home—an undertaker named Nicholas Yung—requested $12,000 to move, Crocker refused to pay and, instead, walled off Yung’s home behind a monstrous, 40-foot-tall “spite fence.”\u003c/p>\n\u003cfigure id=\"attachment_13883180\" class=\"wp-caption alignnone\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13883180\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/Muybridge_SF_pan_1878_portion_showing_spite_fence.jpg\" alt=\"Portion of a panoramic photograph, taken in April 1878 by Eadweard Muybridge, showing the spite fence constructed by Charles Crocker around Nicolas Yung's home.\" width=\"640\" height=\"559\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Muybridge_SF_pan_1878_portion_showing_spite_fence.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Muybridge_SF_pan_1878_portion_showing_spite_fence-160x140.jpg 160w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Portion of a panoramic photograph, taken in April 1878 by Eadweard Muybridge, showing the spite fence constructed by Charles Crocker around Nicolas Yung’s home.\u003c/figcaption>\u003c/figure>\n\u003cp>Crocker died in 1888, leaving two of his sons squabbling over ownership of the house while also continuing their father’s feud with Yung. It’s remarkable that the eldest Crocker, Fred, had the energy for such pettiness, having lost his 29-year-old wife in childbirth the year before his father died. (Fred never married again and their daughter, Mary, only made it to 24.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Next door to the Crocker mansion (and the spite fence) was the Italian-style villa of General David Colton, an attorney and another co-founder of the Central Pacific Railroad. The $75,000 L-shaped, two-story home was completed in 1872. Six years later, Colton was thrown from a horse and subsequently crushed by the animal. Surgery was attempted, but a deadly infection resulted and he died at the age of 47, leaving significant debts.\u003c/p>\n\u003cp>[aside postid='arts_13937270']Colton’s death triggered a series of unfortunate events. Believing that her husband’s Pacific Railroad colleagues had swindled her out of money, Ellen Colton took action that resulted in \u003ca href=\"http://pcad.lib.washington.edu/building/16605/\" target=\"_blank\" rel=\"noopener noreferrer\">multiple lawsuits\u003c/a>, two years in court and a mountain of \u003ca href=\"https://cdnc.ucr.edu/?a=d&d=DAC18840712.2.4&e=-------en--20--1--txt-txIN--------1\" target=\"_blank\" rel=\"noopener noreferrer\">gossip in the local press\u003c/a>. The \u003cem>Morning Call\u003c/em> reported that the lawsuits resulted in “much of the [Colton] estate” being “frittered away.”\u003c/p>\n\u003cp>The paper was also careful to note the bad luck that had befallen one of the Coltons’ two daughters, Carrie. It reported that her first husband died after a year and a half of their marriage, and her second, Henry McClane Martin—“a love match without doubt”—died of a sudden illness that once again left her “heart-broken.” The newspaper said the family mansion was left, “vacant and gruesome with memories.”\u003c/p>\n\u003cp>Eventually, one of the people Ellen had fought in court, Collis P. Huntington, bought the Colton home for $250,000. But because his family was based in New York, the mansion remained largely empty.\u003c/p>\n\u003cfigure id=\"attachment_13883191\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13883191\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/nob-hill-houses-800x800.jpg\" alt=\"The Crocker, Stanford and Colton mansions, as illustrated in an 1891 edition of San Francisco's 'Morning Call' newspaper.\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/nob-hill-houses-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/nob-hill-houses-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/nob-hill-houses-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/nob-hill-houses-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/nob-hill-houses-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/nob-hill-houses-2048x2048.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/nob-hill-houses-1920x1920.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Crocker, Stanford and Colton mansions, as illustrated in an 1891 edition of San Francisco’s ‘Morning Call’ newspaper.\u003c/figcaption>\u003c/figure>\n\u003cp>Another neighbor on California Street was Richard Tobin, a lawyer, co-founder of The Hibernia Savings and Loan Society and one of the original owners of the \u003cem>San Francisco Chronicle\u003c/em>. He became successful after emigrating from Ireland in 1849 with his father and brother, but his 5,400 square-foot mansion at Taylor Street was more modest than his neighbors’ abodes. (It did, however, still include a 75-foot-tall observatory tower and a private chapel, complete with stained glass windows.)\u003c/p>\n\u003cp>[aside postid='arts_13879301']The Tobin clan evidently experienced some trouble with their neighbors. The \u003ca href=\"https://www.maritimeheritage.org/vips/tobin.htm\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Daily Alta\u003c/em> reported\u003c/a> on May 21, 1877 that “On Thursday morning, Charles A. Crocker [he of the spite fence] and William Tobin engaged in a row in a Market Street saloon, during which Tobin was stabbed in the abdomen. Yesterday Crocker was examined before Judge Lawler, and Tobin asserted that they were both drunk, and that the stabbing was done accidentally. The charge was consequently dismissed.”\u003c/p>\n\u003cp>(It is unclear from records whether William was Richard’s brother or father.)\u003c/p>\n\u003cp>Richard Tobin died in 1887, but his wife remained in their Nob Hill home. That was until August 27, 1895, when house-painters using gasoline lamps to burn off old paint caused a massive fire. The \u003ca href=\"https://www.maritimeheritage.org/vips/tobin.htm\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>San Francisco Call\u003c/em> reported\u003c/a> that “between $10,000 and $15,000 [of] damages” were caused, in part because “the heavy steam engines” of the fire trucks had trouble mounting the hill. The paper also reported that the house was insured for only $5,000.\u003c/p>\n\u003cp>The grand twist in all of this is that the architectural firm responsible for all four of these homes was one and the same: Bugbee & Sons. And the head of that company, Samuel C. Bugbee, just happens to be the great-great grandfather of Shirley Jackson. Jackson, of course, was an author who built her career writing about strange and cursed old houses in books like 1959’s \u003cem>The Haunting of Hill House\u003c/em> and 1962’s \u003cem>We Have Always Lived in the\u003c/em> \u003cem>Castle\u003c/em>. In 1958’s \u003cem>The Sundial\u003c/em>, a cantankerous family lives in a mansion at the top of the hill, surrounded by an imposing wall. (It’s impossible not to think of the Crockers.)\u003c/p>\n\u003cp>[aside postid='arts_13881990']Though enormously successful with their architecture firm—they also built Mills Hall at Mills College (1871), Wade Opera House (1876) and the Golden Gate Park Conservatory—the Bugbees had a habit of dying suddenly. Samuel died Sept. 1, 1877 on a ferry between San Francisco and Oakland. His son Charles dropped dead in the street a few years later. His other son, Sumner Bugbee, died unexpectedly during a train journey from New York to California. And later, Charles’ brother, John Stephenson Bugbee (the only non-architect in the family) died of a stroke in the middle of making a speech to the 1896 Alaska Republican convention.\u003c/p>\n\u003cp>Today, none of the Bugbee mansions of Nob Hill are still standing. Those that survived until 1906 all burned in the fires following the earthquake. Landmarks do remain in their places though. The Huntington family, who purchased the Colton mansion, donated the land to the city after the house burned down. \u003ca href=\"https://www.sfparksalliance.org/our-parks/parks/huntington-park\" target=\"_blank\" rel=\"noopener noreferrer\">Huntington Park\u003c/a> now stands where it once did. And across the street, standing on the site of the old Crocker mansion, is Grace Cathedral.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>At the time of writing \u003cem>The Haunting of Hill House\u003c/em>, Shirley Jackson had requested photos of the mansions her ancestors built for inspiration. Her mother sent her a batch of newspaper clippings. One contained a picture of the Crocker House and a note. “Glad [it] didn’t survive the earthquake.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On Oct. 5, 1891, the San Francisco \u003cem>Morning Call\u003c/em> newspaper featured an \u003ca href=\"https://cdnc.ucr.edu/?a=d&d=SFC18911005.2.65&e=-------en--20--1--txt-txIN--------1\" target=\"_blank\" rel=\"noopener noreferrer\">in-depth report\u003c/a> about “the shadow of misfortune” that was, at that time, hanging over Nob Hill’s most prestigious homes. The article focused on the abandoned mansions of the prominent Stanford, Crocker, Colton, Hopkins and Flood families. “Lifeless and forlorn,” the newspaper stated, “they tell no story but of pride ungratified and happiness that could not be purchased. So the shadows seem to rest on Nob Hill.”\u003c/p>\n\u003cp>The trail of misery was undeniable.\u003c/p>\n\u003cp>Leland and Jane Stanford abandoned their 50-room mansion on the corner of Powell and California Streets after their son died at 15 years old. In 1883, after the senator and his wife held Leland Jr.’s funeral in the 41,000 square-foot house, they moved to Menlo Park, leaving the mansion as a sort of shrine to their son. One particularly macabre feature was left visible for passersby. “In [Leland Jr.’s] old room, looking out over the bay,” \u003cem>The Morning Call\u003c/em> observed, “all the belongings of his boyhood cluster undisturbed. His picture hangs before a window, the blinds of which are never drawn. To this room, a mother comes to weep. It is the shrine of her grief.”\u003c/p>\n\u003cfigure id=\"attachment_13904177\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13904177\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/20211004_134556-800x588.jpg\" alt=\"\" width=\"800\" height=\"588\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/20211004_134556-800x588.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/20211004_134556-1020x749.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/20211004_134556-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/20211004_134556-768x564.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/20211004_134556-1536x1128.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/20211004_134556-2048x1504.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/20211004_134556-1920x1410.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Stanford mansion in 1883. Behind it, at the top of the hill, is the Hopkins mansion. \u003ccite>(The Bancroft Library)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Many of the Stanfords’ neighbors were struck with similar misfortunes.\u003c/p>\n\u003cp>Charles Crocker, a co-founder of the Central Pacific Railroad, as well as the bank that later became Wells Fargo, had built his 25,000 square-foot home at the peak of Nob Hill (then called California Hill). His intention was to acquire and demolish the 13 houses already on the land and build on the vacant plot. He succeeded in buying 12. When the owner of the final home—an undertaker named Nicholas Yung—requested $12,000 to move, Crocker refused to pay and, instead, walled off Yung’s home behind a monstrous, 40-foot-tall “spite fence.”\u003c/p>\n\u003cfigure id=\"attachment_13883180\" class=\"wp-caption alignnone\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13883180\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/Muybridge_SF_pan_1878_portion_showing_spite_fence.jpg\" alt=\"Portion of a panoramic photograph, taken in April 1878 by Eadweard Muybridge, showing the spite fence constructed by Charles Crocker around Nicolas Yung's home.\" width=\"640\" height=\"559\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Muybridge_SF_pan_1878_portion_showing_spite_fence.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Muybridge_SF_pan_1878_portion_showing_spite_fence-160x140.jpg 160w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Portion of a panoramic photograph, taken in April 1878 by Eadweard Muybridge, showing the spite fence constructed by Charles Crocker around Nicolas Yung’s home.\u003c/figcaption>\u003c/figure>\n\u003cp>Crocker died in 1888, leaving two of his sons squabbling over ownership of the house while also continuing their father’s feud with Yung. It’s remarkable that the eldest Crocker, Fred, had the energy for such pettiness, having lost his 29-year-old wife in childbirth the year before his father died. (Fred never married again and their daughter, Mary, only made it to 24.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Next door to the Crocker mansion (and the spite fence) was the Italian-style villa of General David Colton, an attorney and another co-founder of the Central Pacific Railroad. The $75,000 L-shaped, two-story home was completed in 1872. Six years later, Colton was thrown from a horse and subsequently crushed by the animal. Surgery was attempted, but a deadly infection resulted and he died at the age of 47, leaving significant debts.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Colton’s death triggered a series of unfortunate events. Believing that her husband’s Pacific Railroad colleagues had swindled her out of money, Ellen Colton took action that resulted in \u003ca href=\"http://pcad.lib.washington.edu/building/16605/\" target=\"_blank\" rel=\"noopener noreferrer\">multiple lawsuits\u003c/a>, two years in court and a mountain of \u003ca href=\"https://cdnc.ucr.edu/?a=d&d=DAC18840712.2.4&e=-------en--20--1--txt-txIN--------1\" target=\"_blank\" rel=\"noopener noreferrer\">gossip in the local press\u003c/a>. The \u003cem>Morning Call\u003c/em> reported that the lawsuits resulted in “much of the [Colton] estate” being “frittered away.”\u003c/p>\n\u003cp>The paper was also careful to note the bad luck that had befallen one of the Coltons’ two daughters, Carrie. It reported that her first husband died after a year and a half of their marriage, and her second, Henry McClane Martin—“a love match without doubt”—died of a sudden illness that once again left her “heart-broken.” The newspaper said the family mansion was left, “vacant and gruesome with memories.”\u003c/p>\n\u003cp>Eventually, one of the people Ellen had fought in court, Collis P. Huntington, bought the Colton home for $250,000. But because his family was based in New York, the mansion remained largely empty.\u003c/p>\n\u003cfigure id=\"attachment_13883191\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13883191\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/nob-hill-houses-800x800.jpg\" alt=\"The Crocker, Stanford and Colton mansions, as illustrated in an 1891 edition of San Francisco's 'Morning Call' newspaper.\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/nob-hill-houses-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/nob-hill-houses-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/nob-hill-houses-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/nob-hill-houses-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/nob-hill-houses-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/nob-hill-houses-2048x2048.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/nob-hill-houses-1920x1920.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Crocker, Stanford and Colton mansions, as illustrated in an 1891 edition of San Francisco’s ‘Morning Call’ newspaper.\u003c/figcaption>\u003c/figure>\n\u003cp>Another neighbor on California Street was Richard Tobin, a lawyer, co-founder of The Hibernia Savings and Loan Society and one of the original owners of the \u003cem>San Francisco Chronicle\u003c/em>. He became successful after emigrating from Ireland in 1849 with his father and brother, but his 5,400 square-foot mansion at Taylor Street was more modest than his neighbors’ abodes. (It did, however, still include a 75-foot-tall observatory tower and a private chapel, complete with stained glass windows.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The Tobin clan evidently experienced some trouble with their neighbors. The \u003ca href=\"https://www.maritimeheritage.org/vips/tobin.htm\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Daily Alta\u003c/em> reported\u003c/a> on May 21, 1877 that “On Thursday morning, Charles A. Crocker [he of the spite fence] and William Tobin engaged in a row in a Market Street saloon, during which Tobin was stabbed in the abdomen. Yesterday Crocker was examined before Judge Lawler, and Tobin asserted that they were both drunk, and that the stabbing was done accidentally. The charge was consequently dismissed.”\u003c/p>\n\u003cp>(It is unclear from records whether William was Richard’s brother or father.)\u003c/p>\n\u003cp>Richard Tobin died in 1887, but his wife remained in their Nob Hill home. That was until August 27, 1895, when house-painters using gasoline lamps to burn off old paint caused a massive fire. The \u003ca href=\"https://www.maritimeheritage.org/vips/tobin.htm\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>San Francisco Call\u003c/em> reported\u003c/a> that “between $10,000 and $15,000 [of] damages” were caused, in part because “the heavy steam engines” of the fire trucks had trouble mounting the hill. The paper also reported that the house was insured for only $5,000.\u003c/p>\n\u003cp>The grand twist in all of this is that the architectural firm responsible for all four of these homes was one and the same: Bugbee & Sons. And the head of that company, Samuel C. Bugbee, just happens to be the great-great grandfather of Shirley Jackson. Jackson, of course, was an author who built her career writing about strange and cursed old houses in books like 1959’s \u003cem>The Haunting of Hill House\u003c/em> and 1962’s \u003cem>We Have Always Lived in the\u003c/em> \u003cem>Castle\u003c/em>. In 1958’s \u003cem>The Sundial\u003c/em>, a cantankerous family lives in a mansion at the top of the hill, surrounded by an imposing wall. (It’s impossible not to think of the Crockers.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Though enormously successful with their architecture firm—they also built Mills Hall at Mills College (1871), Wade Opera House (1876) and the Golden Gate Park Conservatory—the Bugbees had a habit of dying suddenly. Samuel died Sept. 1, 1877 on a ferry between San Francisco and Oakland. His son Charles dropped dead in the street a few years later. His other son, Sumner Bugbee, died unexpectedly during a train journey from New York to California. And later, Charles’ brother, John Stephenson Bugbee (the only non-architect in the family) died of a stroke in the middle of making a speech to the 1896 Alaska Republican convention.\u003c/p>\n\u003cp>Today, none of the Bugbee mansions of Nob Hill are still standing. Those that survived until 1906 all burned in the fires following the earthquake. Landmarks do remain in their places though. The Huntington family, who purchased the Colton mansion, donated the land to the city after the house burned down. \u003ca href=\"https://www.sfparksalliance.org/our-parks/parks/huntington-park\" target=\"_blank\" rel=\"noopener noreferrer\">Huntington Park\u003c/a> now stands where it once did. And across the street, standing on the site of the old Crocker mansion, is Grace Cathedral.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At the time of writing \u003cem>The Haunting of Hill House\u003c/em>, Shirley Jackson had requested photos of the mansions her ancestors built for inspiration. Her mother sent her a batch of newspaper clippings. One contained a picture of the Crocker House and a note. “Glad [it] didn’t survive the earthquake.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "canceled-by-coronavirus-a-list-of-bay-area-concerts-cultural-events-museums-more",
"title": "Canceled by Coronavirus: A List of Bay Area Concerts, Cultural Events, Museums, More",
"publishDate": 1584140436,
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"headTitle": "Canceled by Coronavirus: A List of Bay Area Concerts, Cultural Events, Museums, More | KQED",
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"content": "\u003cp>Updated: March 17, 6:30am\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Note\u003c/strong>: \u003cstrong>This list is no longer being updated as of March 17\u003c/strong>. Because of new restrictions and shelter-in-place orders, it is safe to assume that every concert, performance, museum or cultural event in the Bay Area has been canceled or closed for the time being.\u003c/em>\u003c/p>\n\u003cp>\u003cem>On March 17, a \u003ca href=\"https://www.kqed.org/news/11806988/sheltering-in-place-what-you-need-to-know\" rel=\"noopener noreferrer\" target=\"_blank\">shelter-in-place order took effect for six Bay Area counties\u003c/a>, requiring people to stay at home and leave only for essential activities.\u003c/em>\u003c/p>\n\u003cp>\u003cem>On March 16, the CDC \u003ca href=\"https://www.kqed.org/arts/13876716/cdc-recommends-against-gatherings-of-50-or-more-states-close-bars-restaurants\" rel=\"noopener noreferrer\" target=\"_blank\">warned against gatherings of 50 people or more\u003c/a>, including “conferences, festivals, parades, concerts, sporting events, weddings, and other types of assemblies.” Governor Gavin Newsom also \u003ca href=\"https://www.kqed.org/news/11806871/newsom-calls-for-closure-of-all-bars-in-an-effort-to-increase-social-distancing\" rel=\"noopener noreferrer\" target=\"_blank\">called for the closure\u003c/a> of all bars, wineries, nightclubs and breweries.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Stay up to date on full coronavirus coverage \u003ca href=\"https://www.kqed.org/coronavirus\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>. \u003c/strong>\u003c/p>\n\u003cp>Concern over the spread of the coronavirus has caused the cancellation of many concerts, performances and other cultural events in the Bay Area.[aside postid=\"science_1957877\"]\u003c/p>\n\u003cp>Below, see a list of cultural events, concerts and performances canceled or postponed due to coronavirus concerns. Many venues have enacted flexible refund and ticket-exchange policies. Click through the venue or event name for details, and for updated information about reopening.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003ca href=\"https://www.act-sf.org/\" rel=\"noopener noreferrer\" target=\"_blank\">\u003cstrong>American Conservatory Theater\u003c/strong>\u003c/a>\u003cbr>\nAll performances of ‘Toni Stone’ (Geary Theater) and ‘Gloria’ (Strand Theater) canceled\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.sfcv.org/events-calendar/venue-profiles/knuth-hall-sf-state-university-creative-arts-building\" target=\"_blank\" rel=\"noopener noreferrer\">‘Ain’t I a Woman’\u003c/a>\u003c/strong> (March 15)\u003cbr>\nPerformance by Core Ensemble canceled\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.theoaklandarena.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Ana Gabriel\u003c/a>\u003c/strong>\u003cbr>\nMarch 19 concert at Oakland Arena postponed\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.theoaklandarena.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Andre Rieu\u003c/a>\u003c/strong>\u003cbr>\nMarch 22 concert at Oakland Arena postponed\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://asianart.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Asian Art Museum\u003c/a>\u003c/strong>\u003cbr>\nClosed to the public through March 27\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.mlb.com/athletics\" rel=\"noopener noreferrer\" target=\"_blank\">Oakland A’s\u003c/a>\u003c/strong>\u003cbr>\nSpring training canceled; entire MLB season delayed at least two weeks\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.augusthallsf.com/\" rel=\"noopener noreferrer\" target=\"_blank\">August Hall\u003c/a>\u003c/strong>\u003cbr>\nAll shows through March 27 canceled\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.cinemasf.com/balboa\" rel=\"noopener noreferrer\" target=\"_blank\">Balboa Theatre\u003c/a>\u003c/strong>\u003cbr>\nClosed and all movie screenings canceled until further notice\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://bampfa.org/news/new-info-bampfa-update-covid-19\" rel=\"noopener noreferrer\" target=\"_blank\">BAMPFA\u003c/a>\u003c/strong>\u003cbr>\nAll film screenings, tours and public programs canceled through March 29\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.baybookfest.org/2020cancellation/\" rel=\"noopener noreferrer\" target=\"_blank\">Bay Area Book Festival\u003c/a>\u003c/strong> (May 2 and 3)\u003cbr>\nPostponed to May 1-2, 2021\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://gradlectures.berkeley.edu/\" target=\"_blank\" rel=\"noopener noreferrer\">Berkeley Graduate Lectures\u003c/a>\u003c/strong>\u003cbr>\nAll lectures canceled\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.berkeleyrep.org/?gclsrc=aw.ds&gclid=Cj0KCQjwu6fzBRC6ARIsAJUwa2SSGnQum2eM6ybkE8IFauSDY_ugwioEz44pG-2t0TkGpUXzvuyXNocaAlwYEALw_wcB&gclsrc=aw.ds\" rel=\"noopener noreferrer\" target=\"_blank\">Berkeley Repertory Theatre\u003c/a>\u003c/strong>\u003cbr>\nAll performances of \u003cem>Culture Clash (Still) in America\u003c/em> canceled; \u003cem>School Girls; Or, The African Mean Girls Play\u003c/em>, originally slated to start on March 19, on hiatus through April 5\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://apeconcerts.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Bill Graham Civic Auditorium\u003c/a>\u003c/strong>\u003cbr>\nAll concerts through March postponed or canceled\u003c/p>\n\u003cp>\u003ca href=\"https://live.stanford.edu/venues/bing-concert-hall\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Bing Concert Hall\u003c/strong>\u003c/a>\u003cbr>\nMost shows canceled through April 15, including Cecile McLorin Salvant (March 13)\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.calacademy.org/a-message-to-our-academy-community-on-covid-19\" rel=\"noopener noreferrer\" target=\"_blank\">California Academy of Sciences\u003c/a>\u003c/strong>\u003cbr>\nClosed to the public through March 31\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://californiahistoricalsociety.org/\" rel=\"noopener noreferrer\" target=\"_blank\">California Historical Society\u003c/a>\u003c/strong>\u003cbr>\nClosed to the public through March 31\u003c/p>\n\u003cp>\u003ca href=\"https://museum.stanford.edu/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Cantor Arts Center and Anderson Collection\u003c/strong> \u003c/a>\u003cbr>\nClosed to the public through April 15\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.catchlight.io/\" target=\"_blank\" rel=\"noopener noreferrer\">CatchLight Visual Storytelling Summit\u003c/a>\u003c/strong> (May 17–18)\u003cbr>\nPostponed to late October 2020\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.chasecenter.com/news/5h4k5TxZF2QdDYpa6MTNLa\" rel=\"noopener noreferrer\" target=\"_blank\">Celine Dion\u003c/a>\u003c/strong> (March 12)\u003cbr>\nConcert at Chase Center postponed\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://centerfornewmusic.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Center for New Music\u003c/a>\u003c/strong>\u003cbr>\nAll public events suspended through March\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://twitter.com/MattHaneySF/status/1237792593619996672\" target=\"_blank\" rel=\"noopener noreferrer\">Chase Center\u003c/a>\u003c/strong>\u003cbr>\nNBA season postponed, Warriors games off; all concerts through March postponed or canceled\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://sfcherryblossom.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Cherry Blossom Festival, Japantown SF\u003c/a>\u003c/strong> (April 11-12 and April 17-19)\u003cbr>\nCanceled\u003c/p>\n\u003cp>\u003ca href=\"https://www.cinequest.org/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Cinequest Film Festival\u003c/strong>\u003c/a> (March 3–15)\u003cbr>\nMarch 8-15 events postponed to August 16–30\u003c/p>\n\u003cp>\u003ca href=\"http://circuscenter.org/blog/2020/03/07/covid-19--march-13-14-cabaret-cancelled\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Circus Center Cabaret\u003c/strong>\u003c/a> (March 13_14)\u003cbr>\nCanceled; looking to reschedule\u003c/p>\n\u003cp>\u003ca href=\"https://www.cirquedusoleil.com/\" rel=\"noopener noreferrer\" target=\"_blank\">\u003cstrong>Cirque du Soleil: Axel\u003c/strong>\u003c/a> (March 24-28)\u003cbr>\nCanceled\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.cityarts.net/\" target=\"_blank\" rel=\"noopener noreferrer\">City Arts & Lectures\u003c/a>\u003c/strong>\u003cbr>\nCertain scheduled events to be held with no audience and livestreamed: Anna Wiener (March 12), Peggy Orenstein (March 19), and Robert Reich (March 23)\u003c/p>\n\u003cp>\u003ca href=\"https://www.commonwealthclub.org/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Commonwealth Club\u003c/strong>\u003c/a>\u003cbr>\nAll in-person events canceled through March 22 for San Francisco, Marin County and Silicon Valley\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.thecjm.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Contemporary Jewish Museum\u003c/a>\u003c/strong>\u003cbr>\nAll public programs and tours canceled through March 22; museum remains open\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://counterpulse.org/\" rel=\"noopener noreferrer\" target=\"_blank\">CounterPulse\u003c/a>\u003c/strong>\u003cbr>\nAll performances and public events through May 31 canceled or postponed\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/events/d41d8cd9/2nd-annual-daly-city-rock-roll-flea-market/2391757860910159/\" target=\"_blank\" rel=\"noopener noreferrer\">Daly City Rock & Roll Flea Market\u003c/a>\u003c/strong> (March 15)\u003cbr>\nCanceled\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://odc.dance/AroundTown\" rel=\"noopener noreferrer\" target=\"_blank\">‘Dance Downtown’ at ODC\u003c/a>\u003c/strong>\u003cbr>\nMarch 27 gala canceled; all Spring performances postponed\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://deyoung.famsf.org/\" rel=\"noopener noreferrer\" target=\"_blank\">de Young Museum\u003c/a>\u003c/strong>\u003cbr>\nClosed to the public through March 31\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.theexit.org/\" rel=\"noopener noreferrer\" target=\"_blank\">EXIT Theatre\u003c/a>\u003c/strong>\u003cbr>\nAll performances canceled through March, including Burlesque Extravaganza (March 18–21)\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.exploratorium.edu/\" rel=\"noopener noreferrer\" target=\"_blank\">The Exploratorium\u003c/a>\u003c/strong>\u003cbr>\nClosed to the public through the end of March\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.feinsteinssf.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Feinstein’s at the Nikko\u003c/a>\u003c/strong>\u003cbr>\nAll performances canceled through April 6\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://thefillmore.com/\" rel=\"noopener noreferrer\" target=\"_blank\">The Fillmore\u003c/a>\u003c/strong>\u003cbr>\nAll shows through March 18 canceled\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://thefoxoakland.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Fox Theater, Oakland\u003c/a>\u003c/strong>\u003cbr>\nAll concerts canceled through March 30, including Wilco, Melanie Martinez, Ilana Glazer, Third Eye Blind and others\u003c/p>\n\u003cp>\u003ca href=\"https://www.gdconf.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Game Developers Conference\u003c/strong>\u003c/a> (March 16–20)\u003cbr>\nPostponed; working to reschedule for August 2020\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.mlb.com/giants\" rel=\"noopener noreferrer\" target=\"_blank\">San Francisco Giants\u003c/a>\u003c/strong>\u003cbr>\nSpring training canceled; entire MLB season delayed at least two weeks\u003c/p>\n\u003cp>\u003ca href=\"https://www.goldengatepark150.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Golden Gate Park 150th Anniversary Celebration\u003c/strong>\u003c/a> (April 4)\u003cbr>\nPostponed; to be rescheduled for a later date TBA\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://goldengatepark.com/golden-gate-park-senior-center.html\" target=\"_blank\" rel=\"noopener noreferrer\">Golden Gate Park Senior Center\u003c/a>\u003c/strong>\u003cbr>\nClosed to the public through March 23\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://gmc.sonoma.edu/covid-19-update/\" rel=\"noopener noreferrer\" target=\"_blank\">Green Music Center\u003c/a>\u003c/strong>\u003cbr>\nAll performances through April 11 canceled\u003c/p>\n\u003cp>\u003ca href=\"https://wwd.com/fashion-news/fashion-scoops/gucci-cancels-cruise-2021-show-in-san-francisco-1203526819/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Gucci Cruise Fashion Show\u003c/strong>\u003c/a> (May 18)\u003cbr>\nCanceled\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13876404/hamilton-canceled-in-san-francisco-due-to-coronavirus\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>‘Hamilton’ at the Orpheum Theatre\u003c/strong>\u003c/a>\u003cbr>\nAll performances canceled through March 31\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.harrypottertheplay.com/san-francisco/coronavirus-update/\" target=\"_blank\" rel=\"noopener noreferrer\">‘Harry Potter and the Cursed Child’\u003c/a>\u003c/strong>\u003cbr>\nAll performances canceled through March 31\u003c/p>\n\u003cp>\u003ca href=\"https://www.shipyardartists.com/open-studios/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Hunter’s Point Shipyard Artists\u003c/strong>\u003c/a>\u003cbr>\nAnnual spring open studios rescheduled to May 16–17\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.sfcinematheque.org/screenings/i-hate-the-internet-techno-dystopian-malaise-and-visions-of-rebellion/\" target=\"_blank\" rel=\"noopener noreferrer\">‘I Hate the Internet: Techno-Dystopian Malaise and Visions of Rebellion’\u003c/a>\u003c/strong> (March 12)\u003cbr>\nPostponed; to be rescheduled at future date TBA\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://sanjosetheaters.org/event/the-illusionists-live-from-broadway/\" target=\"_blank\" rel=\"noopener noreferrer\">The Illusionists – Live From Broadway\u003c/a>\u003c/strong> (March 24 and 25)\u003cbr>\nCanceled\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://apeconcerts.com/\" rel=\"noopener noreferrer\" target=\"_blank\">The Independent\u003c/a>\u003c/strong>\u003cbr>\nAll concerts through March postponed or canceled\u003c/p>\n\u003cp>\u003ca href=\"http://intloceanfilmfest.org/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>International Ocean Film Festival\u003c/strong>\u003c/a> (March 12–15)\u003cbr>\nPostponed to later in 2020\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://iccnc.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Islamic Cultural Center of Northern California\u003c/a>\u003c/strong>\u003cbr>\nAll public events canceled through March 23, including Nowruz celebration on March 14\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.jcceastbay.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Jewish Community Center East Bay\u003c/a> \u003c/strong>\u003cbr>\nAll large events (50 people or more) though March 27 canceled or rescheduled\u003c/p>\n\u003cp>\u003ca href=\"https://www.jccsf.org/staying-healthy-together/\">\u003cstrong>San Francisco Jewish Community Center\u003c/strong> \u003c/a>\u003cbr>\nPurim Festival (March 8) canceled\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.sfcv.org/events-calendar/venue-profiles/knuth-hall-sf-state-university-creative-arts-building\" target=\"_blank\" rel=\"noopener noreferrer\">Knuth Music Hall, SF State\u003c/a>\u003c/strong>\u003cbr>\nPerformances on March 16, 18 and 19 canceled\u003c/p>\n\u003cp>\u003ca href=\"https://www.broadwaysf.com/Online/default.asp\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>‘The Last Ship’ at the Golden Gate Theatre\u003c/strong>\u003c/a>\u003cbr>\nAll performances canceled through March 31\u003c/p>\n\u003cp>\u003ca href=\"http://www.leftcoastensemble.org/fairytale\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Left Coast Chamber Ensemble\u003c/strong>\u003c/a>\u003cbr>\n‘Fairytale Pieces’ (March 8 and 9) canceled\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://legionofhonor.famsf.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Legion of Honor\u003c/a>\u003c/strong>\u003cbr>\nClosed to the public through March 31\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/lesbianswhotech/photos/a.656630677683654/3341946979151997/?type=3&theater\" target=\"_blank\" rel=\"noopener noreferrer\">Lesbians Who Tech\u003c/a>\u003c/strong> (April 23–25)\u003cbr>\nRescheduled for August, 2020\u003c/p>\n\u003cp>\u003ca href=\"http://www.lindyinthepark.com/\">\u003cstrong>Lindy in the Park\u003c/strong>\u003c/a>\u003cbr>\nMarch 8 and 15 events canceled\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.lhtsf.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Lorraine Hansberry Theatre\u003c/a>\u003c/strong>\u003cbr>\nAll performances of ‘Intimate Apparel’ (March 13–29) canceled\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://lutherburbankcenter.org/healthandsafetyupdate/\" rel=\"noopener noreferrer\" target=\"_blank\">Luther Burbank Center\u003c/a>\u003c/strong>\u003cbr>\nAll shows through March canceled or postponed, including Wilco, Brittany Howard, Laura Dern and more\u003c/p>\n\u003cp>\u003ca href=\"https://maclaarte.org/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>MACLA\u003c/strong>\u003c/a>\u003cbr>\nAll public programs postponed, including \u003cem>We Have Iré\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.marintheatre.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Marin Theatre Co.\u003c/a>\u003c/strong>\u003cbr>\nAll upcoming performances of ‘Love’ and ‘Natural Shocks’ canceled\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.aztecadancers.com/mexica-new-year\" target=\"_blank\" rel=\"noopener noreferrer\">Mexica New Year Ceremony & Celebration San Jose\u003c/a>\u003c/strong> (March 14)\u003cbr>\nCanceled\u003c/p>\n\u003cp>\u003ca href=\"https://www.nctcsf.org/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>New Conservatory Theatre Center\u003c/strong>\u003c/a>\u003cbr>\nAll performances, including \u003cem>The Book of Mountains and Seas\u003c/em>, canceled through March 21\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://apeconcerts.com/\" rel=\"noopener noreferrer\" target=\"_blank\">The New Parish\u003c/a>\u003c/strong>\u003cbr>\nAll concerts through March postponed or canceled\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://museumca.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Oakland Museum of California\u003c/a>\u003c/strong>\u003cbr>\nMuseum closed to the public through March 27; 50th Anniversary Gala (March 14) canceled as well\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://odc.dance/tripletake\" target=\"_blank\" rel=\"noopener noreferrer\">ODC/RAWDance\u003c/a>\u003c/strong>\u003cbr>\n‘Triple Take’ (March 12–15) postponed to later this year; exact date TBA\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://offthegrid.com/blog/supporting-local-communities-through-implementation-of-covid-19-prevention-best-practices/\" target=\"_blank\" rel=\"noopener noreferrer\">Off the Grid\u003c/a>\u003c/strong>\u003cbr>\nEvent at Fort Mason on March 13 and 20 canceled\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.operasj.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Opera San Jose\u003c/a>\u003c/strong>\u003cbr>\nAll performances of ‘The Magic Flute’ (April 18–May 3) canceled\u003c/p>\n\u003cp>\u003ca href=\"http://www.cspaloalto.org/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Palo Alto Christian Science Church\u003c/strong>\u003c/a>\u003cbr>\nJames Welch concert (March 8) postponed\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://pearljam.com/tour\" target=\"_blank\" rel=\"noopener noreferrer\">Pearl Jam\u003c/a>\u003c/strong> (April 18–19)\u003cbr>\nEntire tour canceled, including April 18–19 dates at Oakland Arena\u003c/p>\n\u003cp>\u003ca href=\"https://peninsulasymphony.org/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Peninsula Symphony\u003c/strong>\u003c/a>\u003cbr>\nMarch 13 and 14 ‘Violins of Hope’ concerts postponed; to be rescheduled\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://philharmonia.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Philharmonia Baroque Orchestra\u003c/a>\u003c/strong>\u003cbr>\nAll performances of ‘Romantic Reflections’ (March 11-15) canceled\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/photo.php?fbid=10157788026750552&set=a.211581100551&type=3&theater\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Rebecca Solnit\u003c/strong>\u003c/a>\u003cbr>\nAll stops on book tour through March 25 canceled, including at Booksmith SF (March 16)\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.kqed.org/events/94291513455\" target=\"_blank\" rel=\"noopener noreferrer\">Rebel Girls Trivia Happy Hour with KQED\u003c/a>\u003c/strong> (March 16)\u003cbr>\nPostponed to future date TBA\u003c/p>\n\u003cp>\u003ca href=\"https://www.rebootideasfestival.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Reboot Ideas Festival\u003c/strong>\u003c/a> (March 26–29)\u003cbr>\nPostponed; working to reschedule\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.roxie.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Roxie Theater\u003c/a>\u003c/strong>\u003cbr>\nCLosed to the public and all screenings canceled through March 31\u003c/p>\n\u003cp>\u003ca href=\"https://salesforcetransitcenter.com/events/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Salesforce Park\u003c/strong>\u003c/a>\u003cbr>\nAll group activities in the park suspended; park itself remains open\u003c/p>\n\u003cp>\u003ca href=\"https://www.sfballet.org/a-message-regarding-the-covid-19-virus/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>San Francisco Ballet\u003c/strong>\u003c/a>\u003cbr>\nComplete run of \u003cem>A Midsummer Night’s Dream\u003c/em> (March 7–15) canceled\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://sfbcgala.weebly.com/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Boys Chorus\u003c/a>\u003c/strong>\u003cbr>\nAnnual gala (March 14) rescheduled to May 16\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.sfca.org/2019-2020-season/\" rel=\"noopener noreferrer\" target=\"_blank\">San Francisco Choral Artists\u003c/a>\u003c/strong>\u003cbr>\n‘Joyful Voices, Stomping Feet’ performances canceled for March 8 (SF), March 14 (Palo Alto) and March 15 (Oakland)\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.sfgmc.org/welcome/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Gay Men’s Chorus\u003c/a> \u003c/strong>\u003cbr>\nPerformances of ‘Penned in Pink’ (March 26 and 28) canceled\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.sfneofuturists.org/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Neo-Futurists\u003c/a>\u003c/strong>\u003cbr>\nPerformances of \u003cem>The Infinite Wrench\u003c/em> (March 13 and 14) and \u003cem>Infinite Bitch\u003c/em> (March 19–21) canceled\u003c/p>\n\u003cp>\u003ca href=\"https://sfpl.org/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>San Francisco Public Library\u003c/strong>\u003c/a>\u003cbr>\nAll branches closed and programs canceled through March 31\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://sfrecpark.org/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Recreation and Parks\u003c/a>\u003c/strong>\u003cbr>\nAll senior programming canceled through March 21; lawn bowling and summer resource fair canceled\u003c/p>\n\u003cp>\u003ca href=\"https://www.sfsymphony.org/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>San Francisco Symphony\u003c/strong>\u003c/a>\u003cbr>\nConcerts canceled through April 6, including James Galway, Michael Tilson Thomas and more; tour of New York and Europe (March 17–April 7) also canceled\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/SaintPatricksDaySF/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>San Francisco St. Patrick’s Day Parade\u003c/strong>\u003c/a> (March 14)\u003cbr>\nPostponed to later in 2020\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/SJChamberOrchestra/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>San Jose Chamber Orchestra\u003c/strong>\u003c/a>\u003cbr>\nMarch 29 ‘Inferno’ concert canceled; to be rescheduled at later date\u003c/p>\n\u003cp>\u003ca href=\"https://www.cdm.org/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>San Jose Children’s Discovery Museum\u003c/strong>\u003c/a>\u003cbr>\nClosed through March 10\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.nhl.com/sharks\" rel=\"noopener noreferrer\" target=\"_blank\">San Jose Sharks\u003c/a>\u003c/strong>\u003cbr>\nNHL season put on pause; all games suspended\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.srsymphony.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Santa Rosa Symphony\u003c/a>\u003c/strong>\u003cbr>\n‘Showcasing Contemporary Women’ program (March 21-23) canceled; Youth Ensemble concert (March 15) canceled\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://sffilm.org/\" rel=\"noopener noreferrer\" target=\"_blank\">SFFILM\u003c/a>\u003c/strong> (April 8-21)\u003cbr>\nEntire 2020 festival canceled\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.sfjazz.org/visit/health/\" rel=\"noopener noreferrer\" target=\"_blank\">SFJAZZ\u003c/a>\u003c/strong>\u003cbr>\nAll concerts and programming through April 5 postponed\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.sfmoma.org/\" target=\"_blank\" rel=\"noopener noreferrer\">SFMOMA\u003c/a>\u003c/strong>\u003cbr>\nClosed to the public through March 27\u003c/p>\n\u003cp>\u003ca href=\"https://live.stanford.edu/calendar/all/all/all/all/all\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Stanford Live\u003c/strong>\u003c/a>\u003cbr>\nAll large-scale concerts canceled through April 15\u003c/p>\n\u003cp>\u003ca href=\"https://stanfordtheatre.org/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Stanford Theatre\u003c/strong>\u003c/a>\u003cbr>\nAll movie screenings temporarily suspended\u003c/p>\n\u003cp>\u003ca href=\"https://www.sundaystreetssf.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Sunday Streets: Mission District\u003c/strong>\u003c/a> (March 8)\u003cbr>\nCanceled\u003c/p>\n\u003cp>\u003ca href=\"https://www.exploratorium.edu/visit/covid19\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Tactile Dome at the Exploratorium\u003c/strong>\u003c/a>\u003cbr>\nExhibit closed indefinitely\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.theatreworks.org/covid19/\" rel=\"noopener noreferrer\" target=\"_blank\">TheatreWorks Silicon Valley\u003c/a>\u003c/strong>\u003cbr>\nAll upcoming performances of ‘They Promised Her the Moon’ and ‘Ragtime’ canceled\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.tonyrobbins.com/news/upw-san-jose-is-postponed/\" target=\"_blank\" rel=\"noopener noreferrer\">UPW San Jose with Tony Robbins\u003c/a>\u003c/strong> (March 12–15)\u003cbr>\nCanceled\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.cinemasf.com/vogue\" rel=\"noopener noreferrer\" target=\"_blank\">Vogue Theatre\u003c/a>\u003c/strong>\u003cbr>\nClosed and all movie screenings canceled until further notice\u003c/p>\n\u003cp>\u003ca href=\"https://www.waltdisney.org/visitor-update\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Walt Disney Museum\u003c/strong>\u003c/a>\u003cbr>\nClosed through March 20\u003c/p>\n\u003cp>\u003ca href=\"https://twitter.com/MattHaneySF/status/1237792593619996672\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Warriors\u003c/strong>\u003c/a>\u003cbr>\nNBA season put on pause, all games suspended\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.wattis.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Wattis Institute\u003c/a>\u003c/strong>\u003cbr>\nHồng-Ân Trương talk (March 12) and Astria Suparak’s illustrated lecture (March 19) postponed until further notice\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://winchestermysteryhouse.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Winchester Mystery House\u003c/a>\u003c/strong>\u003cbr>\nClosed through March\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://womensoundoff.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Women Sound Off\u003c/a>\u003c/strong> (slated for April 3–5)\u003cbr>\nPostponed to October 2–4\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://blog.ycombinator.com/yc-w20-online-demo-day-now-on-march-16/\" target=\"_blank\" rel=\"noopener noreferrer\">Y Combinator Demo Day\u003c/a>\u003c/strong> (March 23)\u003cbr>\nMoved to March 16, now entirely online\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://ybca.org/\" rel=\"noopener noreferrer\" target=\"_blank\">YBCA\u003c/a>\u003c/strong>\u003cbr>\nClosed to the public through March 31\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.yoshis.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Yoshi’s\u003c/a>\u003c/strong>\u003cbr>\nAll shows will have reduced capacity through March\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://www.zspace.org/covid-19prep\" rel=\"noopener noreferrer\" target=\"_blank\">Z Space\u003c/a>\u003c/strong>\u003cbr>\nAll performances canceled through March 31\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://calperformances.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Zellerbach Hall\u003c/a>\u003c/strong>\u003cbr>\nAll Cal Performances events are still on, but ticketholders may exchange for other dates or request refunds for shows through March 29\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Submit info about canceled events \u003ca href=\"mailto:gmeline@kqed.org?subject=Coronavirus%20Cancelation\">here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003cem>For information on how to keep yourself safe from the coronavirus, \u003ca href=\"https://www.kqed.org/science/1957469/what-californians-need-to-know-about-the-coronavirus\" target=\"_blank\" rel=\"noopener noreferrer\">click here\u003c/a>, and see KQED’s \u003ca href=\"https://www.kqed.org/science/1957877/live-updates-coronavirus-in-the-san-francisco-bay-area\" target=\"_blank\" rel=\"noopener noreferrer\">live updates\u003c/a> for the latest news.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "See which Bay Area events and concerts have been canceled or postponed due to coronavirus concerns.",
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"title": "Canceled by Coronavirus: A List of Bay Area Concerts, Cultural Events, Museums, More | KQED",
"description": "See which Bay Area events and concerts have been canceled or postponed due to coronavirus concerns.",
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"headline": "Canceled by Coronavirus: A List of Bay Area Concerts, Cultural Events, Museums, More",
"datePublished": "2020-03-13T16:00:36-07:00",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Updated: March 17, 6:30am\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Note\u003c/strong>: \u003cstrong>This list is no longer being updated as of March 17\u003c/strong>. Because of new restrictions and shelter-in-place orders, it is safe to assume that every concert, performance, museum or cultural event in the Bay Area has been canceled or closed for the time being.\u003c/em>\u003c/p>\n\u003cp>\u003cem>On March 17, a \u003ca href=\"https://www.kqed.org/news/11806988/sheltering-in-place-what-you-need-to-know\" rel=\"noopener noreferrer\" target=\"_blank\">shelter-in-place order took effect for six Bay Area counties\u003c/a>, requiring people to stay at home and leave only for essential activities.\u003c/em>\u003c/p>\n\u003cp>\u003cem>On March 16, the CDC \u003ca href=\"https://www.kqed.org/arts/13876716/cdc-recommends-against-gatherings-of-50-or-more-states-close-bars-restaurants\" rel=\"noopener noreferrer\" target=\"_blank\">warned against gatherings of 50 people or more\u003c/a>, including “conferences, festivals, parades, concerts, sporting events, weddings, and other types of assemblies.” Governor Gavin Newsom also \u003ca href=\"https://www.kqed.org/news/11806871/newsom-calls-for-closure-of-all-bars-in-an-effort-to-increase-social-distancing\" rel=\"noopener noreferrer\" target=\"_blank\">called for the closure\u003c/a> of all bars, wineries, nightclubs and breweries.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Stay up to date on full coronavirus coverage \u003ca href=\"https://www.kqed.org/coronavirus\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>. \u003c/strong>\u003c/p>\n\u003cp>Concern over the spread of the coronavirus has caused the cancellation of many concerts, performances and other cultural events in the Bay Area.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Below, see a list of cultural events, concerts and performances canceled or postponed due to coronavirus concerns. Many venues have enacted flexible refund and ticket-exchange policies. Click through the venue or event name for details, and for updated information about reopening.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003ca href=\"https://www.act-sf.org/\" rel=\"noopener noreferrer\" target=\"_blank\">\u003cstrong>American Conservatory Theater\u003c/strong>\u003c/a>\u003cbr>\nAll performances of ‘Toni Stone’ (Geary Theater) and ‘Gloria’ (Strand Theater) canceled\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.sfcv.org/events-calendar/venue-profiles/knuth-hall-sf-state-university-creative-arts-building\" target=\"_blank\" rel=\"noopener noreferrer\">‘Ain’t I a Woman’\u003c/a>\u003c/strong> (March 15)\u003cbr>\nPerformance by Core Ensemble canceled\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.theoaklandarena.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Ana Gabriel\u003c/a>\u003c/strong>\u003cbr>\nMarch 19 concert at Oakland Arena postponed\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.theoaklandarena.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Andre Rieu\u003c/a>\u003c/strong>\u003cbr>\nMarch 22 concert at Oakland Arena postponed\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://asianart.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Asian Art Museum\u003c/a>\u003c/strong>\u003cbr>\nClosed to the public through March 27\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.mlb.com/athletics\" rel=\"noopener noreferrer\" target=\"_blank\">Oakland A’s\u003c/a>\u003c/strong>\u003cbr>\nSpring training canceled; entire MLB season delayed at least two weeks\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.augusthallsf.com/\" rel=\"noopener noreferrer\" target=\"_blank\">August Hall\u003c/a>\u003c/strong>\u003cbr>\nAll shows through March 27 canceled\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.cinemasf.com/balboa\" rel=\"noopener noreferrer\" target=\"_blank\">Balboa Theatre\u003c/a>\u003c/strong>\u003cbr>\nClosed and all movie screenings canceled until further notice\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://bampfa.org/news/new-info-bampfa-update-covid-19\" rel=\"noopener noreferrer\" target=\"_blank\">BAMPFA\u003c/a>\u003c/strong>\u003cbr>\nAll film screenings, tours and public programs canceled through March 29\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.baybookfest.org/2020cancellation/\" rel=\"noopener noreferrer\" target=\"_blank\">Bay Area Book Festival\u003c/a>\u003c/strong> (May 2 and 3)\u003cbr>\nPostponed to May 1-2, 2021\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://gradlectures.berkeley.edu/\" target=\"_blank\" rel=\"noopener noreferrer\">Berkeley Graduate Lectures\u003c/a>\u003c/strong>\u003cbr>\nAll lectures canceled\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.berkeleyrep.org/?gclsrc=aw.ds&gclid=Cj0KCQjwu6fzBRC6ARIsAJUwa2SSGnQum2eM6ybkE8IFauSDY_ugwioEz44pG-2t0TkGpUXzvuyXNocaAlwYEALw_wcB&gclsrc=aw.ds\" rel=\"noopener noreferrer\" target=\"_blank\">Berkeley Repertory Theatre\u003c/a>\u003c/strong>\u003cbr>\nAll performances of \u003cem>Culture Clash (Still) in America\u003c/em> canceled; \u003cem>School Girls; Or, The African Mean Girls Play\u003c/em>, originally slated to start on March 19, on hiatus through April 5\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://apeconcerts.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Bill Graham Civic Auditorium\u003c/a>\u003c/strong>\u003cbr>\nAll concerts through March postponed or canceled\u003c/p>\n\u003cp>\u003ca href=\"https://live.stanford.edu/venues/bing-concert-hall\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Bing Concert Hall\u003c/strong>\u003c/a>\u003cbr>\nMost shows canceled through April 15, including Cecile McLorin Salvant (March 13)\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.calacademy.org/a-message-to-our-academy-community-on-covid-19\" rel=\"noopener noreferrer\" target=\"_blank\">California Academy of Sciences\u003c/a>\u003c/strong>\u003cbr>\nClosed to the public through March 31\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://californiahistoricalsociety.org/\" rel=\"noopener noreferrer\" target=\"_blank\">California Historical Society\u003c/a>\u003c/strong>\u003cbr>\nClosed to the public through March 31\u003c/p>\n\u003cp>\u003ca href=\"https://museum.stanford.edu/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Cantor Arts Center and Anderson Collection\u003c/strong> \u003c/a>\u003cbr>\nClosed to the public through April 15\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.catchlight.io/\" target=\"_blank\" rel=\"noopener noreferrer\">CatchLight Visual Storytelling Summit\u003c/a>\u003c/strong> (May 17–18)\u003cbr>\nPostponed to late October 2020\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.chasecenter.com/news/5h4k5TxZF2QdDYpa6MTNLa\" rel=\"noopener noreferrer\" target=\"_blank\">Celine Dion\u003c/a>\u003c/strong> (March 12)\u003cbr>\nConcert at Chase Center postponed\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://centerfornewmusic.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Center for New Music\u003c/a>\u003c/strong>\u003cbr>\nAll public events suspended through March\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://twitter.com/MattHaneySF/status/1237792593619996672\" target=\"_blank\" rel=\"noopener noreferrer\">Chase Center\u003c/a>\u003c/strong>\u003cbr>\nNBA season postponed, Warriors games off; all concerts through March postponed or canceled\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://sfcherryblossom.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Cherry Blossom Festival, Japantown SF\u003c/a>\u003c/strong> (April 11-12 and April 17-19)\u003cbr>\nCanceled\u003c/p>\n\u003cp>\u003ca href=\"https://www.cinequest.org/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Cinequest Film Festival\u003c/strong>\u003c/a> (March 3–15)\u003cbr>\nMarch 8-15 events postponed to August 16–30\u003c/p>\n\u003cp>\u003ca href=\"http://circuscenter.org/blog/2020/03/07/covid-19--march-13-14-cabaret-cancelled\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Circus Center Cabaret\u003c/strong>\u003c/a> (March 13_14)\u003cbr>\nCanceled; looking to reschedule\u003c/p>\n\u003cp>\u003ca href=\"https://www.cirquedusoleil.com/\" rel=\"noopener noreferrer\" target=\"_blank\">\u003cstrong>Cirque du Soleil: Axel\u003c/strong>\u003c/a> (March 24-28)\u003cbr>\nCanceled\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.cityarts.net/\" target=\"_blank\" rel=\"noopener noreferrer\">City Arts & Lectures\u003c/a>\u003c/strong>\u003cbr>\nCertain scheduled events to be held with no audience and livestreamed: Anna Wiener (March 12), Peggy Orenstein (March 19), and Robert Reich (March 23)\u003c/p>\n\u003cp>\u003ca href=\"https://www.commonwealthclub.org/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Commonwealth Club\u003c/strong>\u003c/a>\u003cbr>\nAll in-person events canceled through March 22 for San Francisco, Marin County and Silicon Valley\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.thecjm.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Contemporary Jewish Museum\u003c/a>\u003c/strong>\u003cbr>\nAll public programs and tours canceled through March 22; museum remains open\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://counterpulse.org/\" rel=\"noopener noreferrer\" target=\"_blank\">CounterPulse\u003c/a>\u003c/strong>\u003cbr>\nAll performances and public events through May 31 canceled or postponed\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/events/d41d8cd9/2nd-annual-daly-city-rock-roll-flea-market/2391757860910159/\" target=\"_blank\" rel=\"noopener noreferrer\">Daly City Rock & Roll Flea Market\u003c/a>\u003c/strong> (March 15)\u003cbr>\nCanceled\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://odc.dance/AroundTown\" rel=\"noopener noreferrer\" target=\"_blank\">‘Dance Downtown’ at ODC\u003c/a>\u003c/strong>\u003cbr>\nMarch 27 gala canceled; all Spring performances postponed\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://deyoung.famsf.org/\" rel=\"noopener noreferrer\" target=\"_blank\">de Young Museum\u003c/a>\u003c/strong>\u003cbr>\nClosed to the public through March 31\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.theexit.org/\" rel=\"noopener noreferrer\" target=\"_blank\">EXIT Theatre\u003c/a>\u003c/strong>\u003cbr>\nAll performances canceled through March, including Burlesque Extravaganza (March 18–21)\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.exploratorium.edu/\" rel=\"noopener noreferrer\" target=\"_blank\">The Exploratorium\u003c/a>\u003c/strong>\u003cbr>\nClosed to the public through the end of March\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.feinsteinssf.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Feinstein’s at the Nikko\u003c/a>\u003c/strong>\u003cbr>\nAll performances canceled through April 6\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://thefillmore.com/\" rel=\"noopener noreferrer\" target=\"_blank\">The Fillmore\u003c/a>\u003c/strong>\u003cbr>\nAll shows through March 18 canceled\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://thefoxoakland.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Fox Theater, Oakland\u003c/a>\u003c/strong>\u003cbr>\nAll concerts canceled through March 30, including Wilco, Melanie Martinez, Ilana Glazer, Third Eye Blind and others\u003c/p>\n\u003cp>\u003ca href=\"https://www.gdconf.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Game Developers Conference\u003c/strong>\u003c/a> (March 16–20)\u003cbr>\nPostponed; working to reschedule for August 2020\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.mlb.com/giants\" rel=\"noopener noreferrer\" target=\"_blank\">San Francisco Giants\u003c/a>\u003c/strong>\u003cbr>\nSpring training canceled; entire MLB season delayed at least two weeks\u003c/p>\n\u003cp>\u003ca href=\"https://www.goldengatepark150.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Golden Gate Park 150th Anniversary Celebration\u003c/strong>\u003c/a> (April 4)\u003cbr>\nPostponed; to be rescheduled for a later date TBA\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://goldengatepark.com/golden-gate-park-senior-center.html\" target=\"_blank\" rel=\"noopener noreferrer\">Golden Gate Park Senior Center\u003c/a>\u003c/strong>\u003cbr>\nClosed to the public through March 23\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://gmc.sonoma.edu/covid-19-update/\" rel=\"noopener noreferrer\" target=\"_blank\">Green Music Center\u003c/a>\u003c/strong>\u003cbr>\nAll performances through April 11 canceled\u003c/p>\n\u003cp>\u003ca href=\"https://wwd.com/fashion-news/fashion-scoops/gucci-cancels-cruise-2021-show-in-san-francisco-1203526819/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Gucci Cruise Fashion Show\u003c/strong>\u003c/a> (May 18)\u003cbr>\nCanceled\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13876404/hamilton-canceled-in-san-francisco-due-to-coronavirus\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>‘Hamilton’ at the Orpheum Theatre\u003c/strong>\u003c/a>\u003cbr>\nAll performances canceled through March 31\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.harrypottertheplay.com/san-francisco/coronavirus-update/\" target=\"_blank\" rel=\"noopener noreferrer\">‘Harry Potter and the Cursed Child’\u003c/a>\u003c/strong>\u003cbr>\nAll performances canceled through March 31\u003c/p>\n\u003cp>\u003ca href=\"https://www.shipyardartists.com/open-studios/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Hunter’s Point Shipyard Artists\u003c/strong>\u003c/a>\u003cbr>\nAnnual spring open studios rescheduled to May 16–17\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.sfcinematheque.org/screenings/i-hate-the-internet-techno-dystopian-malaise-and-visions-of-rebellion/\" target=\"_blank\" rel=\"noopener noreferrer\">‘I Hate the Internet: Techno-Dystopian Malaise and Visions of Rebellion’\u003c/a>\u003c/strong> (March 12)\u003cbr>\nPostponed; to be rescheduled at future date TBA\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://sanjosetheaters.org/event/the-illusionists-live-from-broadway/\" target=\"_blank\" rel=\"noopener noreferrer\">The Illusionists – Live From Broadway\u003c/a>\u003c/strong> (March 24 and 25)\u003cbr>\nCanceled\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://apeconcerts.com/\" rel=\"noopener noreferrer\" target=\"_blank\">The Independent\u003c/a>\u003c/strong>\u003cbr>\nAll concerts through March postponed or canceled\u003c/p>\n\u003cp>\u003ca href=\"http://intloceanfilmfest.org/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>International Ocean Film Festival\u003c/strong>\u003c/a> (March 12–15)\u003cbr>\nPostponed to later in 2020\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://iccnc.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Islamic Cultural Center of Northern California\u003c/a>\u003c/strong>\u003cbr>\nAll public events canceled through March 23, including Nowruz celebration on March 14\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.jcceastbay.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Jewish Community Center East Bay\u003c/a> \u003c/strong>\u003cbr>\nAll large events (50 people or more) though March 27 canceled or rescheduled\u003c/p>\n\u003cp>\u003ca href=\"https://www.jccsf.org/staying-healthy-together/\">\u003cstrong>San Francisco Jewish Community Center\u003c/strong> \u003c/a>\u003cbr>\nPurim Festival (March 8) canceled\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.sfcv.org/events-calendar/venue-profiles/knuth-hall-sf-state-university-creative-arts-building\" target=\"_blank\" rel=\"noopener noreferrer\">Knuth Music Hall, SF State\u003c/a>\u003c/strong>\u003cbr>\nPerformances on March 16, 18 and 19 canceled\u003c/p>\n\u003cp>\u003ca href=\"https://www.broadwaysf.com/Online/default.asp\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>‘The Last Ship’ at the Golden Gate Theatre\u003c/strong>\u003c/a>\u003cbr>\nAll performances canceled through March 31\u003c/p>\n\u003cp>\u003ca href=\"http://www.leftcoastensemble.org/fairytale\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Left Coast Chamber Ensemble\u003c/strong>\u003c/a>\u003cbr>\n‘Fairytale Pieces’ (March 8 and 9) canceled\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://legionofhonor.famsf.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Legion of Honor\u003c/a>\u003c/strong>\u003cbr>\nClosed to the public through March 31\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/lesbianswhotech/photos/a.656630677683654/3341946979151997/?type=3&theater\" target=\"_blank\" rel=\"noopener noreferrer\">Lesbians Who Tech\u003c/a>\u003c/strong> (April 23–25)\u003cbr>\nRescheduled for August, 2020\u003c/p>\n\u003cp>\u003ca href=\"http://www.lindyinthepark.com/\">\u003cstrong>Lindy in the Park\u003c/strong>\u003c/a>\u003cbr>\nMarch 8 and 15 events canceled\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.lhtsf.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Lorraine Hansberry Theatre\u003c/a>\u003c/strong>\u003cbr>\nAll performances of ‘Intimate Apparel’ (March 13–29) canceled\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://lutherburbankcenter.org/healthandsafetyupdate/\" rel=\"noopener noreferrer\" target=\"_blank\">Luther Burbank Center\u003c/a>\u003c/strong>\u003cbr>\nAll shows through March canceled or postponed, including Wilco, Brittany Howard, Laura Dern and more\u003c/p>\n\u003cp>\u003ca href=\"https://maclaarte.org/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>MACLA\u003c/strong>\u003c/a>\u003cbr>\nAll public programs postponed, including \u003cem>We Have Iré\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.marintheatre.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Marin Theatre Co.\u003c/a>\u003c/strong>\u003cbr>\nAll upcoming performances of ‘Love’ and ‘Natural Shocks’ canceled\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.aztecadancers.com/mexica-new-year\" target=\"_blank\" rel=\"noopener noreferrer\">Mexica New Year Ceremony & Celebration San Jose\u003c/a>\u003c/strong> (March 14)\u003cbr>\nCanceled\u003c/p>\n\u003cp>\u003ca href=\"https://www.nctcsf.org/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>New Conservatory Theatre Center\u003c/strong>\u003c/a>\u003cbr>\nAll performances, including \u003cem>The Book of Mountains and Seas\u003c/em>, canceled through March 21\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://apeconcerts.com/\" rel=\"noopener noreferrer\" target=\"_blank\">The New Parish\u003c/a>\u003c/strong>\u003cbr>\nAll concerts through March postponed or canceled\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://museumca.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Oakland Museum of California\u003c/a>\u003c/strong>\u003cbr>\nMuseum closed to the public through March 27; 50th Anniversary Gala (March 14) canceled as well\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://odc.dance/tripletake\" target=\"_blank\" rel=\"noopener noreferrer\">ODC/RAWDance\u003c/a>\u003c/strong>\u003cbr>\n‘Triple Take’ (March 12–15) postponed to later this year; exact date TBA\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://offthegrid.com/blog/supporting-local-communities-through-implementation-of-covid-19-prevention-best-practices/\" target=\"_blank\" rel=\"noopener noreferrer\">Off the Grid\u003c/a>\u003c/strong>\u003cbr>\nEvent at Fort Mason on March 13 and 20 canceled\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.operasj.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Opera San Jose\u003c/a>\u003c/strong>\u003cbr>\nAll performances of ‘The Magic Flute’ (April 18–May 3) canceled\u003c/p>\n\u003cp>\u003ca href=\"http://www.cspaloalto.org/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Palo Alto Christian Science Church\u003c/strong>\u003c/a>\u003cbr>\nJames Welch concert (March 8) postponed\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://pearljam.com/tour\" target=\"_blank\" rel=\"noopener noreferrer\">Pearl Jam\u003c/a>\u003c/strong> (April 18–19)\u003cbr>\nEntire tour canceled, including April 18–19 dates at Oakland Arena\u003c/p>\n\u003cp>\u003ca href=\"https://peninsulasymphony.org/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Peninsula Symphony\u003c/strong>\u003c/a>\u003cbr>\nMarch 13 and 14 ‘Violins of Hope’ concerts postponed; to be rescheduled\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://philharmonia.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Philharmonia Baroque Orchestra\u003c/a>\u003c/strong>\u003cbr>\nAll performances of ‘Romantic Reflections’ (March 11-15) canceled\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/photo.php?fbid=10157788026750552&set=a.211581100551&type=3&theater\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Rebecca Solnit\u003c/strong>\u003c/a>\u003cbr>\nAll stops on book tour through March 25 canceled, including at Booksmith SF (March 16)\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.kqed.org/events/94291513455\" target=\"_blank\" rel=\"noopener noreferrer\">Rebel Girls Trivia Happy Hour with KQED\u003c/a>\u003c/strong> (March 16)\u003cbr>\nPostponed to future date TBA\u003c/p>\n\u003cp>\u003ca href=\"https://www.rebootideasfestival.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Reboot Ideas Festival\u003c/strong>\u003c/a> (March 26–29)\u003cbr>\nPostponed; working to reschedule\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.roxie.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Roxie Theater\u003c/a>\u003c/strong>\u003cbr>\nCLosed to the public and all screenings canceled through March 31\u003c/p>\n\u003cp>\u003ca href=\"https://salesforcetransitcenter.com/events/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Salesforce Park\u003c/strong>\u003c/a>\u003cbr>\nAll group activities in the park suspended; park itself remains open\u003c/p>\n\u003cp>\u003ca href=\"https://www.sfballet.org/a-message-regarding-the-covid-19-virus/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>San Francisco Ballet\u003c/strong>\u003c/a>\u003cbr>\nComplete run of \u003cem>A Midsummer Night’s Dream\u003c/em> (March 7–15) canceled\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://sfbcgala.weebly.com/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Boys Chorus\u003c/a>\u003c/strong>\u003cbr>\nAnnual gala (March 14) rescheduled to May 16\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.sfca.org/2019-2020-season/\" rel=\"noopener noreferrer\" target=\"_blank\">San Francisco Choral Artists\u003c/a>\u003c/strong>\u003cbr>\n‘Joyful Voices, Stomping Feet’ performances canceled for March 8 (SF), March 14 (Palo Alto) and March 15 (Oakland)\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.sfgmc.org/welcome/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Gay Men’s Chorus\u003c/a> \u003c/strong>\u003cbr>\nPerformances of ‘Penned in Pink’ (March 26 and 28) canceled\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.sfneofuturists.org/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Neo-Futurists\u003c/a>\u003c/strong>\u003cbr>\nPerformances of \u003cem>The Infinite Wrench\u003c/em> (March 13 and 14) and \u003cem>Infinite Bitch\u003c/em> (March 19–21) canceled\u003c/p>\n\u003cp>\u003ca href=\"https://sfpl.org/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>San Francisco Public Library\u003c/strong>\u003c/a>\u003cbr>\nAll branches closed and programs canceled through March 31\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://sfrecpark.org/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Recreation and Parks\u003c/a>\u003c/strong>\u003cbr>\nAll senior programming canceled through March 21; lawn bowling and summer resource fair canceled\u003c/p>\n\u003cp>\u003ca href=\"https://www.sfsymphony.org/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>San Francisco Symphony\u003c/strong>\u003c/a>\u003cbr>\nConcerts canceled through April 6, including James Galway, Michael Tilson Thomas and more; tour of New York and Europe (March 17–April 7) also canceled\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/SaintPatricksDaySF/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>San Francisco St. Patrick’s Day Parade\u003c/strong>\u003c/a> (March 14)\u003cbr>\nPostponed to later in 2020\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/SJChamberOrchestra/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>San Jose Chamber Orchestra\u003c/strong>\u003c/a>\u003cbr>\nMarch 29 ‘Inferno’ concert canceled; to be rescheduled at later date\u003c/p>\n\u003cp>\u003ca href=\"https://www.cdm.org/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>San Jose Children’s Discovery Museum\u003c/strong>\u003c/a>\u003cbr>\nClosed through March 10\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.nhl.com/sharks\" rel=\"noopener noreferrer\" target=\"_blank\">San Jose Sharks\u003c/a>\u003c/strong>\u003cbr>\nNHL season put on pause; all games suspended\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.srsymphony.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Santa Rosa Symphony\u003c/a>\u003c/strong>\u003cbr>\n‘Showcasing Contemporary Women’ program (March 21-23) canceled; Youth Ensemble concert (March 15) canceled\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://sffilm.org/\" rel=\"noopener noreferrer\" target=\"_blank\">SFFILM\u003c/a>\u003c/strong> (April 8-21)\u003cbr>\nEntire 2020 festival canceled\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.sfjazz.org/visit/health/\" rel=\"noopener noreferrer\" target=\"_blank\">SFJAZZ\u003c/a>\u003c/strong>\u003cbr>\nAll concerts and programming through April 5 postponed\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.sfmoma.org/\" target=\"_blank\" rel=\"noopener noreferrer\">SFMOMA\u003c/a>\u003c/strong>\u003cbr>\nClosed to the public through March 27\u003c/p>\n\u003cp>\u003ca href=\"https://live.stanford.edu/calendar/all/all/all/all/all\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Stanford Live\u003c/strong>\u003c/a>\u003cbr>\nAll large-scale concerts canceled through April 15\u003c/p>\n\u003cp>\u003ca href=\"https://stanfordtheatre.org/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Stanford Theatre\u003c/strong>\u003c/a>\u003cbr>\nAll movie screenings temporarily suspended\u003c/p>\n\u003cp>\u003ca href=\"https://www.sundaystreetssf.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Sunday Streets: Mission District\u003c/strong>\u003c/a> (March 8)\u003cbr>\nCanceled\u003c/p>\n\u003cp>\u003ca href=\"https://www.exploratorium.edu/visit/covid19\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Tactile Dome at the Exploratorium\u003c/strong>\u003c/a>\u003cbr>\nExhibit closed indefinitely\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.theatreworks.org/covid19/\" rel=\"noopener noreferrer\" target=\"_blank\">TheatreWorks Silicon Valley\u003c/a>\u003c/strong>\u003cbr>\nAll upcoming performances of ‘They Promised Her the Moon’ and ‘Ragtime’ canceled\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.tonyrobbins.com/news/upw-san-jose-is-postponed/\" target=\"_blank\" rel=\"noopener noreferrer\">UPW San Jose with Tony Robbins\u003c/a>\u003c/strong> (March 12–15)\u003cbr>\nCanceled\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.cinemasf.com/vogue\" rel=\"noopener noreferrer\" target=\"_blank\">Vogue Theatre\u003c/a>\u003c/strong>\u003cbr>\nClosed and all movie screenings canceled until further notice\u003c/p>\n\u003cp>\u003ca href=\"https://www.waltdisney.org/visitor-update\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Walt Disney Museum\u003c/strong>\u003c/a>\u003cbr>\nClosed through March 20\u003c/p>\n\u003cp>\u003ca href=\"https://twitter.com/MattHaneySF/status/1237792593619996672\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Warriors\u003c/strong>\u003c/a>\u003cbr>\nNBA season put on pause, all games suspended\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.wattis.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Wattis Institute\u003c/a>\u003c/strong>\u003cbr>\nHồng-Ân Trương talk (March 12) and Astria Suparak’s illustrated lecture (March 19) postponed until further notice\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://winchestermysteryhouse.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Winchester Mystery House\u003c/a>\u003c/strong>\u003cbr>\nClosed through March\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://womensoundoff.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Women Sound Off\u003c/a>\u003c/strong> (slated for April 3–5)\u003cbr>\nPostponed to October 2–4\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://blog.ycombinator.com/yc-w20-online-demo-day-now-on-march-16/\" target=\"_blank\" rel=\"noopener noreferrer\">Y Combinator Demo Day\u003c/a>\u003c/strong> (March 23)\u003cbr>\nMoved to March 16, now entirely online\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://ybca.org/\" rel=\"noopener noreferrer\" target=\"_blank\">YBCA\u003c/a>\u003c/strong>\u003cbr>\nClosed to the public through March 31\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.yoshis.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Yoshi’s\u003c/a>\u003c/strong>\u003cbr>\nAll shows will have reduced capacity through March\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://www.zspace.org/covid-19prep\" rel=\"noopener noreferrer\" target=\"_blank\">Z Space\u003c/a>\u003c/strong>\u003cbr>\nAll performances canceled through March 31\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://calperformances.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Zellerbach Hall\u003c/a>\u003c/strong>\u003cbr>\nAll Cal Performances events are still on, but ticketholders may exchange for other dates or request refunds for shows through March 29\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Submit info about canceled events \u003ca href=\"mailto:gmeline@kqed.org?subject=Coronavirus%20Cancelation\">here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003cem>For information on how to keep yourself safe from the coronavirus, \u003ca href=\"https://www.kqed.org/science/1957469/what-californians-need-to-know-about-the-coronavirus\" target=\"_blank\" rel=\"noopener noreferrer\">click here\u003c/a>, and see KQED’s \u003ca href=\"https://www.kqed.org/science/1957877/live-updates-coronavirus-in-the-san-francisco-bay-area\" target=\"_blank\" rel=\"noopener noreferrer\">live updates\u003c/a> for the latest news.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Jonathan Calm Revisits 'Green Book' Locations in Search of America's Past and Present",
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"headTitle": "Jonathan Calm Revisits ‘Green Book’ Locations in Search of America’s Past and Present | KQED",
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"content": "\u003cp>When African-American travelers wanted to drive across the U.S. in the Jim Crow era, they consulted a guidebook specially made and marketed to the growing Black middle class. \u003ci>The Negro Motorist Green Book\u003c/i>, published between 1936 and 1966, told them where it was safe to stop for gas, where to eat and where to sleep, where they wouldn’t be refused service because of racial discrimination. “Vacation without aggravation” reads one volume’s cover.\u003c/p>\n\u003cfigure id=\"attachment_13867885\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867885\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/GB_Stamped-800x1083.jpg\" alt=\"'The Negro Motorist Green-Book' in 1940\" width=\"800\" height=\"1083\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/GB_Stamped-800x1083.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/GB_Stamped-160x217.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/GB_Stamped-768x1039.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/GB_Stamped-1020x1380.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/GB_Stamped-887x1200.jpg 887w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/GB_Stamped.jpg 1478w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘The Negro Motorist Green-Book’ in 1940\u003c/figcaption>\u003c/figure>\n\u003cp>Over half a century later, Palo Alto artist and Stanford University Assistant Professor of Photography \u003ca href=\"https://www.jonathancalm.com/projects\" target=\"_blank\" rel=\"noopener noreferrer\">Jonathan Calm\u003c/a> revisits the sites listed in the \u003ci>Green Book\u003c/i>, photographing them in black and white as part of a growing archive, and exploring the myth of the road trip as a quintessential American freedom.\u003c/p>\n\u003cp>“There were definitely more dangerous times to be a black motorist,” Calm says, “even though it doesn’t feel like that today.” He is acutely aware of the number of Black men and women who have been pulled from their cars and become victims of police violence. In his series \u003ci>\u003ca href=\"https://www.jonathancalm.com/prejudice\" target=\"_blank\" rel=\"noopener noreferrer\">Travel is Fatal to Prejudice\u003c/a>\u003c/i>, Calm superimposes a target symbol on aerial views of cities; names like Sandra Bland and Philando Castille run across the bottom of each print.\u003c/p>\n\u003cp>Driving, stopping, eating, drinking and staying at hotels along the way, Calm enacts a contemporary version of the 20th-century African-American road trip, often finding the places listed in the \u003ci>Green Book\u003c/i> long gone, converted into other businesses, or simply rubble.\u003c/p>\n\u003cfigure id=\"attachment_13867864\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867864\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/GB-Lorraine-Motel-I-800x829.jpg\" alt=\"\" width=\"800\" height=\"829\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/GB-Lorraine-Motel-I-800x829.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/GB-Lorraine-Motel-I-160x166.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/GB-Lorraine-Motel-I-768x796.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/GB-Lorraine-Motel-I-1020x1057.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/GB-Lorraine-Motel-I-1158x1200.jpg 1158w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/GB-Lorraine-Motel-I.jpg 1853w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Lorraine Motel in Memphis, photographed by Calm in 2016. The site of Martin Luther King, Jr.’s 1968 assassination was once listed in the ‘Green Book.’\u003c/figcaption>\u003c/figure>\n\u003cp>As a New Yorker, Calm’s journey has also been personally educational—until he drove through the Southern states when he started the project three years ago, his only conception of the region was what he’d learned in school growing up. Visiting sites of Black hospitality in areas marked by past racist violence, there was a constant dissonance with his 2016 present. “I saw a lot of emptiness,” Calm says, “towns and cities that were hollowed out.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Calm’s project isn’t just about photographing historical locations (or their absence); the experience of being a Black man driving on American highways is part of the art-making. “That fear that I have,” he says, “that fear that other people have for me is a very similar fear that people would have had back when the \u003ci>Green Book\u003c/i> was published.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I want to be free, and this drive is investigating that level of freedom.” —\u003cem>Text by Sarah Hotchkiss\u003c/em>\u003c/p>\n\n",
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"excerpt": "Watch the Palo Alto artist document sites that once offered safe havens for Black travelers, questioning just how much has changed over half a century later.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When African-American travelers wanted to drive across the U.S. in the Jim Crow era, they consulted a guidebook specially made and marketed to the growing Black middle class. \u003ci>The Negro Motorist Green Book\u003c/i>, published between 1936 and 1966, told them where it was safe to stop for gas, where to eat and where to sleep, where they wouldn’t be refused service because of racial discrimination. “Vacation without aggravation” reads one volume’s cover.\u003c/p>\n\u003cfigure id=\"attachment_13867885\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867885\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/GB_Stamped-800x1083.jpg\" alt=\"'The Negro Motorist Green-Book' in 1940\" width=\"800\" height=\"1083\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/GB_Stamped-800x1083.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/GB_Stamped-160x217.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/GB_Stamped-768x1039.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/GB_Stamped-1020x1380.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/GB_Stamped-887x1200.jpg 887w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/GB_Stamped.jpg 1478w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘The Negro Motorist Green-Book’ in 1940\u003c/figcaption>\u003c/figure>\n\u003cp>Over half a century later, Palo Alto artist and Stanford University Assistant Professor of Photography \u003ca href=\"https://www.jonathancalm.com/projects\" target=\"_blank\" rel=\"noopener noreferrer\">Jonathan Calm\u003c/a> revisits the sites listed in the \u003ci>Green Book\u003c/i>, photographing them in black and white as part of a growing archive, and exploring the myth of the road trip as a quintessential American freedom.\u003c/p>\n\u003cp>“There were definitely more dangerous times to be a black motorist,” Calm says, “even though it doesn’t feel like that today.” He is acutely aware of the number of Black men and women who have been pulled from their cars and become victims of police violence. In his series \u003ci>\u003ca href=\"https://www.jonathancalm.com/prejudice\" target=\"_blank\" rel=\"noopener noreferrer\">Travel is Fatal to Prejudice\u003c/a>\u003c/i>, Calm superimposes a target symbol on aerial views of cities; names like Sandra Bland and Philando Castille run across the bottom of each print.\u003c/p>\n\u003cp>Driving, stopping, eating, drinking and staying at hotels along the way, Calm enacts a contemporary version of the 20th-century African-American road trip, often finding the places listed in the \u003ci>Green Book\u003c/i> long gone, converted into other businesses, or simply rubble.\u003c/p>\n\u003cfigure id=\"attachment_13867864\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867864\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/GB-Lorraine-Motel-I-800x829.jpg\" alt=\"\" width=\"800\" height=\"829\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/GB-Lorraine-Motel-I-800x829.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/GB-Lorraine-Motel-I-160x166.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/GB-Lorraine-Motel-I-768x796.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/GB-Lorraine-Motel-I-1020x1057.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/GB-Lorraine-Motel-I-1158x1200.jpg 1158w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/GB-Lorraine-Motel-I.jpg 1853w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Lorraine Motel in Memphis, photographed by Calm in 2016. The site of Martin Luther King, Jr.’s 1968 assassination was once listed in the ‘Green Book.’\u003c/figcaption>\u003c/figure>\n\u003cp>As a New Yorker, Calm’s journey has also been personally educational—until he drove through the Southern states when he started the project three years ago, his only conception of the region was what he’d learned in school growing up. Visiting sites of Black hospitality in areas marked by past racist violence, there was a constant dissonance with his 2016 present. “I saw a lot of emptiness,” Calm says, “towns and cities that were hollowed out.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Calm’s project isn’t just about photographing historical locations (or their absence); the experience of being a Black man driving on American highways is part of the art-making. “That fear that I have,” he says, “that fear that other people have for me is a very similar fear that people would have had back when the \u003ci>Green Book\u003c/i> was published.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I want to be free, and this drive is investigating that level of freedom.” —\u003cem>Text by Sarah Hotchkiss\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>It’s time for the weekend!\u003c/p>\n\u003cp>Looking for things to do in the Bay Area? Listen to KQED Arts’ Gabe Meline and Nastia Voynovskaya discuss their critic’s picks for this weekend at the audio link above, and read about each event below.\u003c/p>\n\u003cp>\u003cstrong>Lionel Richie\u003c/strong>: You might remember seven or so years ago when Lionel Richie went country, and even performed on the CMA Awards—don’t worry, this ain’t that. Lately, he’s been playing hit after hit: “Hello,” “Running With the Night,” “Stuck on You,” “Dancing on the Ceiling”… hours of ’80s classics. He performs Saturday, Aug. 24, at the recently refurbished Frost Amphitheater at Stanford. \u003ca href=\"https://live.stanford.edu/calendar/august-2019/lionel-richie\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Tankcrimes Takeover\u003c/strong>: Tankcrimes has held it down in the Bay Area punk and metal scene for almost 20 years as an underground label that champions bands of the dark, heavy and face-melting variety. They’re taking over Eli’s Mile High Club in Oakland on Friday, Aug. 23, with a showcase of some of the doom metal, death metal, punk and hardcore bands on their roster, including Necrot, as well as Kicker, Cliterati and Deathgrave. \u003ca href=\"https://www.eventbrite.com/e/tankcrimes-takeover-of-elis-necrot-kicker-cliterati-deathgrave-tickets-67329160331\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>‘The Flick’\u003c/strong>: We’ve seen movies about record store employees—\u003cem>High Fidelity\u003c/em>, \u003cem>Empire Records\u003c/em>—but there’s never been a great script about movie theater employees… until now. \u003cem>The Flick\u003c/em> is a Pulitzer Prize-winning play about three employees working at a suburban movie theater, and how their lives intersect. But it’s about more than the movie trivia they try to stump each other with—it’s about those interactions we all have during formative years in our lives, that shape us in even the most basic environments. It opens Thursday, Aug,. 22, at the Ashby Stage in Berkeley, and runs through Sept. 22. \u003ca href=\"https://shotgunplayers.org\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>‘Shame // Reflections’\u003c/strong>: At Oros Gallery in the back of Pentacle Coffee in SF, this photo show features photography by Hannah Said and Sammy Jonny, two Muslim artists. They juxtapose photos of Muslim women in hijabs from their community with photos of Trump supporters at his inauguration to ask questions about power, privilege and intimidation. There’s an opening reception on Friday, Aug. 23, with an artist talk on Sept. 20. \u003ca href=\"https://www.instagram.com/orosgallery/?hl=en\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Meredith Monk\u003c/strong>: There is nobody quite like Meredith Monk, a singer and composer who’s always intriguing. And at Grace Cathedral, with its high ceilings and famous seven-second echo, her music should sound even more amazing. On her current tour, she’s stopping by the L.A. Philharmonic and Lincoln Center in New York—and while those shows are not free, this one is. That’s on Friday night, Aug, 23, at Grace Cathedral in San Francisco. \u003ca href=\"https://gracecathedral.org/events/meredith-monk-vocal-ensemble-unearthed/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s time for the weekend!\u003c/p>\n\u003cp>Looking for things to do in the Bay Area? Listen to KQED Arts’ Gabe Meline and Nastia Voynovskaya discuss their critic’s picks for this weekend at the audio link above, and read about each event below.\u003c/p>\n\u003cp>\u003cstrong>Lionel Richie\u003c/strong>: You might remember seven or so years ago when Lionel Richie went country, and even performed on the CMA Awards—don’t worry, this ain’t that. Lately, he’s been playing hit after hit: “Hello,” “Running With the Night,” “Stuck on You,” “Dancing on the Ceiling”… hours of ’80s classics. He performs Saturday, Aug. 24, at the recently refurbished Frost Amphitheater at Stanford. \u003ca href=\"https://live.stanford.edu/calendar/august-2019/lionel-richie\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Tankcrimes Takeover\u003c/strong>: Tankcrimes has held it down in the Bay Area punk and metal scene for almost 20 years as an underground label that champions bands of the dark, heavy and face-melting variety. They’re taking over Eli’s Mile High Club in Oakland on Friday, Aug. 23, with a showcase of some of the doom metal, death metal, punk and hardcore bands on their roster, including Necrot, as well as Kicker, Cliterati and Deathgrave. \u003ca href=\"https://www.eventbrite.com/e/tankcrimes-takeover-of-elis-necrot-kicker-cliterati-deathgrave-tickets-67329160331\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>‘The Flick’\u003c/strong>: We’ve seen movies about record store employees—\u003cem>High Fidelity\u003c/em>, \u003cem>Empire Records\u003c/em>—but there’s never been a great script about movie theater employees… until now. \u003cem>The Flick\u003c/em> is a Pulitzer Prize-winning play about three employees working at a suburban movie theater, and how their lives intersect. But it’s about more than the movie trivia they try to stump each other with—it’s about those interactions we all have during formative years in our lives, that shape us in even the most basic environments. It opens Thursday, Aug,. 22, at the Ashby Stage in Berkeley, and runs through Sept. 22. \u003ca href=\"https://shotgunplayers.org\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>‘Shame // Reflections’\u003c/strong>: At Oros Gallery in the back of Pentacle Coffee in SF, this photo show features photography by Hannah Said and Sammy Jonny, two Muslim artists. They juxtapose photos of Muslim women in hijabs from their community with photos of Trump supporters at his inauguration to ask questions about power, privilege and intimidation. There’s an opening reception on Friday, Aug. 23, with an artist talk on Sept. 20. \u003ca href=\"https://www.instagram.com/orosgallery/?hl=en\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Meredith Monk\u003c/strong>: There is nobody quite like Meredith Monk, a singer and composer who’s always intriguing. And at Grace Cathedral, with its high ceilings and famous seven-second echo, her music should sound even more amazing. On her current tour, she’s stopping by the L.A. Philharmonic and Lincoln Center in New York—and while those shows are not free, this one is. That’s on Friday night, Aug, 23, at Grace Cathedral in San Francisco. \u003ca href=\"https://gracecathedral.org/events/meredith-monk-vocal-ensemble-unearthed/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Does the Bay Area know about Lynda Benglis? Long a New York legend, her knotty, blobby, materially adventurous sculptures appear minimally in just a few local museums. SFMOMA seems to have \u003ca href=\"https://www.sfmoma.org/artist/Lynda_Benglis/\" rel=\"noopener\" target=\"_blank\">one\u003c/a>, as does Stanford’s \u003ca href=\"https://anderson.stanford.edu/collection/plum-by-lynda-benglis/\" rel=\"noopener\" target=\"_blank\">Anderson Collection\u003c/a>. The de Young might have something in its \u003ca href=\"https://deyoung.famsf.org/deyoung/collections/dorothy-george-saxe-collection-contemporary-craft\" rel=\"noopener\" target=\"_blank\">Dorothy & George Saxe Collection of Contemporary Craft\u003c/a>, but searches within the OMCA and BAMPFA holdings yield no results.\u003c/p>\n\u003cp>To discover just how much we’re missing out on, Pace’s Palo Alto outpost kindly presents \u003ci>\u003ca href=\"https://www.pacegallery.com/exhibitions/13049/lynda-benglis\" rel=\"noopener\" target=\"_blank\">LYNDA BENGLIS\u003c/a>\u003c/i>, a mini-retrospective of 20 works from the 1970s to the present and the artist’s first Bay Area solo exhibition in over 15 years. Her full range of approaches and materials are on view: Benglis casts biomorphic abstract sculptures in materials like aluminum and pigmented polyurethane (semitransparent, globular objects that seem to glow from within), builds up surfaces with resin and beeswax, or layers sparkly handmade paper over chicken wire shapes. \u003c/p>\n\u003cp>In the 1960s, Benglis became known for her colorful latex and foam pours—physically impressive responses to a male-dominated (and wall-mounted) art scene. And she never let up. Now 77, she’s still producing large-scale work, testaments to her stance, as stated in a \u003ca href=\"https://www.nytimes.com/2019/08/16/t-magazine/lynda-benglis.html\" rel=\"noopener\" target=\"_blank\">recent interview\u003c/a>: “I am not interested in going backward.”\u003c/p>\n\u003cp>For more juicy bon mots, Benglis arrives in our neck of the woods for a conversation with writer, curator and activist Kimberly Drew on \u003ca href=\"https://arts.stanford.edu/office-of-the-vice-president-for-the-arts/artists-on-the-future/\" rel=\"noopener\" target=\"_blank\">Oct. 22 at Stanford\u003c/a>. \u003ci>—Sarah Hotchkiss\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>By now, we’re used to certain artificial intelligence applications in our music-listening routine. We can hold up our phones when an unknown song is playing to learn its name, and we receive algorithm-based recommendations from streaming services for new songs based on our listening habits. \u003c/p>\n\u003cp>Letting the machines take over our music \u003cem>composition\u003c/em> has always been dicier. There is a distinct human element to music that most people cherish; ceding the moment of creation to a computer would render it cold and hollow, according to conventional thought. That’s part of what’s exhilarating about Holly Herndon’s new AI-assisted album, \u003cem>PROTO\u003c/em>: once again, Herndon has proved conventional thinking wrong.\u003c/p>\n\u003cp>For the past two years, Herndon has \u003ca href=\"https://www.newyorker.com/magazine/2019/05/20/electronic-pop-for-the-surveillance-era\" rel=\"noopener\" target=\"_blank\">built, taught, and refined\u003c/a> an artificial neural network housed inside a gaming PC nicknamed “Spawn.” The AI has learned enough from Herndon’s own voice and music to recreate a version of it by itself, and on \u003cem>PROTO\u003c/em>, its generative sounds and Herndon’s input are combined with a large folk vocal ensemble. The result is a thrilling, very human album, combining new strange mutations with choir pieces that sound centuries old. \u003c/p>\n\u003cp>Having recently completed her Ph.D. at Stanford’s Center For Computer Research In Music And Acoustics, Herndon is now taking \u003cem>PROTO\u003c/em>, and Spawn, on the road. How the AI will \u003ca href=\"https://themuse.jezebel.com/a-chat-with-holly-herndon-about-making-music-with-ai-a-1834562691\" rel=\"noopener\" target=\"_blank\">perform in real time\u003c/a> remains to be seen. But make no mistake: this isn’t music strictly for the shifty, awkward, coding art-gallery crowd. For a rare upcoming show in San Francisco, when the beat to “\u003ca href=\"https://www.youtube.com/watch?v=r4sROgbaeOs\" rel=\"noopener\" target=\"_blank\">Eternal\u003c/a>” drops, expect to see a wave of dancing as the humans claim their space.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Holly Herndon performs Monday, May 20, at August Hall in San Francisco. Foozool and 8uentina from Club Chai open the show. \u003ca href=\"https://www.augusthallsf.com/event/9263065/holly-herndon-foozool-8ulentina/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>By now, we’re used to certain artificial intelligence applications in our music-listening routine. We can hold up our phones when an unknown song is playing to learn its name, and we receive algorithm-based recommendations from streaming services for new songs based on our listening habits. \u003c/p>\n\u003cp>Letting the machines take over our music \u003cem>composition\u003c/em> has always been dicier. There is a distinct human element to music that most people cherish; ceding the moment of creation to a computer would render it cold and hollow, according to conventional thought. That’s part of what’s exhilarating about Holly Herndon’s new AI-assisted album, \u003cem>PROTO\u003c/em>: once again, Herndon has proved conventional thinking wrong.\u003c/p>\n\u003cp>For the past two years, Herndon has \u003ca href=\"https://www.newyorker.com/magazine/2019/05/20/electronic-pop-for-the-surveillance-era\" rel=\"noopener\" target=\"_blank\">built, taught, and refined\u003c/a> an artificial neural network housed inside a gaming PC nicknamed “Spawn.” The AI has learned enough from Herndon’s own voice and music to recreate a version of it by itself, and on \u003cem>PROTO\u003c/em>, its generative sounds and Herndon’s input are combined with a large folk vocal ensemble. The result is a thrilling, very human album, combining new strange mutations with choir pieces that sound centuries old. \u003c/p>\n\u003cp>Having recently completed her Ph.D. at Stanford’s Center For Computer Research In Music And Acoustics, Herndon is now taking \u003cem>PROTO\u003c/em>, and Spawn, on the road. How the AI will \u003ca href=\"https://themuse.jezebel.com/a-chat-with-holly-herndon-about-making-music-with-ai-a-1834562691\" rel=\"noopener\" target=\"_blank\">perform in real time\u003c/a> remains to be seen. But make no mistake: this isn’t music strictly for the shifty, awkward, coding art-gallery crowd. For a rare upcoming show in San Francisco, when the beat to “\u003ca href=\"https://www.youtube.com/watch?v=r4sROgbaeOs\" rel=\"noopener\" target=\"_blank\">Eternal\u003c/a>” drops, expect to see a wave of dancing as the humans claim their space.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cem>Exquisite Corpse\u003c/em>, Kerry Tribe’s beautifully constructed and quietly affecting sojourn down and around the L.A. River, devotes precisely 51 minutes to traversing the waterway’s 51 miles. This sublime film embraces any number of additional symmetries—picturesque landmark and garbage dump, abandoned infrastructure and Angeleno exercise area, freeway neighbor and loner’s retreat—on its way along Los Angeles’ most underappreciated landmark.\u003c/p>\n\u003cp>On view at The Anderson Collection at Stanford University, May 16—July 29, \u003cem>Exquisite Corpse\u003c/em> is accompanied by Tribe’s 2017 film \u003ci>\u003ca href=\"https://www.kqed.org/arts/13824790/video-of-medical-training-breaks-down-art-and-science-divide\" target=\"_blank\" rel=\"noopener\">Standardized Patient\u003c/a>\u003c/i>. The Anderson will also host an \u003ca href=\"https://anderson.stanford.edu/programs-exhibitions/outdoor-film-screening-kerry-tribes-exquisite-corpse/\" target=\"_blank\" rel=\"noopener\">outdoor screening\u003c/a> of \u003cem>Exquisite Corpse\u003c/em> on May 28 at 8pm, with the artist in attendance.\u003c/p>\n\u003cfigure id=\"attachment_13857207\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13857207\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/8.jpg\" alt=\"Still from Kerry Tribe's 'Exquisite Corpse,' 2016.\" width=\"1280\" height=\"572\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/8.jpg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/8-160x72.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/8-800x358.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/8-768x343.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/8-1020x456.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/8-1200x536.jpg 1200w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">Still from Kerry Tribe’s ‘Exquisite Corpse,’ 2016. \u003ccite>(Courtesy of the artist and The Anderson Collection)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Exquisite Corpse\u003c/em> is that rare piece that works brilliantly as both an immersive full-length film and as a short or long gallery dip. The big screen is the best way to appreciate Tribe’s photographer’s eye, while the installation experience brings out the newspaper-feature quality of various vignettes and characters—an ecologist, an urban farmer, a trailer-park resident (and his young daughter), an admirer of a long-dead hobo graffiti artist—that Tribe gracefully strings into a wending urban tale.\u003c/p>\n\u003cp>In sync with the filmmaker’s approach, the title evokes the Surrealist game of creating a text out of the random contributions of different people. It’s also a pretty fair description of the lengthy concrete corridor bisecting the Southern California landscape that hardly ever carries more than a couple inches of water (let alone serves to provide protection against flooding) in the 21st century.\u003c/p>\n\u003cp>A thinking- (and feeling-)person’s travelogue, \u003cem>Exquisite Corpse\u003c/em> is observational rather than critical, and evocative rather than activist. Tribe showers the viewer with a steady stream of pleasures, from sublime urban snapshots to snippets of slice-of-life interviews, that coalesce into a contemplation of the resilience and creativity of people surviving in the middle of a megalopolis.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Exquisite Corpse\u003c/em>, Kerry Tribe’s beautifully constructed and quietly affecting sojourn down and around the L.A. River, devotes precisely 51 minutes to traversing the waterway’s 51 miles. This sublime film embraces any number of additional symmetries—picturesque landmark and garbage dump, abandoned infrastructure and Angeleno exercise area, freeway neighbor and loner’s retreat—on its way along Los Angeles’ most underappreciated landmark.\u003c/p>\n\u003cp>On view at The Anderson Collection at Stanford University, May 16—July 29, \u003cem>Exquisite Corpse\u003c/em> is accompanied by Tribe’s 2017 film \u003ci>\u003ca href=\"https://www.kqed.org/arts/13824790/video-of-medical-training-breaks-down-art-and-science-divide\" target=\"_blank\" rel=\"noopener\">Standardized Patient\u003c/a>\u003c/i>. The Anderson will also host an \u003ca href=\"https://anderson.stanford.edu/programs-exhibitions/outdoor-film-screening-kerry-tribes-exquisite-corpse/\" target=\"_blank\" rel=\"noopener\">outdoor screening\u003c/a> of \u003cem>Exquisite Corpse\u003c/em> on May 28 at 8pm, with the artist in attendance.\u003c/p>\n\u003cfigure id=\"attachment_13857207\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13857207\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/8.jpg\" alt=\"Still from Kerry Tribe's 'Exquisite Corpse,' 2016.\" width=\"1280\" height=\"572\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/8.jpg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/8-160x72.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/8-800x358.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/8-768x343.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/8-1020x456.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/8-1200x536.jpg 1200w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">Still from Kerry Tribe’s ‘Exquisite Corpse,’ 2016. \u003ccite>(Courtesy of the artist and The Anderson Collection)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Exquisite Corpse\u003c/em> is that rare piece that works brilliantly as both an immersive full-length film and as a short or long gallery dip. The big screen is the best way to appreciate Tribe’s photographer’s eye, while the installation experience brings out the newspaper-feature quality of various vignettes and characters—an ecologist, an urban farmer, a trailer-park resident (and his young daughter), an admirer of a long-dead hobo graffiti artist—that Tribe gracefully strings into a wending urban tale.\u003c/p>\n\u003cp>In sync with the filmmaker’s approach, the title evokes the Surrealist game of creating a text out of the random contributions of different people. It’s also a pretty fair description of the lengthy concrete corridor bisecting the Southern California landscape that hardly ever carries more than a couple inches of water (let alone serves to provide protection against flooding) in the 21st century.\u003c/p>\n\u003cp>A thinking- (and feeling-)person’s travelogue, \u003cem>Exquisite Corpse\u003c/em> is observational rather than critical, and evocative rather than activist. Tribe showers the viewer with a steady stream of pleasures, from sublime urban snapshots to snippets of slice-of-life interviews, that coalesce into a contemplation of the resilience and creativity of people surviving in the middle of a megalopolis.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp dir=\"ltr\">In today’s enlightened age, polite people would never admit talking about mental illness is taboo. But it is. If you have a psychiatric illness, or someone you love does, you know it’s awkward to talk about. Raise the subject, and people mutter something vaguely sympathetic and find a way to move away from you or change the subject.\u003c/p>\n\u003cp dir=\"ltr\">Then there’s the taboo you feel within yourself. That was the experience of fourth-year Stanford Ph.D. Student \u003ca href=\"https://earth.stanford.edu/people/zack-burton#gs.9bv9by\" target=\"_blank\" rel=\"noopener\">Zack Burton,\u003c/a> now a couple of years past his first psychotic break and diagnosis of bipolar disorder.\u003c/p>\n\u003cp>“Some of the stigma, that even I myself had toward mental illness, really made that recovery somewhat more difficult than the psychosis itself and the actual events surrounding my diagnosis,” Burton said.\u003c/p>\n\u003cp dir=\"ltr\">Searching online for information and community didn’t help. “There’s this lack of relatable stories out there, which is very frightening when you’re sort of WebMDing symptoms and saying ‘Will life ever be the same?’ A lot of responses are saying ‘No, life will never be the same again.’”\u003c/p>\n\u003cp dir=\"ltr\">Burton and his girlfriend, psychiatric clinical research coordinator \u003ca href=\"https://profiles.stanford.edu/elisa-hofmeister\" target=\"_blank\" rel=\"noopener\">Elisa Hofmeister\u003c/a>, were willing to talk openly about what they were experiencing—only to discover people they thought they knew had been hiding their own experiences. “It was something like three or four of our closest friends who either had mental illness or had a parent who had mental illness. But we had never realized that before, even amongst very close friends,” marveled Burton.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp dir=\"ltr\">That’s when they hit on the idea of doing the mental-illness version of \u003ca href=\"https://www.eveensler.org/plays/the-vagina-monologues/\" target=\"_blank\" rel=\"noopener\">\u003cem>The Vagina Monologues\u003c/em>\u003c/a>, Eve Ensler’s classic collection of first-person stories about female sexuality.\u003c/p>\n\u003cp dir=\"ltr\">[youtube https://www.youtube.com/watch?v=_eKbur64CdA]Roughly 20 years ago, the blockbuster theater piece blasted a longstanding taboo to smithereens with devastating humor and pathos. Ensler did all the research and writing.\u003c/p>\n\u003cp dir=\"ltr\">For \u003cem>\u003ca href=\"https://www.themanicmonologues.org/\" target=\"_blank\" rel=\"noopener\">Manic Monologues\u003c/a>\u003c/em>, Burton and Hofmeister reached out to a wide variety of people to get first-person stories. There are fifteen altogether, ranging from the funny to the heartbreaking, performed by actors and the authors themselves.\u003c/p>\n\u003cp dir=\"ltr\">Hofmeister drew a parallel between mental illness and cancer. “Back in the 1950s, cancer was really stigmatized. People did not want to talk about it. It was seen as kind of a shameful thing to receive a diagnosis of cancer. It’s frightening, of course, but there’s no reason to be ashamed of it,” Hofmeister said.\u003c/p>\n\u003cp dir=\"ltr\">The two enlisted the help of a wide-ranging advisory team, including \u003ca href=\"https://stanfordhealthcare.org/doctors/h/rona-hu.html\" target=\"_blank\" rel=\"noopener\">Dr. Rona Hu\u003c/a>, a Clinical Associate Professor in Psychiatry and Behavioral Sciences who launched \u003ca href=\"https://www.kqed.org/arts/13113401/stanford-psychiatrists-take-to-the-stage\" target=\"_blank\" rel=\"noopener\">a series of theatrical vignettes\u003c/a> designed to help Asian-Americans and Latinos confront a variety of parenting and mental health issues.\u003c/p>\n\u003cp dir=\"ltr\">She even wrote a monologue about her own experience that she’s performing in \u003cem>Manic Monologues\u003c/em>.\u003c/p>\n\u003cp dir=\"ltr\">Back when Hu was a college student, she didn’t understand her boyfriend had bipolar disorder. She was so freaked out by his behavior, she actually ghosted him.\u003c/p>\n\u003cfigure id=\"attachment_13856444\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13856444 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/RS36913_IMG_6906-qut-800x450.jpg\" alt='The cast of \"Manic Monologues,\" a theatre piece exploring 15 different perspectives on mental illness, not unlike \"Vagina Monologues\" did with female sexuality in the 1990s. (Back row, left to right): Audrey Mitchell, Corinne Bernhard, Zack Burton, Rebecca Jia, Grégoire Faucher, Steve Dobbs (Front row, left to right): Dr. Rona Hu, Chloe Harris, Elisa Hofmeister, Khuyen Le, Julie Lee' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS36913_IMG_6906-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS36913_IMG_6906-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS36913_IMG_6906-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS36913_IMG_6906-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS36913_IMG_6906-qut-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS36913_IMG_6906-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The cast of “Manic Monologues,” a theatre piece exploring 15 different perspectives on mental illness, not unlike “Vagina Monologues” did with female sexuality in the 1990s. (Back row, left to right): Audrey Mitchell, Corinne Bernhard, Zack Burton, Rebecca Jia, Grégoire Faucher, Steve Dobbs (Front row, left to right): Dr. Rona Hu, Chloe Harris, Elisa Hofmeister, Khuyen Le, Julie Lee \u003ccite>(Photo: Courtesy of Vianno Vo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp dir=\"ltr\">“Lucky for me, it was getting to be the end of the school year, and I had summer plans in another country, in Paris. These were plans I kept to myself. So when June rolled around, I just sort of got on the plane and disappeared,” Ru says in her monologue, baring that awkward chapter from her past in the hopes of reaching people in pain who are afraid to admit it.\u003c/p>\n\u003cp dir=\"ltr\">[aside postID='arts_13113401,news_10524319,arts_13851676' label='Related Coverage']Today, Hu is Medical Director of the Acute Psychiatric Inpatient Unit at Stanford Hospital, where she treats lots of people with bipolar disorder, schizophrenia, and depression.\u003c/p>\n\u003cp>Hu knows what mental illness looks like today. But she encounters lots of people who don’t, who misinterpret their loved ones’ behavior, “almost like a moral weakness. Or something that people are doing on purpose,” she said.\u003c/p>\n\u003cp>According to the \u003ca href=\"https://www.nimh.nih.gov/health/statistics/mental-illness.shtml\" target=\"_blank\" rel=\"noopener\">National Institute of Mental Health\u003c/a>, nearly one in five U.S. adults live with a mental illness (46.6 million in 2017).\u003c/p>\n\u003cp>“Stigma is such a dangerous thing. It keeps people from getting help. It keeps people from even realizing that there’s an issue that there are solutions for,” Hu said. She’s enthusiastic about encouraging people to talk openly about mental illness, even if it means talking about the misgivings many people have about getting or staying emotionally involved with a person on a mental health roller coaster.\u003c/p>\n\u003cp dir=\"ltr\">“If that young man had had just a few fewer episodes, or had hidden them from me better, than maybe I would have several very attractive children with him right now, and be tracking him down through his credit card receipts, and asking the highway patrol if they’d seen him. Things that I’ve had patients tell me about, and patients’ family members tell me about,” Hu said.\u003c/p>\n\u003cp dir=\"ltr\">All three \u003cem>Manic Monologues\u003c/em> shows at Stanford are sold out, but the hope is that the show travels the way \u003cem>Vagina Monologues\u003c/em> did, and has the same cultural impact.\u003c/p>\n\u003cp>“We would really like to help high school, college, and community theaters put on their own versions of the show,” Burton said, and to that effect, he added, “All proceeds of the show, as well as our \u003ca href=\"https://www.gofundme.com/the-manic-monologues-destigmatizing-mental-health\" target=\"_blank\" rel=\"noopener\">gofundme\u003c/a> campaign, will go toward seed funding for other theaters to perform the show.”\u003c/p>\n\u003cp>\u003cem>\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/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Manic Monologues’ runs Thursday through Saturday, May 2–4, at Stanford’s Pigott Theater. \u003ca href=\"https://arts.stanford.edu/event/82535/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"title": "'Manic Monologues' Seeks to Disrupt the Stigma Around Mental Illness | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp dir=\"ltr\">In today’s enlightened age, polite people would never admit talking about mental illness is taboo. But it is. If you have a psychiatric illness, or someone you love does, you know it’s awkward to talk about. Raise the subject, and people mutter something vaguely sympathetic and find a way to move away from you or change the subject.\u003c/p>\n\u003cp dir=\"ltr\">Then there’s the taboo you feel within yourself. That was the experience of fourth-year Stanford Ph.D. Student \u003ca href=\"https://earth.stanford.edu/people/zack-burton#gs.9bv9by\" target=\"_blank\" rel=\"noopener\">Zack Burton,\u003c/a> now a couple of years past his first psychotic break and diagnosis of bipolar disorder.\u003c/p>\n\u003cp>“Some of the stigma, that even I myself had toward mental illness, really made that recovery somewhat more difficult than the psychosis itself and the actual events surrounding my diagnosis,” Burton said.\u003c/p>\n\u003cp dir=\"ltr\">Searching online for information and community didn’t help. “There’s this lack of relatable stories out there, which is very frightening when you’re sort of WebMDing symptoms and saying ‘Will life ever be the same?’ A lot of responses are saying ‘No, life will never be the same again.’”\u003c/p>\n\u003cp dir=\"ltr\">Burton and his girlfriend, psychiatric clinical research coordinator \u003ca href=\"https://profiles.stanford.edu/elisa-hofmeister\" target=\"_blank\" rel=\"noopener\">Elisa Hofmeister\u003c/a>, were willing to talk openly about what they were experiencing—only to discover people they thought they knew had been hiding their own experiences. “It was something like three or four of our closest friends who either had mental illness or had a parent who had mental illness. But we had never realized that before, even amongst very close friends,” marveled Burton.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp dir=\"ltr\">That’s when they hit on the idea of doing the mental-illness version of \u003ca href=\"https://www.eveensler.org/plays/the-vagina-monologues/\" target=\"_blank\" rel=\"noopener\">\u003cem>The Vagina Monologues\u003c/em>\u003c/a>, Eve Ensler’s classic collection of first-person stories about female sexuality.\u003c/p>\n\u003cp dir=\"ltr\">\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/_eKbur64CdA'\n title='//www.youtube.com/embed/_eKbur64CdA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>Roughly 20 years ago, the blockbuster theater piece blasted a longstanding taboo to smithereens with devastating humor and pathos. Ensler did all the research and writing.\u003c/p>\n\u003cp dir=\"ltr\">For \u003cem>\u003ca href=\"https://www.themanicmonologues.org/\" target=\"_blank\" rel=\"noopener\">Manic Monologues\u003c/a>\u003c/em>, Burton and Hofmeister reached out to a wide variety of people to get first-person stories. There are fifteen altogether, ranging from the funny to the heartbreaking, performed by actors and the authors themselves.\u003c/p>\n\u003cp dir=\"ltr\">Hofmeister drew a parallel between mental illness and cancer. “Back in the 1950s, cancer was really stigmatized. People did not want to talk about it. It was seen as kind of a shameful thing to receive a diagnosis of cancer. It’s frightening, of course, but there’s no reason to be ashamed of it,” Hofmeister said.\u003c/p>\n\u003cp dir=\"ltr\">The two enlisted the help of a wide-ranging advisory team, including \u003ca href=\"https://stanfordhealthcare.org/doctors/h/rona-hu.html\" target=\"_blank\" rel=\"noopener\">Dr. Rona Hu\u003c/a>, a Clinical Associate Professor in Psychiatry and Behavioral Sciences who launched \u003ca href=\"https://www.kqed.org/arts/13113401/stanford-psychiatrists-take-to-the-stage\" target=\"_blank\" rel=\"noopener\">a series of theatrical vignettes\u003c/a> designed to help Asian-Americans and Latinos confront a variety of parenting and mental health issues.\u003c/p>\n\u003cp dir=\"ltr\">She even wrote a monologue about her own experience that she’s performing in \u003cem>Manic Monologues\u003c/em>.\u003c/p>\n\u003cp dir=\"ltr\">Back when Hu was a college student, she didn’t understand her boyfriend had bipolar disorder. She was so freaked out by his behavior, she actually ghosted him.\u003c/p>\n\u003cfigure id=\"attachment_13856444\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13856444 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/RS36913_IMG_6906-qut-800x450.jpg\" alt='The cast of \"Manic Monologues,\" a theatre piece exploring 15 different perspectives on mental illness, not unlike \"Vagina Monologues\" did with female sexuality in the 1990s. (Back row, left to right): Audrey Mitchell, Corinne Bernhard, Zack Burton, Rebecca Jia, Grégoire Faucher, Steve Dobbs (Front row, left to right): Dr. Rona Hu, Chloe Harris, Elisa Hofmeister, Khuyen Le, Julie Lee' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS36913_IMG_6906-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS36913_IMG_6906-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS36913_IMG_6906-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS36913_IMG_6906-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS36913_IMG_6906-qut-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS36913_IMG_6906-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The cast of “Manic Monologues,” a theatre piece exploring 15 different perspectives on mental illness, not unlike “Vagina Monologues” did with female sexuality in the 1990s. (Back row, left to right): Audrey Mitchell, Corinne Bernhard, Zack Burton, Rebecca Jia, Grégoire Faucher, Steve Dobbs (Front row, left to right): Dr. Rona Hu, Chloe Harris, Elisa Hofmeister, Khuyen Le, Julie Lee \u003ccite>(Photo: Courtesy of Vianno Vo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp dir=\"ltr\">“Lucky for me, it was getting to be the end of the school year, and I had summer plans in another country, in Paris. These were plans I kept to myself. So when June rolled around, I just sort of got on the plane and disappeared,” Ru says in her monologue, baring that awkward chapter from her past in the hopes of reaching people in pain who are afraid to admit it.\u003c/p>\n\u003cp dir=\"ltr\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Today, Hu is Medical Director of the Acute Psychiatric Inpatient Unit at Stanford Hospital, where she treats lots of people with bipolar disorder, schizophrenia, and depression.\u003c/p>\n\u003cp>Hu knows what mental illness looks like today. But she encounters lots of people who don’t, who misinterpret their loved ones’ behavior, “almost like a moral weakness. Or something that people are doing on purpose,” she said.\u003c/p>\n\u003cp>According to the \u003ca href=\"https://www.nimh.nih.gov/health/statistics/mental-illness.shtml\" target=\"_blank\" rel=\"noopener\">National Institute of Mental Health\u003c/a>, nearly one in five U.S. adults live with a mental illness (46.6 million in 2017).\u003c/p>\n\u003cp>“Stigma is such a dangerous thing. It keeps people from getting help. It keeps people from even realizing that there’s an issue that there are solutions for,” Hu said. She’s enthusiastic about encouraging people to talk openly about mental illness, even if it means talking about the misgivings many people have about getting or staying emotionally involved with a person on a mental health roller coaster.\u003c/p>\n\u003cp dir=\"ltr\">“If that young man had had just a few fewer episodes, or had hidden them from me better, than maybe I would have several very attractive children with him right now, and be tracking him down through his credit card receipts, and asking the highway patrol if they’d seen him. Things that I’ve had patients tell me about, and patients’ family members tell me about,” Hu said.\u003c/p>\n\u003cp dir=\"ltr\">All three \u003cem>Manic Monologues\u003c/em> shows at Stanford are sold out, but the hope is that the show travels the way \u003cem>Vagina Monologues\u003c/em> did, and has the same cultural impact.\u003c/p>\n\u003cp>“We would really like to help high school, college, and community theaters put on their own versions of the show,” Burton said, and to that effect, he added, “All proceeds of the show, as well as our \u003ca href=\"https://www.gofundme.com/the-manic-monologues-destigmatizing-mental-health\" target=\"_blank\" rel=\"noopener\">gofundme\u003c/a> campaign, will go toward seed funding for other theaters to perform the show.”\u003c/p>\n\u003cp>\u003cem>\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/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Manic Monologues’ runs Thursday through Saturday, May 2–4, at Stanford’s Pigott Theater. \u003ca href=\"https://arts.stanford.edu/event/82535/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "contact-warhol-dives-into-andys-obsessions-with-sex-and-celebrity",
"title": "'Contact Warhol' Dives into Andy's Obsessions with Sex and Celebrity",
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"content": "\u003cp>Before there was Instagram and Snapchat, there was Andy Warhol.\u003c/p>\n\u003cp>He anticipated the way we would come to openly acknowledge and then celebrate our fascination with pop culture and, really, ourselves.\u003c/p>\n\u003cp>The visual documentation of that life, 1976-1987, is now on view at the \u003ca class=\"profileLink\" href=\"https://www.facebook.com/CantorArtsCenter/?__tn__=K-R-R&eid=ARDBufKIVySDCrgm1CKcVwR5swFlcpRJ_eXA_mxTdI7LfBeIGnp_LeK5a1FQLRQ-QCvdf1EkyBp5zqKo&fref=mentions&__xts__%5B0%5D=68.ARBfSpOt5PqWlm-x9rcXM2KGDtfRn5kYHDlkL-_JT-qPmXDLmWFcmNbZL3wh-fp7UGlvio2k0eC8eHajg4uNE831QsHDGbibGAEys2SFQ9_akn0DlYWeEaW618tOCSbrFNmXEsDgVTUcn6uCSqRYDs55jYD66Bj67xw_r3WO9tN7RiVpEGpBj7c\">Cantor Arts Center at Stanford University\u003c/a> with \u003ca href=\"https://museum.stanford.edu/exhibitions/contact-warhol-photography-without-end\">\u003ci>Contact Warhol: Photography Without End\u003c/i>\u003c/a>, celebrating the digitization of a huge collection of Warhol’s photographs, the vast majority of which have never been available to the public before.\u003c/p>\n\u003cp>It’s part of a deal with \u003ca href=\"https://warholfoundation.org\" target=\"_blank\" rel=\"noopener\">The Andy Warhol Foundation for the Visual Arts\u003c/a> in New York. To land this prize, Stanford digitized the images that expose Warhol’s artistic process.\u003c/p>\n\u003cfigure id=\"attachment_13841852\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13841852\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/1-2014.43.2893_detail_Warhol_with_shadow-800x257.jpg\" alt=\"Detail from a contact sheet of Andy Warhol, 1986.\" width=\"800\" height=\"257\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/1-2014.43.2893_detail_Warhol_with_shadow-800x257.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/1-2014.43.2893_detail_Warhol_with_shadow-160x51.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/1-2014.43.2893_detail_Warhol_with_shadow-768x247.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/1-2014.43.2893_detail_Warhol_with_shadow-1020x328.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/1-2014.43.2893_detail_Warhol_with_shadow-1200x385.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/1-2014.43.2893_detail_Warhol_with_shadow-1920x617.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/1-2014.43.2893_detail_Warhol_with_shadow-1180x379.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/1-2014.43.2893_detail_Warhol_with_shadow-960x308.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/1-2014.43.2893_detail_Warhol_with_shadow-240x77.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/1-2014.43.2893_detail_Warhol_with_shadow-375x120.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/1-2014.43.2893_detail_Warhol_with_shadow-520x167.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/1-2014.43.2893_detail_Warhol_with_shadow.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Detail from a contact sheet of Andy Warhol, 1986. \u003ccite>(Photo: Courtesy of The Andy Warhol Foundation for the Visual Arts, Inc.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Reared on the flat, iconic paintings of the Byzantine Catholic church he grew up in, Warhol was quick to identify what and how we worship in the modern era — and then capitalize on that.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>By the late 1970s, the nation’s premier pop artist was a celebrity himself, cashing in on the appetite he created for iconic portraits of the rich and famous. By night, he was also holding court with his posse, a coterie of hot young men and artists in pre-AIDS Manhattan.\u003c/p>\n\u003cp>“The big revelation for me was how good Warhol was as a director, and indeed, as a performer. What matters isn’t actually the end result, but rather the act of shooting,” says co-curator \u003ca href=\"https://english.stanford.edu/people/peggy-phelan\" target=\"_blank\" rel=\"noopener\">Peggy Phelan\u003c/a>, who directs Stanford’s \u003ca href=\"https://arts.stanford.edu/arts-institute/\" target=\"_blank\" rel=\"noopener\">Arts Institute\u003c/a>.\u003c/p>\n\u003cp>Her co-curator is \u003ca href=\"https://art.stanford.edu/people/richard-meyer\" target=\"_blank\" rel=\"noopener\">Richard Meyer\u003c/a> of Stanford’s School of Humanities and Sciences. “This is an exhibition based on an extraordinary collection of 3,600 contact sheets. Not the Polaroids, but every other single photograph that Warhol took from 1976, the year he bought a Minox — his first camera he had that wasn’t a Polaroid — to his unexpected death in 1987,” Meyer says.\u003c/p>\n\u003cfigure id=\"attachment_13841862\" class=\"wp-caption aligncenter\" style=\"max-width: 730px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13841862\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/4_2014.43.1547_detail_Basquiat_digital.jpg\" alt=\"Detail from Contact Sheet [Jean-Michel Basquiat photo shoot for Polaroid portrait; Andy Warhol, Bruno Bischofberger], 1982. Gelatin silver print. \" width=\"730\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/4_2014.43.1547_detail_Basquiat_digital.jpg 730w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/4_2014.43.1547_detail_Basquiat_digital-160x175.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/4_2014.43.1547_detail_Basquiat_digital-240x263.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/4_2014.43.1547_detail_Basquiat_digital-375x411.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/4_2014.43.1547_detail_Basquiat_digital-520x570.jpg 520w\" sizes=\"(max-width: 730px) 100vw, 730px\">\u003cfigcaption class=\"wp-caption-text\">Detail from Contact Sheet [Jean-Michel Basquiat photo shoot for Polaroid portrait; Andy Warhol, Bruno Bischofberger], 1982. Gelatin silver print. \u003ccite>(Photo: Courtesy of The Andy Warhol Foundation for the Visual Arts, Inc.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Phelan says Warhol understood that the back story to his public paintings was something interesting in itself. That’s something we can appreciate in 2018 in way we might not have fully grasped in 1978. “He is anticipating our own habit with our cell phone photographs,” she says.\u003c/p>\n\u003cp>In one gallery suite, you can see the process that went into Warhol’s silkscreen of Liza Minnelli.\u003c/p>\n\u003cp>“Warhol is photographing Liza with a Polaroid camera because Polaroids were the sources of the big paintings that we have,” Phelan explains. “But he made sure that someone with a 35 millimeter camera — his 35 millimeter camera — was photographing him. And in this case, he made sure that there was someone filming both the 35 millimeter camera photographing him and him photographing Liza.”\u003c/p>\n\u003cp>Hinting at the size of the collection, blow-ups of the contact sheets ring the rooms on the walls at knee level. Tables waist-high feature samples of the actual contact sheets under plexiglas.\u003c/p>\n\u003cp>Then, mirroring the kind of work done at the \u003ca href=\"http://library.stanford.edu/rumsey\" target=\"_blank\" rel=\"noopener\">David Rumsey Map Center\u003c/a> at Stanford, there’s an interactive table, allowing you to look at anything in the archive digitized over two-and-a-half years by Cantor archivists.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/506663418″ params=”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true&visual=true” width=”100%” height=”300″ iframe=”true” /]\u003c/p>\n\u003cp>“You can zoom in on one contact sheet, and then one frame within that contact sheet, and that zooming in will then be projected on the screen in the middle of the gallery,” Phelan says.\u003c/p>\n\u003cp>So, a warning here to think about who else is in the gallery with you before you zoom in on any of the sexually explicit photos of Warhol’s friends.\u003c/p>\n\u003cp>These photographs document a now lost world of gay culture in the 1970s and ’80s. We see, for example, many shots of Victor Hugo, the window dresser and boyfriend of fashion designer Roy Halston Frowicknot, having sex with different men. Warhol used those images for a series called \u003cem>Sex Parts\u003c/em>.\u003c/p>\n\u003cp>In a nod to modern sensitivities about sexual exploitation, Phelan says she and Meyer chose to crop the heads off of explicit images. “We were quite conscious of the risks of showing the faces of men who were engaged in sex acts 35 years ago who may or may not want to be identified now,” Phelan says.\u003c/p>\n\u003cfigure id=\"attachment_13841865\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13841865\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/6-2014.43.688_D_Harry_digital-800x705.jpg\" alt=\"Contact Sheet [Debbie Harry portrait photo shoot, Chris Stein; Victor Hugo, Bianca Jagger, others in club; Dog; Bianca in a kitchen], 1980. Gelatin silver print.\" width=\"800\" height=\"705\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/6-2014.43.688_D_Harry_digital.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/6-2014.43.688_D_Harry_digital-160x141.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/6-2014.43.688_D_Harry_digital-768x677.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/6-2014.43.688_D_Harry_digital-240x212.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/6-2014.43.688_D_Harry_digital-375x330.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/6-2014.43.688_D_Harry_digital-520x458.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Contact Sheet [Debbie Harry portrait photo shoot, Chris Stein; Victor Hugo, Bianca Jagger, others in club; Dog; Bianca in a kitchen], 1980. Gelatin silver print. \u003ccite>(Photo: Courtesy of The Andy Warhol Foundation for the Visual Arts, Inc.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Those, she means, who are still alive today. “Looking at it in 2018, you can’t but see the kind of sexual freedom and almost jubilation,” Meyer says, before adding “Not Warhol. He’s not jubilant. He very rarely smiles!”\u003c/p>\n\u003cp>Meyer adds something that might not seem obvious in this age: “These were not selfies,” Meyers says. “He was not holding the camera out in front of him. He passed the camera to assistants to other people at the dinner parties, at Studio 54, at the discotheque. But every photograph taken by his camera is considered a Warhol.\u003c/p>\n\u003cp>“Warhol is the most pictured person in the contact sheets, and his boyfriend, John Gould, who was his last boyfriend, [was] the second most photographed.”\u003c/p>\n\u003cp>Gould died of HIV/AIDS-related complications in 1986, a year before Warhol’s death after gallbladder surgery.\u003c/p>\n\u003cp>“He took his tape recorder and his pocket-sized camera with him every night when he went out, and he was very proud of going out every night,” Meyer says.\u003c/p>\n\u003cfigure id=\"attachment_13841864\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13841864 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/RS32998_L.3.56.2018_Basquiat_painting-qut-800x818.jpg\" alt=\"Jean-Michel Basquiat, ca. 1982. Acrylic, silkscreen ink, and urine on canvas. \" width=\"800\" height=\"818\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/RS32998_L.3.56.2018_Basquiat_painting-qut-800x818.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/RS32998_L.3.56.2018_Basquiat_painting-qut-160x164.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/RS32998_L.3.56.2018_Basquiat_painting-qut-768x785.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/RS32998_L.3.56.2018_Basquiat_painting-qut-1020x1042.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/RS32998_L.3.56.2018_Basquiat_painting-qut-1174x1200.jpg 1174w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/RS32998_L.3.56.2018_Basquiat_painting-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/RS32998_L.3.56.2018_Basquiat_painting-qut-1180x1206.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/RS32998_L.3.56.2018_Basquiat_painting-qut-960x981.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/RS32998_L.3.56.2018_Basquiat_painting-qut-240x245.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/RS32998_L.3.56.2018_Basquiat_painting-qut-375x383.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/RS32998_L.3.56.2018_Basquiat_painting-qut-520x531.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/RS32998_L.3.56.2018_Basquiat_painting-qut-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/RS32998_L.3.56.2018_Basquiat_painting-qut-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/RS32998_L.3.56.2018_Basquiat_painting-qut-64x64.jpg 64w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jean-Michel Basquiat, ca. 1982. Acrylic, silkscreen ink, and urine on canvas. \u003ccite>(Photo: Courtesy of The Andy Warhol Foundation for the Visual Arts, Inc.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Altogether, the exhibition documents a point in time when superstars of that era wanted to be photographed by Warhol, or with him: Debbie Harry, Michael Jackson, John Lennon, Dolly Parton, Keith Haring, Jean-Michel Basquiat, Nancy Reagan, Maria Shriver and Arnold Schwarzenegger, to name a few.\u003c/p>\n\u003cp>They understood instinctively what Warhol was doing, and they wanted to bask in the refracted light of his vision.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong style=\"font-style: italic\">Contact Warhol: Photography Without End \u003c/strong>r\u003ci>uns September 29, 2018 through January 6, 2019 at the Cantor Arts Center on the Stanford campus in Palo Alto. For more information, click \u003ca href=\"https://museum.stanford.edu/exhibitions/contact-warhol-photography-without-end\" target=\"_blank\" rel=\"noopener\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"excerpt": "All of the photographs documenting Andy Warhol's last decade are on display at the Cantor Arts Center.",
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"title": "'Contact Warhol' Dives into Andy's Obsessions with Sex and Celebrity | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Before there was Instagram and Snapchat, there was Andy Warhol.\u003c/p>\n\u003cp>He anticipated the way we would come to openly acknowledge and then celebrate our fascination with pop culture and, really, ourselves.\u003c/p>\n\u003cp>The visual documentation of that life, 1976-1987, is now on view at the \u003ca class=\"profileLink\" href=\"https://www.facebook.com/CantorArtsCenter/?__tn__=K-R-R&eid=ARDBufKIVySDCrgm1CKcVwR5swFlcpRJ_eXA_mxTdI7LfBeIGnp_LeK5a1FQLRQ-QCvdf1EkyBp5zqKo&fref=mentions&__xts__%5B0%5D=68.ARBfSpOt5PqWlm-x9rcXM2KGDtfRn5kYHDlkL-_JT-qPmXDLmWFcmNbZL3wh-fp7UGlvio2k0eC8eHajg4uNE831QsHDGbibGAEys2SFQ9_akn0DlYWeEaW618tOCSbrFNmXEsDgVTUcn6uCSqRYDs55jYD66Bj67xw_r3WO9tN7RiVpEGpBj7c\">Cantor Arts Center at Stanford University\u003c/a> with \u003ca href=\"https://museum.stanford.edu/exhibitions/contact-warhol-photography-without-end\">\u003ci>Contact Warhol: Photography Without End\u003c/i>\u003c/a>, celebrating the digitization of a huge collection of Warhol’s photographs, the vast majority of which have never been available to the public before.\u003c/p>\n\u003cp>It’s part of a deal with \u003ca href=\"https://warholfoundation.org\" target=\"_blank\" rel=\"noopener\">The Andy Warhol Foundation for the Visual Arts\u003c/a> in New York. To land this prize, Stanford digitized the images that expose Warhol’s artistic process.\u003c/p>\n\u003cfigure id=\"attachment_13841852\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13841852\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/1-2014.43.2893_detail_Warhol_with_shadow-800x257.jpg\" alt=\"Detail from a contact sheet of Andy Warhol, 1986.\" width=\"800\" height=\"257\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/1-2014.43.2893_detail_Warhol_with_shadow-800x257.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/1-2014.43.2893_detail_Warhol_with_shadow-160x51.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/1-2014.43.2893_detail_Warhol_with_shadow-768x247.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/1-2014.43.2893_detail_Warhol_with_shadow-1020x328.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/1-2014.43.2893_detail_Warhol_with_shadow-1200x385.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/1-2014.43.2893_detail_Warhol_with_shadow-1920x617.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/1-2014.43.2893_detail_Warhol_with_shadow-1180x379.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/1-2014.43.2893_detail_Warhol_with_shadow-960x308.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/1-2014.43.2893_detail_Warhol_with_shadow-240x77.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/1-2014.43.2893_detail_Warhol_with_shadow-375x120.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/1-2014.43.2893_detail_Warhol_with_shadow-520x167.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/1-2014.43.2893_detail_Warhol_with_shadow.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Detail from a contact sheet of Andy Warhol, 1986. \u003ccite>(Photo: Courtesy of The Andy Warhol Foundation for the Visual Arts, Inc.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Reared on the flat, iconic paintings of the Byzantine Catholic church he grew up in, Warhol was quick to identify what and how we worship in the modern era — and then capitalize on that.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>By the late 1970s, the nation’s premier pop artist was a celebrity himself, cashing in on the appetite he created for iconic portraits of the rich and famous. By night, he was also holding court with his posse, a coterie of hot young men and artists in pre-AIDS Manhattan.\u003c/p>\n\u003cp>“The big revelation for me was how good Warhol was as a director, and indeed, as a performer. What matters isn’t actually the end result, but rather the act of shooting,” says co-curator \u003ca href=\"https://english.stanford.edu/people/peggy-phelan\" target=\"_blank\" rel=\"noopener\">Peggy Phelan\u003c/a>, who directs Stanford’s \u003ca href=\"https://arts.stanford.edu/arts-institute/\" target=\"_blank\" rel=\"noopener\">Arts Institute\u003c/a>.\u003c/p>\n\u003cp>Her co-curator is \u003ca href=\"https://art.stanford.edu/people/richard-meyer\" target=\"_blank\" rel=\"noopener\">Richard Meyer\u003c/a> of Stanford’s School of Humanities and Sciences. “This is an exhibition based on an extraordinary collection of 3,600 contact sheets. Not the Polaroids, but every other single photograph that Warhol took from 1976, the year he bought a Minox — his first camera he had that wasn’t a Polaroid — to his unexpected death in 1987,” Meyer says.\u003c/p>\n\u003cfigure id=\"attachment_13841862\" class=\"wp-caption aligncenter\" style=\"max-width: 730px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13841862\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/4_2014.43.1547_detail_Basquiat_digital.jpg\" alt=\"Detail from Contact Sheet [Jean-Michel Basquiat photo shoot for Polaroid portrait; Andy Warhol, Bruno Bischofberger], 1982. Gelatin silver print. \" width=\"730\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/4_2014.43.1547_detail_Basquiat_digital.jpg 730w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/4_2014.43.1547_detail_Basquiat_digital-160x175.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/4_2014.43.1547_detail_Basquiat_digital-240x263.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/4_2014.43.1547_detail_Basquiat_digital-375x411.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/4_2014.43.1547_detail_Basquiat_digital-520x570.jpg 520w\" sizes=\"(max-width: 730px) 100vw, 730px\">\u003cfigcaption class=\"wp-caption-text\">Detail from Contact Sheet [Jean-Michel Basquiat photo shoot for Polaroid portrait; Andy Warhol, Bruno Bischofberger], 1982. Gelatin silver print. \u003ccite>(Photo: Courtesy of The Andy Warhol Foundation for the Visual Arts, Inc.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Phelan says Warhol understood that the back story to his public paintings was something interesting in itself. That’s something we can appreciate in 2018 in way we might not have fully grasped in 1978. “He is anticipating our own habit with our cell phone photographs,” she says.\u003c/p>\n\u003cp>In one gallery suite, you can see the process that went into Warhol’s silkscreen of Liza Minnelli.\u003c/p>\n\u003cp>“Warhol is photographing Liza with a Polaroid camera because Polaroids were the sources of the big paintings that we have,” Phelan explains. “But he made sure that someone with a 35 millimeter camera — his 35 millimeter camera — was photographing him. And in this case, he made sure that there was someone filming both the 35 millimeter camera photographing him and him photographing Liza.”\u003c/p>\n\u003cp>Hinting at the size of the collection, blow-ups of the contact sheets ring the rooms on the walls at knee level. Tables waist-high feature samples of the actual contact sheets under plexiglas.\u003c/p>\n\u003cp>Then, mirroring the kind of work done at the \u003ca href=\"http://library.stanford.edu/rumsey\" target=\"_blank\" rel=\"noopener\">David Rumsey Map Center\u003c/a> at Stanford, there’s an interactive table, allowing you to look at anything in the archive digitized over two-and-a-half years by Cantor archivists.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”300″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/506663418″&visual=true&”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true&visual=true”'\n title='”https://api.soundcloud.com/tracks/506663418″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“You can zoom in on one contact sheet, and then one frame within that contact sheet, and that zooming in will then be projected on the screen in the middle of the gallery,” Phelan says.\u003c/p>\n\u003cp>So, a warning here to think about who else is in the gallery with you before you zoom in on any of the sexually explicit photos of Warhol’s friends.\u003c/p>\n\u003cp>These photographs document a now lost world of gay culture in the 1970s and ’80s. We see, for example, many shots of Victor Hugo, the window dresser and boyfriend of fashion designer Roy Halston Frowicknot, having sex with different men. Warhol used those images for a series called \u003cem>Sex Parts\u003c/em>.\u003c/p>\n\u003cp>In a nod to modern sensitivities about sexual exploitation, Phelan says she and Meyer chose to crop the heads off of explicit images. “We were quite conscious of the risks of showing the faces of men who were engaged in sex acts 35 years ago who may or may not want to be identified now,” Phelan says.\u003c/p>\n\u003cfigure id=\"attachment_13841865\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13841865\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/6-2014.43.688_D_Harry_digital-800x705.jpg\" alt=\"Contact Sheet [Debbie Harry portrait photo shoot, Chris Stein; Victor Hugo, Bianca Jagger, others in club; Dog; Bianca in a kitchen], 1980. Gelatin silver print.\" width=\"800\" height=\"705\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/6-2014.43.688_D_Harry_digital.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/6-2014.43.688_D_Harry_digital-160x141.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/6-2014.43.688_D_Harry_digital-768x677.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/6-2014.43.688_D_Harry_digital-240x212.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/6-2014.43.688_D_Harry_digital-375x330.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/6-2014.43.688_D_Harry_digital-520x458.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Contact Sheet [Debbie Harry portrait photo shoot, Chris Stein; Victor Hugo, Bianca Jagger, others in club; Dog; Bianca in a kitchen], 1980. Gelatin silver print. \u003ccite>(Photo: Courtesy of The Andy Warhol Foundation for the Visual Arts, Inc.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Those, she means, who are still alive today. “Looking at it in 2018, you can’t but see the kind of sexual freedom and almost jubilation,” Meyer says, before adding “Not Warhol. He’s not jubilant. He very rarely smiles!”\u003c/p>\n\u003cp>Meyer adds something that might not seem obvious in this age: “These were not selfies,” Meyers says. “He was not holding the camera out in front of him. He passed the camera to assistants to other people at the dinner parties, at Studio 54, at the discotheque. But every photograph taken by his camera is considered a Warhol.\u003c/p>\n\u003cp>“Warhol is the most pictured person in the contact sheets, and his boyfriend, John Gould, who was his last boyfriend, [was] the second most photographed.”\u003c/p>\n\u003cp>Gould died of HIV/AIDS-related complications in 1986, a year before Warhol’s death after gallbladder surgery.\u003c/p>\n\u003cp>“He took his tape recorder and his pocket-sized camera with him every night when he went out, and he was very proud of going out every night,” Meyer says.\u003c/p>\n\u003cfigure id=\"attachment_13841864\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13841864 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/RS32998_L.3.56.2018_Basquiat_painting-qut-800x818.jpg\" alt=\"Jean-Michel Basquiat, ca. 1982. Acrylic, silkscreen ink, and urine on canvas. \" width=\"800\" height=\"818\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/RS32998_L.3.56.2018_Basquiat_painting-qut-800x818.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/RS32998_L.3.56.2018_Basquiat_painting-qut-160x164.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/RS32998_L.3.56.2018_Basquiat_painting-qut-768x785.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/RS32998_L.3.56.2018_Basquiat_painting-qut-1020x1042.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/RS32998_L.3.56.2018_Basquiat_painting-qut-1174x1200.jpg 1174w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/RS32998_L.3.56.2018_Basquiat_painting-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/RS32998_L.3.56.2018_Basquiat_painting-qut-1180x1206.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/RS32998_L.3.56.2018_Basquiat_painting-qut-960x981.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/RS32998_L.3.56.2018_Basquiat_painting-qut-240x245.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/RS32998_L.3.56.2018_Basquiat_painting-qut-375x383.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/RS32998_L.3.56.2018_Basquiat_painting-qut-520x531.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/RS32998_L.3.56.2018_Basquiat_painting-qut-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/RS32998_L.3.56.2018_Basquiat_painting-qut-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/RS32998_L.3.56.2018_Basquiat_painting-qut-64x64.jpg 64w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jean-Michel Basquiat, ca. 1982. Acrylic, silkscreen ink, and urine on canvas. \u003ccite>(Photo: Courtesy of The Andy Warhol Foundation for the Visual Arts, Inc.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Altogether, the exhibition documents a point in time when superstars of that era wanted to be photographed by Warhol, or with him: Debbie Harry, Michael Jackson, John Lennon, Dolly Parton, Keith Haring, Jean-Michel Basquiat, Nancy Reagan, Maria Shriver and Arnold Schwarzenegger, to name a few.\u003c/p>\n\u003cp>They understood instinctively what Warhol was doing, and they wanted to bask in the refracted light of his vision.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong style=\"font-style: italic\">Contact Warhol: Photography Without End \u003c/strong>r\u003ci>uns September 29, 2018 through January 6, 2019 at the Cantor Arts Center on the Stanford campus in Palo Alto. For more information, click \u003ca href=\"https://museum.stanford.edu/exhibitions/contact-warhol-photography-without-end\" target=\"_blank\" rel=\"noopener\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>What do you think of when you think of traditional Chinese ink painting? To start with, ink on paper and silk. Then, century upon century of graceful, languid calligraphy and dreamy landscapes and meditative profiles of nature. It’s an ancient practice that goes back millennia and features a great deal of visual consistency, given the fact many Chinese painters learned their craft by copying earlier masters.\u003c/p>\n\u003cp>That is not this. \u003ca href=\"https://museum.stanford.edu/exhibitions/mojing-ink-worlds-contemporary-chinese-painting-collection-akiko-yamazaki-and-jerry\" target=\"_blank\" rel=\"noopener\">墨境 \u003cem>Ink Worlds\u003c/em>\u003c/a>, a new exhibition opening at the Cantor Arts Center May 23rd, explores the work of two dozen contemporary artists. While they’re classically trained, modern Chinese ink art, from the 1960s through the present, heads in splashy, dynamic new directions.\u003c/p>\n\u003cp>“I think when people hear ink, they think that they’re going to see the same kind of image over and over. What the show offers is all of this variation using a single medium,” says Susan Dackerman, director of the \u003ca href=\"https://museum.stanford.edu\" target=\"_blank\" rel=\"noopener\">Cantor Arts Center\u003c/a>.\u003c/p>\n\u003cp>No one piece is like the other. Some are lyrical. Others aggressive. A lot of the paintings are abstract. A number do call back to traditional Chinese landscapes and calligraphy but Dackerman promises you won’t mistake them for anything other than modern.\u003c/p>\n\u003cp>What most do have in common is they come from the home collection of Jerry Yang, former CEO of Yahoo, and his wife Akiko Yamazaki.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“There is a certain way that you have to put energy into the brush,” Yamazaki says. “That is something that is quite unique about ink paintings — and I hope people can feel that.”\u003c/p>\n\u003cfigure id=\"attachment_13832756\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13832756\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/RS31020_Chou_Untitled-qut-800x1147.jpg\" alt=\"Irene Chou 周綠雲 (China, 1924–2011), Untitled, 1995. Ink and color on paper. \" width=\"800\" height=\"1147\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31020_Chou_Untitled-qut-800x1147.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31020_Chou_Untitled-qut-160x229.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31020_Chou_Untitled-qut-768x1101.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31020_Chou_Untitled-qut-1020x1462.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31020_Chou_Untitled-qut-837x1200.jpg 837w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31020_Chou_Untitled-qut-1920x2752.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31020_Chou_Untitled-qut-1180x1691.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31020_Chou_Untitled-qut-960x1376.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31020_Chou_Untitled-qut-240x344.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31020_Chou_Untitled-qut-375x538.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31020_Chou_Untitled-qut-520x745.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31020_Chou_Untitled-qut.jpg 1429w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Irene Chou 周綠雲 (China, 1924–2011), Untitled, 1995. Ink and color on paper. \u003ccite>(Photo: Courtesy of Akiko Yamazaki and Jerry Yang)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s fair to say you can feel it. The ink metaphorically explodes off the walls in the gallery, reflecting passion, but also, precision and craft, according to Curatorial Fellow for Asian Art Ellen Huang, who co-curated \u003cem>Ink Worlds\u003c/em>.\u003c/p>\n\u003cp>“It’s painting in the most broad and expanded sense,” she explains. “Ink is beyond just what’s on the paper, but some active agent that seems to burst from the artwork and into people’s perceptions and experiences of life.”\u003c/p>\n\u003cp>This is the first and, so far, only show of Yang and Yamazaki’s ink art collection, but it’s not their first show. Yamazaki chairs the \u003ca href=\"http://www.asianart.org/about/commission\" target=\"_blank\" rel=\"noopener\">Asian Art Commission and Asian Art Foundation\u003c/a> and Yang’s collection of Ming Dynasty calligraphy showed in San Francisco six years ago before traveling to the \u003ca href=\"https://www.metmuseum.org/exhibitions/listings/2014/out-of-character\" target=\"_blank\" rel=\"noopener\">Met\u003c/a> in New York.\u003cspan class=\"Apple-converted-space\"> \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13832757\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13832757\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/RS31021_Feng_Desire-qut-800x1263.jpg\" alt=\"Qin Feng 秦風 (China, b. 1961), Desire Scenery No. 1, 2007. Ink on paper. \" width=\"800\" height=\"1263\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31021_Feng_Desire-qut-800x1263.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31021_Feng_Desire-qut-160x253.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31021_Feng_Desire-qut-768x1212.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31021_Feng_Desire-qut-1020x1610.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31021_Feng_Desire-qut-760x1200.jpg 760w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31021_Feng_Desire-qut-1920x3030.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31021_Feng_Desire-qut-1180x1862.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31021_Feng_Desire-qut-960x1515.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31021_Feng_Desire-qut-240x379.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31021_Feng_Desire-qut-375x592.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31021_Feng_Desire-qut-520x821.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31021_Feng_Desire-qut.jpg 1298w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Qin Feng 秦風 (China, b. 1961), Desire Scenery No. 1, 2007. Ink on paper. \u003ccite>(Photo: Courtesy of Akiko Yamazaki and Jerry Yang)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Yang started collecting art to connect to his Chinese heritage, but he finds the dynamism of living artists exciting. “Part of it is it’s a reflection of what’s happened in Asia, and more particularly, China over the last 30 years. There’s been an explosion of both tradition and innovation in art, and it’s still evolving,” he says.\u003c/p>\n\u003cp>Something else that appealed to the couple, as both are Stanford alumni: Stanford students got to help choose what works to show, under the guidance of Huang and Asian Art Professor \u003ca href=\"https://art.stanford.edu/people/richard-vinograd\" target=\"_blank\" rel=\"noopener\">Richard Vinograd\u003c/a>. “To me, it’s their storytelling that brings this thing alive,” Yang says.\u003c/p>\n\u003cp>“We’re a university museum,” Huang says, noting there’s an existential need to use each exhibition as a hands-on learning opportunity for students. There are also a number of educational events attached to the exhibition, including a performative demonstration by artist \u003ca href=\"https://museum.stanford.edu/programs/j-sanford-and-vinie-miller-distinguished-lecture-series-artist-qin-feng\">Qin Feng\u003c/a> and a conversation between artist\u003ca href=\"https://museum.stanford.edu/programs/j-sanford-and-vinie-miller-distinguished-lecture-series-artist-li-huayi\"> Li Huayi\u003c/a> and Michael Knight, consulting curator of the Akiko Yamazaki and Jerry Yang Collection.\u003c/p>\n\u003cfigure id=\"attachment_13832766\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13832766\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/RS31024_Chongbin_1-qut-800x533.jpg\" alt=\"Zheng Chongbin 鄭重賓 (China, b. 1961), Chimeric Landscape, 2015. Multi-media installation. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31024_Chongbin_1-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31024_Chongbin_1-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31024_Chongbin_1-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31024_Chongbin_1-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31024_Chongbin_1-qut-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31024_Chongbin_1-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31024_Chongbin_1-qut-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31024_Chongbin_1-qut-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31024_Chongbin_1-qut-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31024_Chongbin_1-qut-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31024_Chongbin_1-qut-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Zheng Chongbin 鄭重賓 (China, b. 1961), Chimeric Landscape, 2015. Multi-media installation. \u003ccite>(Photo: Courtesy of Akiko Yamazaki and Jerry Yang)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Yang and Yamazaki have established themselves as pillars of the Asian art community in the Bay Area, but Yang says he feels part of a growing trend. He counts a number of art collectors among his friends, even if they may not be shouting about it to the public. “We’re starting to see more and more Silicon Valley entrepreneurs contributing more into the world of art,” Yang says. “It’s definitely on the rise.”\u003c/p>\n\u003cp>I ask the Silicon Valley veteran if he’s worried artificial intelligence will soon make Chinese artists obsolete, but Yang is optimistic about the future of human talent.\u003cspan class=\"Apple-converted-space\"> “\u003c/span>I think these guys’ jobs are safe from AI, for awhile.”\u003c/p>\n\u003cp>\u003cspan class=\"Apple-converted-space\"> \u003c/span>For awhile…?\u003cspan class=\"Apple-converted-space\"> \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>墨境 Ink Worlds: Contemporary Chinese Painting from the Collection of Akiko Yamazaki and Jerry Yang runs May 23, 2018 – September 3, 2018 at the Cantor Arts Center on the Stanford campus. For more information, click \u003ca href=\"https://museum.stanford.edu/exhibitions/mojing-ink-worlds-contemporary-chinese-painting-collection-akiko-yamazaki-and-jerry\" target=\"_blank\" rel=\"noopener\">\u003cstrong>here\u003c/strong>\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>What do you think of when you think of traditional Chinese ink painting? To start with, ink on paper and silk. Then, century upon century of graceful, languid calligraphy and dreamy landscapes and meditative profiles of nature. It’s an ancient practice that goes back millennia and features a great deal of visual consistency, given the fact many Chinese painters learned their craft by copying earlier masters.\u003c/p>\n\u003cp>That is not this. \u003ca href=\"https://museum.stanford.edu/exhibitions/mojing-ink-worlds-contemporary-chinese-painting-collection-akiko-yamazaki-and-jerry\" target=\"_blank\" rel=\"noopener\">墨境 \u003cem>Ink Worlds\u003c/em>\u003c/a>, a new exhibition opening at the Cantor Arts Center May 23rd, explores the work of two dozen contemporary artists. While they’re classically trained, modern Chinese ink art, from the 1960s through the present, heads in splashy, dynamic new directions.\u003c/p>\n\u003cp>“I think when people hear ink, they think that they’re going to see the same kind of image over and over. What the show offers is all of this variation using a single medium,” says Susan Dackerman, director of the \u003ca href=\"https://museum.stanford.edu\" target=\"_blank\" rel=\"noopener\">Cantor Arts Center\u003c/a>.\u003c/p>\n\u003cp>No one piece is like the other. Some are lyrical. Others aggressive. A lot of the paintings are abstract. A number do call back to traditional Chinese landscapes and calligraphy but Dackerman promises you won’t mistake them for anything other than modern.\u003c/p>\n\u003cp>What most do have in common is they come from the home collection of Jerry Yang, former CEO of Yahoo, and his wife Akiko Yamazaki.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“There is a certain way that you have to put energy into the brush,” Yamazaki says. “That is something that is quite unique about ink paintings — and I hope people can feel that.”\u003c/p>\n\u003cfigure id=\"attachment_13832756\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13832756\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/RS31020_Chou_Untitled-qut-800x1147.jpg\" alt=\"Irene Chou 周綠雲 (China, 1924–2011), Untitled, 1995. Ink and color on paper. \" width=\"800\" height=\"1147\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31020_Chou_Untitled-qut-800x1147.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31020_Chou_Untitled-qut-160x229.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31020_Chou_Untitled-qut-768x1101.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31020_Chou_Untitled-qut-1020x1462.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31020_Chou_Untitled-qut-837x1200.jpg 837w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31020_Chou_Untitled-qut-1920x2752.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31020_Chou_Untitled-qut-1180x1691.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31020_Chou_Untitled-qut-960x1376.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31020_Chou_Untitled-qut-240x344.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31020_Chou_Untitled-qut-375x538.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31020_Chou_Untitled-qut-520x745.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31020_Chou_Untitled-qut.jpg 1429w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Irene Chou 周綠雲 (China, 1924–2011), Untitled, 1995. Ink and color on paper. \u003ccite>(Photo: Courtesy of Akiko Yamazaki and Jerry Yang)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s fair to say you can feel it. The ink metaphorically explodes off the walls in the gallery, reflecting passion, but also, precision and craft, according to Curatorial Fellow for Asian Art Ellen Huang, who co-curated \u003cem>Ink Worlds\u003c/em>.\u003c/p>\n\u003cp>“It’s painting in the most broad and expanded sense,” she explains. “Ink is beyond just what’s on the paper, but some active agent that seems to burst from the artwork and into people’s perceptions and experiences of life.”\u003c/p>\n\u003cp>This is the first and, so far, only show of Yang and Yamazaki’s ink art collection, but it’s not their first show. Yamazaki chairs the \u003ca href=\"http://www.asianart.org/about/commission\" target=\"_blank\" rel=\"noopener\">Asian Art Commission and Asian Art Foundation\u003c/a> and Yang’s collection of Ming Dynasty calligraphy showed in San Francisco six years ago before traveling to the \u003ca href=\"https://www.metmuseum.org/exhibitions/listings/2014/out-of-character\" target=\"_blank\" rel=\"noopener\">Met\u003c/a> in New York.\u003cspan class=\"Apple-converted-space\"> \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13832757\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13832757\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/RS31021_Feng_Desire-qut-800x1263.jpg\" alt=\"Qin Feng 秦風 (China, b. 1961), Desire Scenery No. 1, 2007. Ink on paper. \" width=\"800\" height=\"1263\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31021_Feng_Desire-qut-800x1263.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31021_Feng_Desire-qut-160x253.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31021_Feng_Desire-qut-768x1212.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31021_Feng_Desire-qut-1020x1610.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31021_Feng_Desire-qut-760x1200.jpg 760w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31021_Feng_Desire-qut-1920x3030.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31021_Feng_Desire-qut-1180x1862.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31021_Feng_Desire-qut-960x1515.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31021_Feng_Desire-qut-240x379.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31021_Feng_Desire-qut-375x592.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31021_Feng_Desire-qut-520x821.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31021_Feng_Desire-qut.jpg 1298w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Qin Feng 秦風 (China, b. 1961), Desire Scenery No. 1, 2007. Ink on paper. \u003ccite>(Photo: Courtesy of Akiko Yamazaki and Jerry Yang)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Yang started collecting art to connect to his Chinese heritage, but he finds the dynamism of living artists exciting. “Part of it is it’s a reflection of what’s happened in Asia, and more particularly, China over the last 30 years. There’s been an explosion of both tradition and innovation in art, and it’s still evolving,” he says.\u003c/p>\n\u003cp>Something else that appealed to the couple, as both are Stanford alumni: Stanford students got to help choose what works to show, under the guidance of Huang and Asian Art Professor \u003ca href=\"https://art.stanford.edu/people/richard-vinograd\" target=\"_blank\" rel=\"noopener\">Richard Vinograd\u003c/a>. “To me, it’s their storytelling that brings this thing alive,” Yang says.\u003c/p>\n\u003cp>“We’re a university museum,” Huang says, noting there’s an existential need to use each exhibition as a hands-on learning opportunity for students. There are also a number of educational events attached to the exhibition, including a performative demonstration by artist \u003ca href=\"https://museum.stanford.edu/programs/j-sanford-and-vinie-miller-distinguished-lecture-series-artist-qin-feng\">Qin Feng\u003c/a> and a conversation between artist\u003ca href=\"https://museum.stanford.edu/programs/j-sanford-and-vinie-miller-distinguished-lecture-series-artist-li-huayi\"> Li Huayi\u003c/a> and Michael Knight, consulting curator of the Akiko Yamazaki and Jerry Yang Collection.\u003c/p>\n\u003cfigure id=\"attachment_13832766\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13832766\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/RS31024_Chongbin_1-qut-800x533.jpg\" alt=\"Zheng Chongbin 鄭重賓 (China, b. 1961), Chimeric Landscape, 2015. Multi-media installation. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31024_Chongbin_1-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31024_Chongbin_1-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31024_Chongbin_1-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31024_Chongbin_1-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31024_Chongbin_1-qut-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31024_Chongbin_1-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31024_Chongbin_1-qut-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31024_Chongbin_1-qut-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31024_Chongbin_1-qut-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31024_Chongbin_1-qut-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31024_Chongbin_1-qut-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Zheng Chongbin 鄭重賓 (China, b. 1961), Chimeric Landscape, 2015. Multi-media installation. \u003ccite>(Photo: Courtesy of Akiko Yamazaki and Jerry Yang)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Yang and Yamazaki have established themselves as pillars of the Asian art community in the Bay Area, but Yang says he feels part of a growing trend. He counts a number of art collectors among his friends, even if they may not be shouting about it to the public. “We’re starting to see more and more Silicon Valley entrepreneurs contributing more into the world of art,” Yang says. “It’s definitely on the rise.”\u003c/p>\n\u003cp>I ask the Silicon Valley veteran if he’s worried artificial intelligence will soon make Chinese artists obsolete, but Yang is optimistic about the future of human talent.\u003cspan class=\"Apple-converted-space\"> “\u003c/span>I think these guys’ jobs are safe from AI, for awhile.”\u003c/p>\n\u003cp>\u003cspan class=\"Apple-converted-space\"> \u003c/span>For awhile…?\u003cspan class=\"Apple-converted-space\"> \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>墨境 Ink Worlds: Contemporary Chinese Painting from the Collection of Akiko Yamazaki and Jerry Yang runs May 23, 2018 – September 3, 2018 at the Cantor Arts Center on the Stanford campus. For more information, click \u003ca href=\"https://museum.stanford.edu/exhibitions/mojing-ink-worlds-contemporary-chinese-painting-collection-akiko-yamazaki-and-jerry\" target=\"_blank\" rel=\"noopener\">\u003cstrong>here\u003c/strong>\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Donatella Moltisanti first discovered the therapeutic benefits of music three decades ago while studying opera at a music conservatory in Italy.\u003c/p>\n\u003cp>“As a teenager, I suffered from debilitating menstrual cramps that left me bedridden for several days each month,” says Moltisanti, a New York-based alternative wellness practitioner who calls herself a “soul healer.” “Medication provided no relief, but once I began singing opera, the pain dissipated.”\u003c/p>\n\u003cp>Whether it’s a lullaby that coaxes a crying baby to sleep or the sound of a harmonic harp to settle one’s anxiety, music has the power to soothe and heal us, and \u003ca href=\"http://www.positivehealth.com/article/sound-and-music/the-healing-power-of-sound\" target=\"_blank\" rel=\"noopener\">science\u003c/a> agrees. Now, Moltisanti is using singing and sound healing as a form of medicine to encourage others to forgive.\u003c/p>\n\u003cp>https://youtu.be/K472DtB9jGA\u003c/p>\n\u003cp>On Apr. 24, Moltisanti and her colleague \u003ca href=\"https://vpge.stanford.edu/people/fred-luskin\" target=\"_blank\" rel=\"noopener\">Dr. Fred Luskin\u003c/a>, director of the Stanford Forgiveness Project and author of \u003ca href=\"https://www.amazon.com/Forgive-Good-Proven-Prescription-Happiness/dp/006251721X\" target=\"_blank\" rel=\"noopener\">\u003cem>Forgive for Good\u003c/em>\u003c/a>, will give a joint program at Unity Church in Palo Alto. Luskin, who has worked with victims of violence in Northern Ireland, Sierra Leone, and the Sept. 11 attacks on the World Trade Center, will present his forgiveness research, followed by a sound healing program by Moltisanti. The event also celebrates the release of Moltisanti’s debut album, \u003cem>Moltisanti Soul Singing\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Several \u003ca href=\"https://upliftconnect.com/health-benefits-of-music/\" target=\"_blank\" rel=\"noopener\">studies\u003c/a> show that singing, chanting, and humming can increase the output of oxytocin, the “love hormone” responsible for boosting one’s mood and fostering human bonding. \u003ca href=\"https://www.mcgill.ca/newsroom/channels/news/musical-chills-why-they-give-us-thrills-170538\" target=\"_blank\" rel=\"noopener\">Research\u003c/a> has also found that listening to pleasurable music triggers the brain to release dopamine, a neurotransmitter linked to happiness and other positive emotions. Similar to other somatic exercises, like meditation and yoga, music and singing can help soothe the body’s parasympathetic nervous system by calming down the amygdala, the part of the brain where fear resides.\u003c/p>\n\u003cp>In a phone interview, Luskin explains that music has the profound ability to relax the mind and the body and help people shed anger and resentment, emotions that can be toxic to one’s psychological and physical health.\u003c/p>\n\u003cp>“Holding onto grudges can cause our bodies to remain in a state of threat,” says Luskin. He says this state can trigger the body to release stress hormones, like cortisol, which can make one more prone to insomnia, heart disease, and depression.\u003c/p>\n\u003cp>https://youtu.be/cL51zvhrMiw\u003c/p>\n\u003cp>In contrast to the popular notion that to forgive is to forget, Luskin says forgiveness does not require us to erase painful memories. “We never forget the worst parts of our lives,” he says. “But forgiveness can help us to remember upsetting situations differently by transitioning our hostile feelings to a more peaceful place.”\u003c/p>\n\u003cp>During his talk on Tuesday, Luskin will teach participants the “\u003ca href=\"https://learningtoforgive.com/9-steps/\" target=\"_blank\" rel=\"noopener\">Nine Steps to Forgiveness\u003c/a>,” a roadmap based on his research that encourages audiences to let go of grievances. “Grievances are often a result of taking things too personally,” Luskin explains. “When we see someone, such as a friend, family member, or politician as the offender, we blame them for our suffering. Then, we weave a grievance story around that particular narrative.”\u003c/p>\n\u003cp>He goes on to add that even if we’re upset about ongoing social problems, like homelessness, politics, or racism, we can transform our anger into something constructive, like advocacy. “Instead of causing us to feel helpless, constructive anger can inspire us to do something positive, like take action,” he says.\u003c/p>\n\u003caside class=\"pullquote alignright\">“Instead of causing us to feel helpless, constructive anger can inspire us to do something positive, like take action.” – Dr. Fred Luskin\u003c/aside>\n\u003cp>Still, intellectually understanding how anger can impact the mind and the body is only one part of the forgiveness equation. Luskin points out that in order to truly grasp the healing powers of forgiveness, one must experience it for oneself on an emotional level.\u003c/p>\n\u003cp>In the second half of the program, Moltisanti will facilitate a sound healing concert, allowing participants to experience how music, singing, and sound healing can help them let go of anger, sadness, and hurt. “The idea is to not only bring knowledge and awareness to forgiveness, but to help people feel it,” she says.\u003c/p>\n\u003cp>Moltisanti will guide participants into a relaxing state through meditation. Then, using the soothing sounds of operatic vocalization and crystal singing bowls, she’ll help individuals locate the rage and pain within, encouraging them to sing and make sounds themselves in order to let go.\u003c/p>\n\u003cp>“When we can allow the breath and voice to flow, the body aligns with the vibration,” says Moltisanti, “and we can begin to let go of suffering.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Fred Luskin and Donatella Moltisanti will give a lecture and concert at the Unity Church in Palo Alto. More information \u003ca href=\"https://www.unitypaloalto.org/event/experience-forgiveness/\" rel=\"noopener\" target=\"_blank\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Donatella Moltisanti first discovered the therapeutic benefits of music three decades ago while studying opera at a music conservatory in Italy.\u003c/p>\n\u003cp>“As a teenager, I suffered from debilitating menstrual cramps that left me bedridden for several days each month,” says Moltisanti, a New York-based alternative wellness practitioner who calls herself a “soul healer.” “Medication provided no relief, but once I began singing opera, the pain dissipated.”\u003c/p>\n\u003cp>Whether it’s a lullaby that coaxes a crying baby to sleep or the sound of a harmonic harp to settle one’s anxiety, music has the power to soothe and heal us, and \u003ca href=\"http://www.positivehealth.com/article/sound-and-music/the-healing-power-of-sound\" target=\"_blank\" rel=\"noopener\">science\u003c/a> agrees. Now, Moltisanti is using singing and sound healing as a form of medicine to encourage others to forgive.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/K472DtB9jGA'\n title='//www.youtube.com/embed/K472DtB9jGA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>On Apr. 24, Moltisanti and her colleague \u003ca href=\"https://vpge.stanford.edu/people/fred-luskin\" target=\"_blank\" rel=\"noopener\">Dr. Fred Luskin\u003c/a>, director of the Stanford Forgiveness Project and author of \u003ca href=\"https://www.amazon.com/Forgive-Good-Proven-Prescription-Happiness/dp/006251721X\" target=\"_blank\" rel=\"noopener\">\u003cem>Forgive for Good\u003c/em>\u003c/a>, will give a joint program at Unity Church in Palo Alto. Luskin, who has worked with victims of violence in Northern Ireland, Sierra Leone, and the Sept. 11 attacks on the World Trade Center, will present his forgiveness research, followed by a sound healing program by Moltisanti. The event also celebrates the release of Moltisanti’s debut album, \u003cem>Moltisanti Soul Singing\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Several \u003ca href=\"https://upliftconnect.com/health-benefits-of-music/\" target=\"_blank\" rel=\"noopener\">studies\u003c/a> show that singing, chanting, and humming can increase the output of oxytocin, the “love hormone” responsible for boosting one’s mood and fostering human bonding. \u003ca href=\"https://www.mcgill.ca/newsroom/channels/news/musical-chills-why-they-give-us-thrills-170538\" target=\"_blank\" rel=\"noopener\">Research\u003c/a> has also found that listening to pleasurable music triggers the brain to release dopamine, a neurotransmitter linked to happiness and other positive emotions. Similar to other somatic exercises, like meditation and yoga, music and singing can help soothe the body’s parasympathetic nervous system by calming down the amygdala, the part of the brain where fear resides.\u003c/p>\n\u003cp>In a phone interview, Luskin explains that music has the profound ability to relax the mind and the body and help people shed anger and resentment, emotions that can be toxic to one’s psychological and physical health.\u003c/p>\n\u003cp>“Holding onto grudges can cause our bodies to remain in a state of threat,” says Luskin. He says this state can trigger the body to release stress hormones, like cortisol, which can make one more prone to insomnia, heart disease, and depression.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/cL51zvhrMiw'\n title='//www.youtube.com/embed/cL51zvhrMiw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In contrast to the popular notion that to forgive is to forget, Luskin says forgiveness does not require us to erase painful memories. “We never forget the worst parts of our lives,” he says. “But forgiveness can help us to remember upsetting situations differently by transitioning our hostile feelings to a more peaceful place.”\u003c/p>\n\u003cp>During his talk on Tuesday, Luskin will teach participants the “\u003ca href=\"https://learningtoforgive.com/9-steps/\" target=\"_blank\" rel=\"noopener\">Nine Steps to Forgiveness\u003c/a>,” a roadmap based on his research that encourages audiences to let go of grievances. “Grievances are often a result of taking things too personally,” Luskin explains. “When we see someone, such as a friend, family member, or politician as the offender, we blame them for our suffering. Then, we weave a grievance story around that particular narrative.”\u003c/p>\n\u003cp>He goes on to add that even if we’re upset about ongoing social problems, like homelessness, politics, or racism, we can transform our anger into something constructive, like advocacy. “Instead of causing us to feel helpless, constructive anger can inspire us to do something positive, like take action,” he says.\u003c/p>\n\u003caside class=\"pullquote alignright\">“Instead of causing us to feel helpless, constructive anger can inspire us to do something positive, like take action.” – Dr. Fred Luskin\u003c/aside>\n\u003cp>Still, intellectually understanding how anger can impact the mind and the body is only one part of the forgiveness equation. Luskin points out that in order to truly grasp the healing powers of forgiveness, one must experience it for oneself on an emotional level.\u003c/p>\n\u003cp>In the second half of the program, Moltisanti will facilitate a sound healing concert, allowing participants to experience how music, singing, and sound healing can help them let go of anger, sadness, and hurt. “The idea is to not only bring knowledge and awareness to forgiveness, but to help people feel it,” she says.\u003c/p>\n\u003cp>Moltisanti will guide participants into a relaxing state through meditation. Then, using the soothing sounds of operatic vocalization and crystal singing bowls, she’ll help individuals locate the rage and pain within, encouraging them to sing and make sounds themselves in order to let go.\u003c/p>\n\u003cp>“When we can allow the breath and voice to flow, the body aligns with the vibration,” says Moltisanti, “and we can begin to let go of suffering.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Fred Luskin and Donatella Moltisanti will give a lecture and concert at the Unity Church in Palo Alto. More information \u003ca href=\"https://www.unitypaloalto.org/event/experience-forgiveness/\" rel=\"noopener\" target=\"_blank\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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